電視劇作品再生產國家意志之研究

Abstract

我國政府近年喊出「影視國家隊」口號，提出「越在地，越國際」的主張，透過前瞻計畫特別預算的編列補助，將提升台灣影劇產業列為國家首要政策之一。戲劇作品在政府高額資金挹注下，成為再生產國家意志與意識形態的文化載體，隱含作品所欲傳達的當代台灣文化與台灣價值。本研究採質性研究取徑，分析《我們與惡的距離》與《做工的人》兩部台劇作品，依據敘事分析結構，結合戲劇理論與故事行銷的重要元素，從角色、情節、場景、敘事者觀點及敘事模式等五個構面進行研究分析，並將敘事分析結果說明與國家意志之關聯性。研究發現，戲劇作品呈現台灣文化的混雜性；抗爭的流動性轉變為個體性的覺醒；對於西方文明普世價值的追求，是當前社會產生共鳴的議題。在敘事特色上，多元風格帶來社會對話；新世代台灣人的形象，刻劃為良善的無名英雄，擁有惜情重義的性格特質。故事行銷手法以「衝突」作為激辯與反思的開端，透過二元價值對立、搭配悲劇美學的行銷模式，牽引觀眾「憐憫」與「恐懼」的情感，使其產生投射的共情效果及撫慰心靈的感受，進而發揮「理解」與「寬容」的社會作用。此外，權力的流動性帶來抗爭的流動性，關乎政權的轉移。在邁入民主化社會、歷經政黨輪替後，台灣社會運動帶來轉型，抗爭轉變為「議題導向」。台劇作品彰顯國家意志重視人權的民主風氣，透過敘事手法傳達政黨立場的價值觀與政策方向，使其在推動政策和爭取支持時更具說服力。

In recent years, the Taiwan government has called out the slogan of"National Film and Television Team" and put forward the idea of "more local, more international". Through the investment of special budget subsidies for “Forward-looking Infrastructure Development Program”, the promotion of Taiwan's film and television industry has been listed as one of the country's top policies. Dramatic works have become the cultural carrier for the reproduction of national will and ideology under the heavy injection of funds from the government, implying the contemporary Taiwanese culture and Taiwanese values that the works intend to convey.This study adopts a qualitative research method to analyze two Taiwanese dramas,"The World Between Us" and "Workers". Based on the narrative analysis structure, combined with the important elements of drama theory and story marketing, the research and analysis are conducted from five dimensions: character, plot, scene, narrator's point of view, and narrative mode, and the results of the narrative analysis are explained. The study found that drama works present the hybridity of Taiwanese culture; the fluidity of resistance has transformed into the awakening of individuality; the pursuit of the universal value of Western civilization is an issue that resonates in the current society. In terms of narrative features, multiple styles bring social dialogue; the image of the new generation of Taiwanese is portrayed as a kind and unsung hero with a personality trait of cherishing love and righteousness. The story marketing method uses"conflict" as the beginning of debate and reflection. Through the marketing model of binary value opposition and tragic aesthetics, it attracts the audience's emotions of "pity" and "fear", making them produce projected empathy effects and soothing feelings, and then play the social role of "understanding" and "tolerance". In addition, the fluidity of power leads to the fluidity of resistance, which is related to the transfer of power. After entering a democratized society and undergoing therotation of political parties, social movements in Taiwan have brought transformation, and protests have become"issue-oriented." Taiwanese drama works demonstrate the democratic atmosphere of the country's will to attach importance to human rights, and convey the values and policy direction of the party's position through narrative techniques, making it more convincing when promoting policies and gaining support.