政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/56536

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/56536

English | 正體中文 | 简体中文 | Post-Print筆數 : 27 | 全文笔数/总笔数 : 113311/144292 (79%)
造访人次 : 50915227 在线人数 : 297

RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.

搜寻范围

查询小技巧：

您可在西文检索词汇前后加上"双引号"，以获取较精准的检索结果

若欲以作者姓名搜寻，建议至进阶搜寻限定作者字段，可获得较完整数据

进阶搜寻

主页 ‧ 登入 ‧ 上传 ‧ 说明 ‧ 关于政大典藏 ‧ 管理

到手机版

政大機構典藏 > 傳播學院 > 國際傳播英語碩士學程 > 學位論文 > Item 140.119/56536

请使用永久网址来引用或连结此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/56536

题名:	侯孝賢與蔡明亮之後：台灣電影於法國行銷之研究分析 After Hou Hsiao Hsien and Tsai Ming Liang: A case study of promotion of Taiwan Cinema in France.
作者:	史靄琍 Stalens, Alizee
贡献者:	陳儒修 Chen, Robert 史靄琍 Stalens, Alizee
关键词:	台灣電影法國行銷影視展 Taiwan Cinema France Cannes Film Market Promotion
日期:	2012
上传时间:	2013-01-02 13:27:02 (UTC+8)
摘要:	海角七號在台灣上映之後，重新喚起了台灣觀眾對於國片的興趣。對於台灣的電影產業來說，海角七號象徵著該產業經歷一段長時間幽暗歲月後所出現的第一道曙光。回顧近二十年的台灣電影概況，雖然在1980年代，有一波新台灣電影浪潮，這時許多台灣導演試圖在國際舞台上角逐一席之地，著名的代表導演有楊德昌、侯孝賢、蔡明亮、李安等。其中侯孝賢和蔡明亮的作品深受法國觀眾的歡迎，並且大獲輿論好評，這也讓他們更容易爭取到一些國際的合作資源。不過，後來在2000年以降崛起的新銳導演，他們的作品所面臨的，又是怎麼樣的環境呢? 本論文針對台灣電影在法國的推廣來做為研究的主題，並且配合在世界著名的坎城影展所作的田野調查以及對於法國電影批發商的深度訪談來回答研究問題。本論文首先探討台灣新電影浪潮的背景以了解為何侯孝賢和蔡明亮兩位導演的電影能夠在法國受到推崇。而文獻資料也顯示，近期像是海角七號這類在台灣大受好評的電影，並沒有在法國獲得對等的口碑。事實上，在2008年以後以及海角七號所開創的票房以來，如果非蔡明亮或是侯孝賢兩位導演的作品，在法國只有引進兩部台灣電影：《停車》和《不能沒有你》。觀察台灣片商和坎城影展台北電影委員會可以發現，台灣其實並沒有花很多精力在歐洲推廣台灣的電影。除此之外，台灣與亞洲的電影在法國的市場，正面臨來自南美與非洲大陸等新興電影的強烈衝擊。另外，根據訪談的結果，法國片商普遍表達，在選擇要進口的台灣電影時，會偏好刻劃台灣社會議題的藝術類型電影，而不會去選擇商業類型，雖然就是這些電影在2008年之後重新受到了台灣觀眾的矚目。也就是說，即使台灣電影在一些小型的影展相當受歡迎，在歐洲這塊舊大陸的市場競爭力依舊是相當脆弱的。 Since Cape No.7 was released in theaters in Taiwan, a new interest in local cinema was witnessed among Taiwanese audience. This movie represents the light at the end of the tunnel for Taiwan New Cinema after enduring a long period of “sadness”. When New Taiwan Cinema began in the 1980s, a few directors managed to be under the spotlights on the international scene, such as Edward Yang, Hou Hsiao-hsien, Tsai Ming-liang and Ang Lee. Hou Hsiao-hsien and Tsai Ming-liang have been particularly well received by the French public and the good reviews movie professionals and critics there gave them, probably helped their films to the point of enjoying some privileged collaboration. However, how is the situation nowadays, when it comes to newer directors’ productions, directors from the 2000s? This thesis aims to study the promotion of Taiwan Cinema in France firstly, through a field study during the internationally renowned Marché du Film de Cannes that takes place during the prestigious Film Festival of the same name and, secondly, by leading in-depth interviews with French films distributors. After reviewing Taiwan New Cinema background and understanding how Hou Hsiao-hsien and Tsai Ming-liang are still highly welcomed and respected in France, this study revealed that Taiwan Cinema that started to regain local attention doesn’t really attract French distributors’ anymore. Indeed, since 2008 and after the success of Cape No.7 in Taiwan, only two Taiwanese films that were not made by either Hou or Tsai have been distributed in France: Parking and No Puedo Vivir sin Ti. Observations of Taiwanese distributors and Taipei Film Commission at Le Marché du Film de Cannes revealed a lack of efforts to attract French or European buyers. Besides, Taiwan and Asian Cinema in general are facing a great opponent as French distributors are now being attracted to more emergent cinemas coming from South America and Africa. Furthermore, interviews with French distributors showed that the type of films French distributors were more likely to buy was a art house type of cinema that related to social issues in Taiwan as opposed to the rather commercial type of cinema that regain Taiwanese audience attention since 2008. Even though Taiwan New Cinema is still welcomed in some smaller scale film festivals, its future on the old continent seems fragile.
