| dc.contributor.advisor | 陳儒修 | zh_TW |
| dc.contributor.advisor | Chen, Robert | en_US |
| dc.contributor.author (Authors) | 史靄琍 | zh_TW |
| dc.contributor.author (Authors) | Stalens, Alizee | en_US |
| dc.creator (作者) | 史靄琍 | zh_TW |
| dc.creator (作者) | Stalens, Alizee | en_US |
| dc.date (日期) | 2012 | en_US |
| dc.date.accessioned | 2-Jan-2013 13:27:02 (UTC+8) | - |
| dc.date.available | 2-Jan-2013 13:27:02 (UTC+8) | - |
| dc.date.issued (上傳時間) | 2-Jan-2013 13:27:02 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0099461019 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/56536 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 國際傳播英語碩士學位學程(IMICS) | zh_TW |
| dc.description (描述) | 99461019 | zh_TW |
| dc.description (描述) | 101 | zh_TW |
| dc.description.abstract (摘要) | 海角七號在台灣上映之後，重新喚起了台灣觀眾對於國片的興趣。對於台灣的電影產業來說，海角七號象徵著該產業經歷一段長時間幽暗歲月後所出現的第一道曙光。回顧近二十年的台灣電影概況，雖然在1980年代，有一波新台灣電影浪潮，這時許多台灣導演試圖在國際舞台上角逐一席之地，著名的代表導演有楊德昌、侯孝賢、蔡明亮、李安等。其中侯孝賢和蔡明亮的作品深受法國觀眾的歡迎，並且大獲輿論好評，這也讓他們更容易爭取到一些國際的合作資源。不過，後來在2000年以降崛起的新銳導演，他們的作品所面臨的，又是怎麼樣的環境呢?本論文針對台灣電影在法國的推廣來做為研究的主題，並且配合在世界著名的坎城影展所作的田野調查以及對於法國電影批發商的深度訪談來回答研究問題。本論文首先探討台灣新電影浪潮的背景以了解為何侯孝賢和蔡明亮兩位導演的電影能夠在法國受到推崇。而文獻資料也顯示，近期像是海角七號這類在台灣大受好評的電影，並沒有在法國獲得對等的口碑。事實上，在2008年以後以及海角七號所開創的票房以來，如果非蔡明亮或是侯孝賢兩位導演的作品，在法國只有引進兩部台灣電影：《停車》和《不能沒有你》。觀察台灣片商和坎城影展台北電影委員會可以發現，台灣其實並沒有花很多精力在歐洲推廣台灣的電影。除此之外，台灣與亞洲的電影在法國的市場，正面臨來自南美與非洲大陸等新興電影的強烈衝擊。另外，根據訪談的結果，法國片商普遍表達，在選擇要進口的台灣電影時，會偏好刻劃台灣社會議題的藝術類型電影，而不會去選擇商業類型，雖然就是這些電影在2008年之後重新受到了台灣觀眾的矚目。也就是說，即使台灣電影在一些小型的影展相當受歡迎，在歐洲這塊舊大陸的市場競爭力依舊是相當脆弱的。 | zh_TW |
| dc.description.abstract (摘要) | Since Cape No.7 was released in theaters in Taiwan, a new interest in local cinema was witnessed among Taiwanese audience. This movie represents the light at the end of the tunnel for Taiwan New Cinema after enduring a long period of “sadness”. When New Taiwan Cinema began in the 1980s, a few directors managed to be under the spotlights on the international scene, such as Edward Yang, Hou Hsiao-hsien, Tsai Ming-liang and Ang Lee. Hou Hsiao-hsien and Tsai Ming-liang have been particularly well received by the French public and the good reviews movie professionals and critics there gave them, probably helped their films to the point of enjoying some privileged collaboration. However, how is the situation nowadays, when it comes to newer directors’ productions, directors from the 2000s?This thesis aims to study the promotion of Taiwan Cinema in France firstly, through a field study during the internationally renowned Marché du Film de Cannes that takes place during the prestigious Film Festival of the same name and, secondly, by leading in-depth interviews with French films distributors. After reviewing Taiwan New Cinema background and understanding how Hou Hsiao-hsien and Tsai Ming-liang are still highly welcomed and respected in France, this study revealed that Taiwan Cinema that started to regain local attention doesn’t really attract French distributors’ anymore. Indeed, since 2008 and after the success