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題名 數位修復影視作品再造新時代「迷」群 —以宮崎駿作品《魔法公主》為例
The Digital Film Restoration and the Rise of New-Age Fans: A Case Study of Hayao Miyazaki’s Princess Mononoke
作者 劉依貞
Liu, Yi-Chen
貢獻者 劉慧雯
Liu, Hui-Wen
劉依貞
Liu, Yi-Chen
關鍵詞 數位修復
行動者網絡理論
強制通過點
媒介化
宮崎駿
複迷群
影迷文化
digital restoration
Actor-Network Theory
hybrid fans
Obligatory Passage Point
Mediatization Theory
Hayao Miyazaki
fan culture
日期 2025
上傳時間 1-Jul-2025 14:10:38 (UTC+8)
摘要 本研究以宮崎駿動畫《魔法公主》數位修復版為個案，探討數位修復技術如何在疫情後的文化脈絡中，作為行動者網絡中的「強制通過點」（Obligatory Passage Point，OPP），促成新型態迷群——「複迷」的生成。研究採用行動者網絡理論（Actor-Network Theory，ANT）為主架構，輔以媒介化理論（Mediatization Theory），並透過問卷篩選與深度訪談，分析影迷如何在媒介轉換與記憶喚起的過程中，重構其文化參與與身份認同。 特別聚焦於「複迷」這一跨媒介行動者，他們曾透過錄影帶、DVD、電視播映等舊媒體接觸宮崎駿作品，疫情後再度進入電影院觀賞數位修復版，展現出跨越時代的媒介素養與文化行動力。研究發現，數位修復技術本身並非觀影的唯一動因，其文化召喚效力必須與影院場域、個人經驗與行銷機制等異質行動者協作，方能形成穩定的文化網絡。 此外，行銷贈品策略雖為部分觀眾的重要驅力，卻也引發觀眾對商業與文化之間界線的反思；另有非典型觀影者雖不具粉絲認同，仍因設計美學或社交邀請進入文化網絡，反映出粉絲文化參與的多樣性與階層性。 本研究揭示數位修復不僅是技術工程，更為觀眾與經典之間重新建立文化連結的中介物，對理解數位時代的觀影行為、粉絲身份與文化傳承具有理論與實務啟發意義。
Using the digitally restored version of Hayao Miyazaki’s Princess Mononoke as a case study, this research investigates how digital restoration functions as an “Obligatory Passage Point” (OPP) within Actor-Network Theory (ANT), fostering the emergence of a new type of fan cluster known as “hybrid fans” in the post-pandemic cultural context. Guided by ANT and supplemented by Mediatization Theory, the study combines screening surveys with in-depth interviews to explore how audience identities and cultural participation are reshaped through technological mediation and nostalgic re-engagement. Hybrid fans are characterized by their cross-media experiences: having first encountered Miyazaki’s works through VHS tapes, DVDs, or television broadcasts, they later re-enter theaters to engage with restored digital versions. These viewers not only seek high-fidelity cinematic experiences but also actively participate in collecting merchandise and sharing within fan communities, revealing diverse motivations and strong cultural agency. Findings indicate that digital restoration alone is not the primary driver of theater attendance. Rather, it operates within a broader network involving cinema space, marketing strategies, and emotional nostalgia. In addition, some non-traditional viewers—those without prior fan identification—were drawn to screenings by design aesthetics or social invitations, reflecting a layered and heterogeneous model of cultural engagement. By conceptualizing digital restoration as both technological and cultural mediation, this study contributes to our understanding of fan practices in the digital era and offers insights for future applications in film education and cultural policy.