參考文獻:	ASC Distribution. About us. Retrieved April 15th 2012, 2012, from http://www.ascdistribution.com/ Assayas, O. (1984). Our reporter in Republic of China (Notre reporter en République de Chine). Cahiers du Cinéma. Bordeleau, E. (2011). A conference by Tsai Ming-liang Hors Champ. Retrieved from http://www.horschamp.qc.ca/spip.php?article456 Catsoulis, J. (2012). Three Friends` Approaches to Martial Law. Movie Review: `Girlfriend Boyfriend`, Set in Taiwan. The New York Times. Retrieved from http://movies.nytimes.com/2012/08/03/movies/girlfriend-boyfriend-set-in-taiwan.html?_r=0 CBO. CBO Box Office- All the numbers of the Cinema. Retrieved July 2012, 2012, from http://www.cbo-boxoffice.com/v3/page000.php3 Cinémasie. (2010). No Puedo Vivir Sin Ti. Ending clap from Vesoul Festival (Je ne peux pas vivre sans toi. Clap de fin du festival de Vesoul). Cinémasie. Retrieved on July 2012 from http://www.cinemasie.com/fr/fiche/oeuvre/nopuedovivirsinti/presentation.html Cinémathèque, L. (2008). Hou Hsiao-hsien at La Cinémathèque Française: Youtube. Retriveved on March 2012 from http://www.youtube.com/watch?v=zjmW8ZT1OKU CNC. (2011). Exportation of French Films in 2010. CNC. (2012). The Evolution of the Audience of Cinema in France (L`évolution du public des salles de cinéma): CNC. Commission, T. F. (2012).Taiwan Filmmakers at the Paris Project. Taipei Film Commission. Retrieved from www.taipeifilmcommission.ord/tw/MessageNotice/NewsDet/2254 Davis and Chen (Eds.). (2007). Cinema Taiwan. Politics, popularity and state of the arts: Routledge. Dorel, J. (2010). Encyclopedia of Asian films on the French market (Encyclopédie des films asiatiques en France). Retrieved August 2012 from http://asie-vision.blogspot.tw/p/encyclopedie-des-films-asiatiques.html Frodon, J.-M. (1995). Signature of Taiwanese films manifest (Signature du manifeste du film taïwanais). Cahiers du Cinéma. Gormley, C. N. K. (Ed.). (2009). Taiwan Cinema (255 ed.): Asiexpo Héliotrope. About Us. Retrieved April 15th 2012, 2012, from http://www.heliotropefilms.com/fr/qui-sommes-nous.html Ho, C.-M. (2011). TFC party brings Taiwan, French filmmakers closer. Taipei Film Commission. Retrieved on June 2012 from http://www.taipeifilmcommission.org/en/MessageNotice/NewsDet/1875 Hollywood movie firm sets up Taiwan joint venture. (2012). France 24 International. Retrieved from http://www.france24.com/en/20120731-hollywood-movie-firm-sets-taiwan-joint-venture INSEE. (2011). Market Share of films in France given nationalities in 2011 (Parts de marché selon la nationalité des films en 2011). Island in the mainstream. (2012). Film Business Asia. Joyard, O. (1999). Taiwan, Mysteries of an Island (Taiwan, Les mystères d`une île). Cahiers du Cinéma. Le voyage du ballon rouge (2007) de Hou Hsiao-hsien. (2009). http://films.blog.lemonde.fr/2009/05/07/voyage-ballon-rouge/ Lin, H. (2011). 