解嚴初期的台灣電視文化彈性生產：一個後冷戰的觀點
Flexible Production of Taiwan Television Drama in the early 1009s:A Post-Cold-War Perspective

賴以瑄
Jocelyn Lai

本文企圖複雜化冷戰剛結束時，解嚴初期彈性化連結台灣及中國大陸電視業者而生產的兩岸「合拍劇」嵌入台灣電視地景之過程。本文聚焦於一個刻板印象化，但很少被深入反思的問題，解嚴初期彈性在兩岸生產的電視劇如何嵌入台灣電視？既然是一對一關係，過程當中必然牽涉台灣如何面對當代中國的問題，台灣如何想像「進入」台灣電視文化裡的後冷戰中國（picture of the other and the self-picture）？本文從後冷戰的觀點描繪解嚴初期的台灣電視劇兩岸彈性運作過程，並分析當時的中國大陸提供台灣電視不同的（經濟的、文化的、娛樂的）誘因，使台灣電視生產者與消費者各取所需。

處於電視文化勞動位置底層的台灣電視製作業者，在經濟上強烈受到中國大陸新興市場的吸引而躍躍欲試，國家受到民間業者的衝撞與挑戰，被動地和電視文化勞動工作者進行協商，進一步在現有國家意識形態所能容許\的範圍內劃出尺度，並明確地將中國大陸再現為「技術層面」的「協助者」；由於中國電視節目市場化尚屬於初生時期，台灣電視業者的兩岸產銷行動除需與台灣國民黨意識形態協商外，也必須與本國電視市場維持契合的供需關係，本國電視市場型態仍處於三台獨占的集體消費型態，以及當時瀰漫台灣社會的大陸熱，提供了台灣業者展開兩岸合作，以中國大陸為戲劇拍攝地的動力，也使得兩岸電視產業展開了最初的生產連結。

This paper seeks to complicate and deconstruct the stereotype of the beginning of the Taiwanese cross-strait TV drama co-productions after the Cold War in the late1980s and early 1990s. Of special post-Cold War research interest, is the picture (the role) of contemporary socialist (Communist) China as well as the self-picture of Taiwan (still ruled by KMT) during the confrontation. Taiwanese “below-the-line” TV drama companies and creators were getting interested in exploring the foreign markets, including ex-Iron Curtain Chinese TV market, since the state-owned three TV stations have no strong intentions while the sub-contracted TV production companies have more flexibility in cooperation with Chinese TV stations. The “Mainland Fever” cultural nostalgia, craving to access information about contemporary China, in the Taiwanese society also offered favorable incentives to shoot TV in China. Many Taiwanese TV drama creators longed for the pristine, not yet capitalized scenery and well-known historic spots in China, vigorously collecting them into their drama productions. The Chinese labors contributed much on the symbolical and economical capitals accumulation of Taiwanese TV productions. Some of the Chinese actresses soon became famous in Taiwan. Although state-owned TV stations welcomed cross-strait co-productions for their high viewing rates, the state was reluctant. For KMT state a too-intensive rapprochement is very risky. The state was forced to cool down the “Mainland fever”, confining the unmanageable strait-crossing TV productions but the act of the government turned out to be pretty feeble. It is very important to notice that, China was ambiguously pictured as a technical assistance in the landscape of cross-strait cooperation due to the Cold-War KMT anti-Communism ideology in Taiwan society. As such, Taiwanese television creators opened the door to post-Cold War China and the regional market.

台灣電視，彈性生產，冷戰，反共，中國大陸

Taiwan TV， flexible production， the Cold War， Anti-Communism， Mainland China

2009.07.06

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S012-解嚴初期的台灣電視文化彈性生產：一個後冷戰的觀點.pdf