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Boston, MA：Wadsworth.） 林韋華（2017）。《宮崎駿數位迷群活動之分析》。銘傳大學新媒體暨傳播管理學系碩士班碩士論文。 胡幼慧（1996）。《質性研究：理論、方法及本土女性研究實例》。巨流。 柯達公司（2007）。《電影製作指南》。取自 https://www.kodak.com/content/products-brochures/Film/kodak-essential-reference-guide-for-filmmakers-ZH-Traditional.pdf 唐士哲（2014）。〈重構媒介？「中介」與「媒介化」概念爬梳〉，《新聞學研究》，121，1-39。 徐宗國（1997）。〈紮根理論研究法〉。胡幼慧（編），《質性研究》。巨流。 莊啟祥（2021）。〈2020年台灣發行電影票房市場綜論分析〉。《2021台灣電影年鑑》，頁103–111。國家電影及視聽文化中心。 陳品丞（2020）。〈從二元本體論到行動本體論：媒介化的行動者網絡理論轉向與實作〉。《中華傳播學刊》，38，9-47。 國家電影及視聽文化中心（2021）。《2021年台灣電影年鑑》。 萬文隆（2004）。〈深度訪談在質性研究中的應用〉。《生活科技教育月刊》，37（4），17–23。 楊宏達、官政能（2015）。〈電影產業數位化之電影修復研究〉。《實踐設計學報》，9，262-281。 楊錫彬（2018）。〈台灣動畫電影的商業模式之探討〉。《南華社會科學論叢》，4，1–20。 鄭玉菁譯（2005）。《攝影學批判導讀》。台北：韋伯文化。（原書 Liz Wells [2000]. Photography: A Critical Introduction, 2nd ed.） 劉仲冬（1996）。〈民族誌研究法及實例〉。胡幼慧（編），《質性研究》。巨流。 蕭湘文（2002）。《漫畫研究：傳播觀點的檢視》。五南圖書出版公司。 謝麗華（2016）。《電影數位修復應用模式之研究——以國家電影中心為例》。臺灣藝術大學電影研究所碩士論文。 蘇蘅（2019）。〈第十二章 質性訪談：深度訪談與焦點團體訪談〉。《傳播研究方法新論》，頁344–353。雙葉書廊。   二、英文部分 Batt, R., Christopherson, S., Rightor, N., & Van Jaarsveld, D. (2000). Net working: Work patterns and workforce policies for the new media industry (CAHRS Working Paper No. 00-19). Center for Advanced Human Resource Studies, Cornell University ILR School. https://digitalcommons.ilr.cornell.edu/cahrswp/97 Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste (R.Nice, Trans.). Harvard University Press. Booth, P. (2010). Digital fandom: New media studies. New York: Peter Lang. Braudy, L., & Cohen, M. (Eds.). (2009). Film theory and criticism: Introductory readings (7th ed.). Oxford University Press. Callon, M. (1984). Some elements of a sociology of translation: Domestication of the scallops and the fishermen of St Brieuc Bay. The Sociological Review, 32(Suppl. 1), 196–233. Cavallaro, D. (2006). The anime art of Hayao Miyazaki. McFarland. Clements, J., & McCarthy, H. (2006). The anime encyclopedia: A guide to Japanese animation since 1917. Stone Bridge Press. Condry, I. (2013). The soul of anime: Collaborative creativity and Japan’s media success story. Duke University Press. Creswell, J. W. (2005). Educational research: Planning, conducting, and evaluating quantitative and qualitative research (2nd ed.). Upper Saddle River, NJ: Merrill Prentice Hall. de Certeau, M. (1984). The practice of everyday life (S. Rendall, Trans.). University of California Press. Ebert, R. (2000). The great movies. Broadway Books. Eisenstein, E. L. (1980). The printing press as an agent of change: Communications and cultural transformations in early-modern Europe. Cambridge University Press. Elsaesser, T., & Hagener, M. (2015). Film theory: An introduction through the senses (2nd ed.). Routledge. Febvre, L., & Martin, H. J. (1976). The coming of the book: The impact of printing, 1450–1800. London: Verso. Gracy, K. F. (2007). Film preservation: Competing definitions of value, use, and practice. University of Chicago Press. Hepp, A. (2013). Cultures of mediatization. John Wiley & Sons. Jenkins, H. (2006). Fans, bloggers, and gamers: Exploring participatory culture. NYU Press. Jenkins, H. (2012). Textual poachers: Television fans and participatory culture. Routledge. Jenson, J. (1992). Fandom as pathology: The consequences of characterization. In L. A. Lewis (Ed.), The adoring audience: Fan culture and popular media (pp. 9–29). Routledge. Kelts, R. (2006). Japanamerica: How Japanese pop culture has invaded the U.S. Palgrave Macmillan. Lamarre, T. (2009). The anime machine: A media theory of animation. University of Minnesota Press. Livingstone, S. (2004). The challenge of changing audiences: Or, what is the audience researcher to do in the age of the internet? European Journal of