2011 Cannes Film Festival Pre-Departure Press Conference. Taipei Film Commission. Retrieved June 2012 from http://211.72.204.97/109taipeifilmcommission/Epaper_en/20110520/LatestNews_01.html Lin, H. (2012). Film France promotes co-production in Taipei. Retrieved August 2012 from http://www.taipeifilmcommission.org/en/MessageNotice/NewsDet/2235 Marche du Film- Focus 2012. (2012). In F. d. C. Marché du Film (Ed.). Minez, N. L. (2009). History of Asian Cinema in France (1950-1980).Study on intercultural reception and reflection on the exotic cinematographic in France. (Histoire du cinéma asiatique en France (1950-1980). Etude d`une réception interculturelle et réflexion sur l`exotisme cinématographique en France.). University Paul Verlaine, Metz. Morice, J. (2009). Critic when released in the cinema (Critique lors de la sortie en salles). Télérama. Retrieved from http://www.telerama.fr/cinema/films/visage,391311.php Pendant ce temps-là… dans les salles HK ! (2011). Retrieved from http://eastasia.fr/news/pendant-ce-temps-la-dans-les-salles-hk-box-office-du-07122011-magic-to-win-strawberry-cliff/ Peng, H.-y. (2012). Auterism and Taiwan new cinema. Journal of Theater studies. Premiere worldwide film market. Retrieved March 2nd 2012, 2012, from www.marchedufilm.com/en/a-propos Rehm, J.P, Rivière, D. (2002). Tsai Ming-liang. Paris: Disvoir. Reynaud, B. (1990). Taiwan New Wave (Taiwan Nouvelle Vague). Cahiers du Cinéma. Taipei Film Trade Association. Box Office. 2012, from http://www.film.org.tw/members/index.php?mode=sign_in Taipei Film Commission. About TFC. Retrieved on February 2012 from http://www.taipeifilmcommission.org/en/AboutFilmCommission/Static/6720 Taiwan. Made In Asia (2012). Retrieved February 15th 2012, from http://www.tchin-tchine.com/madeinasia/ Un rôle de Passeur. Taiwan Aujourd`hui (2009). Retrieved from http://taiwanauj.nat.gov.tw/ct.asp?xItem=76493&CtNode=234&mp=20 Valck, M. D. (2007). Film Festivals. From European geopolitics to global Cinephilia.: Amsterdam University Press. Warriors of the Rainbow Seediq Bale (2012). Retrieved from http://www.cinemaniac.fr/news/warriors-of-the-rainbow-seediq-bale-l-un-croyait-au-pouvoir-redempteur-des-arcs-en-ciel-l-autre-a-celui-du-soleil-levant Wu. (2005). Chinese Language Film. Historiography, Poetics, Politics: University of Hawai’i Press. Yueh-yu Yeh, D. D. (2005). Taiwan Film Directors. A Treasure Island. New York: Columbia University Press. 小野. (2011). 翻滾吧，台灣電影. 台北市: 麥田出版. 台灣資料館. (1984-2006). 中華民國電影年鑑. 台灣資料館. (2007-2011). 台灣電影年鑑. 徐立功. (2008). 台灣電影融資及市場管理. In 桌伯棠 (Ed.), Global Chinese Film Finance and Management. (pp. 466). 香港: 天地圖書有限公司. 李泳泉. (1998). 台灣電影閱覽: 台北市: 玉山社出版. 林文淇，王玉燕. (2010). 台灣電影的聲音: 台北市：書林出版. 根旭星. (2010). 台灣電影供應鏈之探討. 國立東華大學業管理學系. 聞天样. (2012). 過影- 1992-2011 台灣電影總論 (1st ed.) 台北市: 書林出版有限公司. 蔡明亮. (2009). 臉. 台北市: 典藏藝術家庭邱詩淳. (2010). 台灣電影如何利用國際影視市場展進行國際發行之探討－以山與香港市場展為例. 國立政治大學所士論文. 鄭秉泓. (2010). 台灣電影愛與死. 台北市: 書林出版.
描述:	碩士國立政治大學國際傳播英語碩士學位學程(IMICS) 99461019 101
資料來源:	http://thesis.lib.nccu.edu.tw/record/#G0099461019
数据类型:	thesis
显示于类别:	[國際傳播英語碩士學程] 學位論文

文件中的档案:

档案	描述	大小	格式	浏览次数
101901.pdf		10813Kb	Adobe PDF2	953	检视/开启
101902.pdf		32849Kb	Adobe PDF2	1221	检视/开启
101903.pdf		32914Kb	Adobe PDF2	1255	检视/开启

在政大典藏中所有的数据项都受到原著作权保护.

社群 sharing

著作權政策宣告 Copyright Announcement

1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.

DSpace Software Copyright © 2002-2004 MIT & Hewlett-Packard / Enhanced by NTU Library IR team Copyright © - 回馈