電視劇文本之外：副文本建構與迷群反思

Abstract

電視劇的風靡不只透過原文本本身，其溢散出的副文本更填補電視劇播出時段外的縫隙，引領觀眾沉浸其中，這些外圍的細碎文本看似紛雜不起眼，但卻深深地影響迷群消費與詮釋電視劇的方式。\n\n 本研究勾勒現今電視劇的媒介景觀，透過體現副文本的重要性，以及論述副文本產製方（包括迷群與產業）的複雜關係，視電視劇副文本的興起為一文化現象。嘗試建構產製這些副文本的迷群反思過程，焦點著重在建立「品牌式」副文本的迷群，從迷的角度思考在被電視劇副文本圍繞的情境中，如何透過消費與產製的過程進行自我反思。一改以往學術論文中，將迷群簡化描繪為「主動」、「尋求愉悅」、「抵抗強勢文化」這樣單面向的特質，納入迷群的思辨過程，顯現其產製出的副文本之豐富意涵。\n\n 本研究首先以電視劇《一把青》的副文本進行個案分析，分析產業副文本的運作邏輯和脈絡意義。接著採用質性研究方法，與四名建立「品牌式」副文本的迷群進行深入訪談後，從迷群端了解他們的反思過程。\n\n 研究發現副文本為多維度的詮釋文本，突破了單一文本中心主義，成為流動在產業與迷群端的有機體，隨著時間的推進，無限納入多元的意義。而迷群的反思展現在他們產製與消費副文本的過程，透過自我思辨的方式，將所迷之物內化成自我的一部份，寄託對媒介與台灣自主的想像。

A TV Drama’s popularity depends not only on its original text, but also on its peripheral “paratexts.” Those paratexts fill the time-gap between episodes, and enable the audience to continuously immerse into the TV Drama. Trivial and obscure as they may seem, those pretexts have a huge impact on fan’s consumption and interpretation upon TV Dramas.\n\n This thesis outlines contemporary TV drama’s mediascape. By showing the importance of paratexts and discussing the complex relationship between their producers (the industry and fans), the rise of paratexts can be viewed as a cultural phenomenon. The following content tries to construct the self-reflection process of fans who produce paratexts, especially aiming at those who establish their own brand-like Facebook fan pages or blogs. From their point of views, this thesis speculates how fans conduct self-refection pattern while consumption and production. Moreover, it tries to overthrow past academic description about fans, and change their image from active, joy-seeking, and resistant-to-power to become more reflective-thinking. By doing it, it shows the abundant meanings of paratexts.\n\n At first, this thesis conducts a case study on a TV drama called “A Touch of Green,” and analyzes its industry paratexts’ mechanism and context meanings. Then, based on qualitative analysis, the researcher interviews with four fans and realizes their self-reflection process.\n\n This thesis finds that paratexts are muti- dimensional interpretive texts. Paratexts breakthrough single-text textism, amd become fluid organism. With the flow of time, paratexts include multiple meanings. Moreover, fans’ self-reflection is shown in consumption and production of paratexts. By self-speculation, fan objects become fan themselves and embody fans’ hopeful imagination upon media and Taiwan’s autonomy.