近年來在國內外引起注意的真人實境節目，在台灣的本土版本\r 中，則呈現出另類的觀看真實與真實被觀看的樂趣。在影像特效、\r 各式敘事想像與眾多耀眼明星所組成的繽紛媒體時代，為何人們反\r 而要觀看起這類強調臨場真實、畫面粗糙、不講究美感與藝術性的\r 真人秀電視？而這類以「觀看真實」為核心的節目形式，又蘊含什\r 麼樣的媒體科技、真實、慾望與主體的相互形塑關係？在全球化的\r 真人實境節目脈絡下，本研究以曾在台灣引發爭議的偷窺真人秀節\r 目，【TV 搜查線】（2001-2004，華視）為分析文本。本文指出這\r 個本地真人秀節目，既展現出某種全球化的慾望與監控相互形塑的\r 觀看文化，也展現出更由電視媒體與身體所共構的觀看關係。並 且，在台灣特有的「作假真人秀」節目形式下，真實成為一種關於\r 「偽裝」的後現代文化展現。 The global rise of the Reality TV genre has generated a new localized viewing pleasure. People, from all over, are now enjoying not only watching but also being watched on Reality TV. In the fantastic age of media convergence, why does the audience like to watch real but sometimes banal people and images portrayed in reality shows? How do media technology, reality, desire and subject interaction dance together in order to shape one another on the formatting stage of reality shows? The case study of Taiwan’s local reality TV, TV Spy (2001-2004, CTV), is a hidden camera based program. It also has what one could call a ‘gotcha’ format. This paper explores the intertwined nature of the observer being observed relationship in reality shows. This article suggests that global reality TV has created a viewer’s desire for surveillance. The format of reality TV generates a more involved audience. The name screenborg has been coined to this effect. It is a co-construction of screen effects and the reactive body of viewers. Furthermore, the special case of Taiwan’s local reality show also represents a postmodern visual culture of fakery, adroitly created by an invisible production line in Taiwan’s local TV industry.
廣播與電視, 28, 95-124 Journal of Radio & Television Studies