Communication, 19(1), 75–86. https://doi.org/10.1177/0267323104040695 Latour, B. (1987). Science in action: How to follow scientists and engineers through society. Harvard University Press. Latour, B. (2005). Reassembling the social: An introduction to actor-network-theory. Oxford University Press. Law, J. (1992). Notes on the theory of the actor-network: Ordering, strategy, and heterogeneity. Systems Practice, 5, 379–393. Law, J., & Hassard, J. (1999). Actor network theory and after. Blackwell Publishing. McDonald, P., & Smith-Rowsey, D. (2016). The Netflix effect: Technology and entertainment in the 21st century. Bloomsbury Academic. Musser, C. (1994). The emergence of cinema: The American screen to 1907. University of California Press. Napier, S. J. (2001). Anime from Akira to Princess Mononoke: Experiencing contemporary Japanese animation. Palgrave Macmillan. Newhall, B. (1982). The history of photography: From 1839 to the present. The Museum of Modern Art. Odell, C., & Le Blanc, M. (2009). Studio Ghibli: The films of Hayao Miyazaki and Isao Takahata. Kamera Books. Poitras, G. (2008). Anime essentials: Everything a fan needs to know. Stone Bridge Press. Robinson, D. (1997). From peep show to palace: The birth of American film. Columbia University Press. Rosenblum, N. (2007). A world history of photography (4th ed.). Abbeville Press. Sandvoss, C. (2005). Fans: The mirror of consumption. Polity. Schrøder, K. C. (2017). Analyzing media, communication, and society: Empirical studies of media and social change. Routledge. Sklar, R. (1994). Movie-made America: A cultural history of American movies. Vintage. Tryon, C. (2013). On-demand culture: Digital delivery and the future of movies. Rutgers University Press. Uricchio, W. (2004). Storage, simultaneity and the media technologies of modernity. In L. Spigel & J. Olsson (Eds.), Television after TV: Essays on a medium in transition (pp. 165–182). Duke University Press. Vosmeer, M., & Schouten, B. (2014). Interactive cinema: Engagement and interaction. In Interactive storytelling: 7th International Conference on Interactive Digital Storytelling, ICIDS 2014, Singapore, November 3–6, 2014, Proceedings (pp. 140–147). Springer International Publishing. Waterman, D., Sherman, R., & Ji, S. Y. (2013). The economics of online television: Industry development, aggregation, and “TV Everywhere”. Television & New Media, 14(5), 440–456.
描述 碩士
國立政治大學
傳播學院傳播碩士學位學程
109464021
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109464021
資料類型 thesis
dc.contributor.advisor 劉慧雯zh_TW
dc.contributor.advisor Liu, Hui-Wenen_US
dc.contributor.author (Authors) 劉依貞zh_TW
dc.contributor.author (Authors) Liu, Yi-Chenen_US
dc.creator (作者) 劉依貞zh_TW
dc.creator (作者) Liu, Yi-Chenen_US
dc.date (日期) 2025en_US
dc.date.accessioned 1-Jul-2025 14:10:38 (UTC+8)-
dc.date.available 1-Jul-2025 14:10:38 (UTC+8)-
dc.date.issued (上傳時間) 1-Jul-2025 14:10:38 (UTC+8)-
dc.identifier (Other Identifiers) G0109464021en_US
dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/157651-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 傳播學院傳播碩士學位學程zh_TW
dc.description (描述) 109464021zh_TW
dc.description.abstract (摘要) 本研究以宮崎駿動畫《魔法公主》數位修復版為個案，探討數位修復技術如何在疫情後的文化脈絡中，作為行動者網絡中的「強制通過點」（Obligatory Passage Point，OPP），促成新型態迷群——「複迷」的生成。研究採用行動者網絡理論（Actor-Network Theory，ANT）為主架構，輔以媒介化理論（Mediatization Theory），並透過問卷篩選與深度訪談，分析影迷如何在媒介轉換與記憶喚起的過程中，重構其文化參與與身份認同。 特別聚焦於「複迷」這一跨媒介行動者，他們曾透過錄影帶、DVD、電視播映等舊媒體接觸宮崎駿作品，疫情後再度進入電影院觀賞數位修復版，展現出跨越時代的媒介素養與文化行動力。研究發現，數位修復技術本身並非觀影的唯一動因，其文化召喚效力必須與影院場域、個人經驗與行銷機制等異質行動者協作，方能形成穩定的文化網絡。 此外，行銷贈品策略雖為部分觀眾的重要驅力，卻也引發觀眾對商業與文化之間界線的反思；另有非典型觀影者雖不具粉絲認同，仍因設計美學或社交邀請進入文化網絡，反映出粉絲文化參與的多樣性與階層性。 本研究揭示數位修復不僅是技術工程，更為觀眾與經典之間重新建立文化連結的中介物，對理解數位時代的觀影行為、粉絲身份與文化傳承具有理論與實務啟發意義。zh_TW