of Cape No.7 in Taiwan, only two Taiwanese films that were not made by either Hou or Tsai have been distributed in France: Parking and No Puedo Vivir sin Ti. Observations of Taiwanese distributors and Taipei Film Commission at Le Marché du Film de Cannes revealed a lack of efforts to attract French or European buyers. Besides, Taiwan and Asian Cinema in general are facing a great opponent as French distributors are now being attracted to more emergent cinemas coming from South America and Africa. Furthermore, interviews with French distributors showed that the type of films French distributors were more likely to buy was a art house type of cinema that related to social issues in Taiwan as opposed to the rather commercial type of cinema that regain Taiwanese audience attention since 2008. Even though Taiwan New Cinema is still welcomed in some smaller scale film festivals, its future on the old continent seems fragile. | en_US |
| dc.description.tableofcontents | Chapter 1. Introduction 11.1 Motivation 11.2 Purpose 31.3 Research Question 61.4 Method 8Chapter 2: Literature Review 92.1 Taiwan Cinema 102.1.1 Background 102.1.2 First and Second New Wave (1980s-1990s) 122.1.3 Current situation (2000s) 142.3 Taiwan Cinema in France 172.3.1 The Cinema Market in France 172.3.2 Hou Hsiao-hsien and the auteur theory 242.3.3 Edward Yang 262.3.4 Tsai Ming-liang 282.3.5 Ang Lee 292.3.6 The “New Wave” from the 2000s 312.4 France and Taiwan Links and cooperation 342.4.1 French Cinema in Taiwan 342.4.2 New Taiwan Cinema and cooperation with France 352.4.3 Taipei Film Commission and France 412.4.4 Directors from the 2000s and cooperation with France 45Chapter 3: Research and Analysis 483.1 Taiwan Market 493.1.1 Interviews with distributors in Taiwan on French movies 493.1.2 Study on Parking and No Puedo Vivir Sin Ti in Taiwan 513.2 Cannes Festival Film Market (Field Study) 543.2.1Cannes Festival and the Marché du Film History 543.2.2 Taiwan Presence at Le Marché du Film 2012 573.2.3 Observations at the booth 623.2.3 Screenings at Le Marché du Film 2012 653.3 Interviews 673.3.1 Interview Framework 673.3.2 ASC Distribution: Parking 703.3.3 Heliotrope films: No Puedo Vivir Sin Ti 73Chapter 4: Conclusion 82Discussion 85Further research 88Appendices 90Reference 103 | zh_TW |
| dc.language.iso | en_US | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0099461019 | en_US |
| dc.subject (關鍵詞) | 台灣電影 | zh_TW |
| dc.subject (關鍵詞) | 法國 | zh_TW |
| dc.subject (關鍵詞) | 行銷 | zh_TW |
| dc.subject (關鍵詞) | 影視展 | zh_TW |
| dc.subject (關鍵詞) | Taiwan Cinema | en_US |
| dc.subject (關鍵詞) | France | en_US |
| dc.subject (關鍵詞) | Cannes Film Market | en_US |
| dc.subject (關鍵詞) | Promotion | en_US |
| dc.title (題名) | 侯孝賢與蔡明亮之後：台灣電影於法國行銷之研究分析 | zh_TW |
| dc.title (題名) | After Hou Hsiao Hsien and Tsai Ming Liang: A case study of promotion of Taiwan Cinema in France. | en_US |
| dc.type (資料類型) | thesis | en |
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