聚合之路：從電視法案Finsyn看美國影視產業的發展
A road to convergency: the development of U.S. audio-visual industry after Finsyn adopted

張時健
Chang, Shih-Chen

本文藉由回顧電視法案《財務利益與辛迪加規定》（Finsyn）的訂立與修廢所經歷的產業變遷，針對一般認定美國影視產業發生了全面性的聚合與壟斷的說法加以辨析。在以製作–發行–映演的架構理解影視產業資本的運動路徑後，本文結論指出，戰後好萊塢的片廠體制（studio system）崩毀，以至於電影產業與電視產業間的競合過程，表現為資本往發行與映演部門集中、並使生產部門零細化的意義，應當注意。

It is said that the U.S. audio-visual sector have been monopolized by a few entertainment giants after several M&As in 20 years. People call the process as “convergency”.After reviewing the industry history since FCC ’s Financial Interest and Syndication Rules (Finsyn) was adapted in 1970 to 1995 when it was abolished, I argue that the concept of “ monopoly”or “convergency”is not very useful if we recognize the industry is organized by three parts: production, distribution and exhibition and see the movement of capital around them. In the end of this article I recommend that we should notice the production sector fragmented process is associated with the horizontal-integration, and the Finsyn could or could not be accepted is dependent on the political-economic conditions.

美國影視產業，好萊塢，電視網，財務利益與辛迪加規定，生產體制

U.S. Audio-visual sector， Hollywood， Networks， Financial Interest and Syndication Rules， production system

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S083-聚合之路：從電視法案Finsyn看美國影視產業的發展.pdf