dc.description.abstract (摘要) Using the digitally restored version of Hayao Miyazaki’s Princess Mononoke as a case study, this research investigates how digital restoration functions as an “Obligatory Passage Point” (OPP) within Actor-Network Theory (ANT), fostering the emergence of a new type of fan cluster known as “hybrid fans” in the post-pandemic cultural context. Guided by ANT and supplemented by Mediatization Theory, the study combines screening surveys with in-depth interviews to explore how audience identities and cultural participation are reshaped through technological mediation and nostalgic re-engagement. Hybrid fans are characterized by their cross-media experiences: having first encountered Miyazaki’s works through VHS tapes, DVDs, or television broadcasts, they later re-enter theaters to engage with restored digital versions. These viewers not only seek high-fidelity cinematic experiences but also actively participate in collecting merchandise and sharing within fan communities, revealing diverse motivations and strong cultural agency. Findings indicate that digital restoration alone is not the primary driver of theater attendance. Rather, it operates within a broader network involving cinema space, marketing strategies, and emotional nostalgia. In addition, some non-traditional viewers—those without prior fan identification—were drawn to screenings by design aesthetics or social invitations, reflecting a layered and heterogeneous model of cultural engagement. By conceptualizing digital restoration as both technological and cultural mediation, this study contributes to our understanding of fan practices in the digital era and offers insights for future applications in film education and cultural policy.en_US
dc.description.tableofcontents 第壹章、緒論 8 第一節、研究動機 8 第二節、研究背景 12 一、疫情時代影響下娛樂形式的轉變 12 二、影視作品的誕生與數位修復技術的使命 13 三、宮崎駿的動畫世界. 16 第三節、研究目的 19 第貳章、文獻探討 21 第一節、觀影形式如何數位媒介化 21 第二節、行動者網絡理論（ACTOR-NETWORK THEORY，ANT） 25 一、由ANT理解數位技術之新時代互動模式 25 二、ANT三個核心原則 27 三、為什麼選擇ANT？ 31 四、小結 33 第三節、數位修復技術的多重角色：影視產業復甦與文化價值的再創造 35 一、帶動台灣動畫電影產業的復甦 35 二、文化傳承與研究價值：以吉卜力修復《故鄉的傳承》為例 37 第四節、宮崎駿「迷」群文化 40 一、「迷文化」的起源 40 二、日本動漫的影響力 42 三、宮崎駿的「迷群」 44 四、小結 48 第參章、研究方法與設計 49 第一節、研究方法 49 第二節、受訪者選擇 52 一、研究對象的定義 52 二、如何尋找研究對象 53 第三節、問卷及訪談大綱 54 一、問卷題目 54 二、訪談大綱 54 第肆章、研究結果 59 第伍章、研究結論 77 第一節、結論與研究發現 77 第二節、未來研究建議 81 第三節、研究限制 83 參考文獻 84zh_TW
dc.format.extent 1947018 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109464021en_US
dc.subject (關鍵詞) 數位修復zh_TW
dc.subject (關鍵詞) 行動者網絡理論zh_TW
dc.subject (關鍵詞) 強制通過點zh_TW
dc.subject (關鍵詞) 媒介化zh_TW
dc.subject (關鍵詞) 宮崎駿zh_TW
dc.subject (關鍵詞) 複迷群zh_TW
dc.subject (關鍵詞) 影迷文化zh_TW
dc.subject (關鍵詞) digital restorationen_US
dc.subject (關鍵詞) Actor-Network Theoryen_US
dc.subject (關鍵詞) hybrid fansen_US
dc.subject (關鍵詞) Obligatory Passage Pointen_US
dc.subject (關鍵詞) Mediatization Theoryen_US
dc.subject (關鍵詞) Hayao Miyazakien_US
dc.subject (關鍵詞) fan cultureen_US
dc.title (題名) 數位修復影視作品再造新時代「迷」群 —以宮崎駿作品《魔法公主》為例zh_TW
dc.title (題名) The Digital Film Restoration and the Rise of New-Age Fans: A Case Study of Hayao Miyazaki’s Princess Mononokeen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) 一、中文部分 方念萱（2016）。〈媒介化，行動化：媒介化理論與行動者網絡理論的對話〉。《傳播文化與政治》，4，55-83。 李育霖（2023）。《數位魅影：歷史的典藏與記憶》。國立臺灣大學出版中心。 吳芝儀、廖梅花譯（2001）。《質性研究入門：紮根理論研究方法》。台北市：濤石文化。（原著 Strauss, A., & Corbin, J. [1998]。Basics of Qualitative Research, 2nd ed.） 林秀雲譯（2019）。〈第一章 人類的探索與科學〉。《社會科學研究方法》，第14版，頁3 - 41。雙葉書廊。（原書 Babbie, E. [2012]。The Practice of Social Research, 14th Edition. Boston, MA：Wadsworth.） 林秀雲譯（2019）。〈第十三章 質化資料分析〉。《社會科學研究方法》，第14版，頁589–626。雙葉書廊。（原書 Babbie, E. [2012]。The Practice of Social Research, 14th Edition. 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