近幾年台灣影展如雨後春筍冒出，一個影展的樣貌與其歷史脈絡密不可分，過往台灣影展研究多集中迷研究及品牌分析，本研究試圖從影展的歷史脈絡切入，了解政治、商業、文化在其中如何互動，試圖跳脫單純政治經濟的錢與權分析，加入文化觀點，也就是將人的能動性放入討論，欲勾勒出以時間軸為中心的影展樣貌。本研究並以 1998 年創辦的台北電影節為分析對象，2008 年成為台北市文化基金會的常設單位後，對電影節又有什麼影響？文獻探討先從過往影展研究定義本研究的政治、商業、文化為何，再以 de Valck 研究的鹿特丹影展做為案例參考，接著爬梳電影節過往資料，將台北電影節分為三階段：初期（1998-2002）、文化局主管階段（2002-2008）、台北市文化基金會下常設單位（2008-2014），研究結果認為重點並非三者的消長，而是三種力量如何在不同時期產生不同互動情形，三種力量的拉扯對於影展各有其效用，政治力影響並非全然壞事，倘若能定出大方向，並且給予專業策展團隊自由空間規劃，能讓電影節運作更有效。

Film festivals in Taiwan have grown rapidly in recent years. Historical process has great influence on what a film festival will look like. The studies of film festivals mostly focus on fan and brand analysis. This study tries to explore from the historical side, trying to understand how politics, commerce, culture interacting with one another by taking Taipei Film Festival as the example. This research try to avoid traditional political economy analyze, which only focus on money and power. And try to put culture inside this discussion, so the agency of people can be seen. Hope to map film festival with timeline. Taipei Film Festival was founded in 1998. It became the regular units of Taipei Culture Foundation in 2008, which is a crucial point in this study.

Literature review will start from the definition of politics, commerce, and culture, and take the case study of International Film Festival Rotterdam, which was done by Amsterdam professor de Valck. Then I discuss Taipei Film Festival and separate it into three phases: the starting period (1998-2002), ruled by Department of Cultural Affairs (2002-2008), and the phase after it became regular units of Taipei Culture Foundation (2008-2014). The result of this study may suggest how the interaction between these three forces can affect a film festival. Three forces worked differently in each phrases, and each phrases had different qualities. Political involvement may even be helpful sometimes. hoping this study will help the film festival to work more efficiently.