半公務員的文化中介苦勞： 台北電影節策展概念及策展工作之研究

Abstract

本研究以台北電影節的策展概念及策展團隊為研究對象，以國際影展迴路、東亞影展的特色及城市和影展，這三個面向分析台北電影節策展概念的特色。並進一步探討台北電影節策展團隊的勞動狀態和策展實踐的關係。\n透過對歷年來台北電影節手冊、特刊，進行文獻分析，檢視歷屆市長、文化局長、台北電影節主席、總監、策展人等不同行動者對於台北電影節的定位與台北電影節策展概念的看法，再透過歷年節目單元的安排，檢視台北電影節定位如何塑造；並透過對策展團隊成員進行半結構式深度訪談，了解策展團隊策展的過程，進而探討策展團隊的勞動狀態如何影響策展概念的落實。\n研究發現台北電影節在國際影展迴路之中相對邊緣，與區域連結的特色也較不明顯，但和其他東亞影展類似的地方是，政府在影展都扮演重要的角色。台北電影節在「以電影行銷城市」及台灣電影產業的鼓勵和推廣上有著較為顯著的強調，在觀眾的取向上也以台灣觀眾及台灣電影產業為主要的對象。\n台北電影節策展團隊的工作狀況同時有著「半公務員」和「文化中介者」的特質，並有著自我治理、情緒勞動與游牧工作的特性，這樣被歸類為「自我剝削」特徵，卻因為對電影的熱情使得工作人員繼續投身成為「藝術苦勞」。 「半公務員」的工作狀態及台北電影節的聘僱機制，使得工作人員流動頻繁，每年團隊成員的改變，難以培養對電影節的共同想像。策展概念和執行的配合也因為團隊成員的更換難以形成默契，對創造出整體的影展敘事也是一大挑戰。

This study examines the curatorial goals of Taipei Film Festival through three aspects: international film festival circuit, the characteristics of East Asian film festivals, and the relationship between city and film festival. Furthermore, the relationship between the labor of the program team workers and the curatorial practice are also explored. Through reviewing Taipei Film Festival booklets and catalogues over the years, this study analyzes the ways different agents perceive Taipei Film Festival, including Taipei City mayors and directors of the Department of Cultural Affairs, as well as Taipei Film Festival presidents, directors, and program directors. With a comparison to the arrangement of program, it shows how the festival is being organized. The study also conducts semi-structured in-depth interviews with the members of the program team about the curatorial processes, working conditions, etc.\nFindings suggest that Taipei Film Festival is relatively peripheral in the international film festival circuit and its connection with other East Asian Film Festivals is also relatively weak. However, similar to other East Asian film festivals, the public sector plays an important role in the Taipei Film Festival. This film festival has been regarded as a tool for marketing the city and improving Taiwanese film industry. Local audience and film industry are the main targets for Taipei Film Festival. The program team of Taipei Film Festival is inclined to become "semi-civil servants" and "cultural intermediaries;" and therefore they are self-governance, emotional labor and “nomadic work" which are usually classified as "self-exploitation". Yet the enthusiasm for the film still leads the staff members to continue “unpleasing artistic labor.” Because of the characteristics of the "semi-civil servants", the Festival employees have changed frequently. Due to the continuously changing team members, cultivating a common identity, forming an understanding of the concepts and the execution, and creating a consistent narrative of the festival are difficult to achieve.