紀實娛樂節目之全球在地化歷程——以探索頻道在台灣為例

Glocalization of Nonfiction entertainment media: Programming strategies of Discovery Communication Inc. in Taiwan

本文以全球化研究中較少關注的紀實娛樂頻道──探索（Discovery）頻道集團在台灣的節目產製和播送為例，剖析該公司從2003年以後如何在台灣展開的與官方、民間合作的過程，探討此一全球最大的紀實娛樂頻道產業「在地化」的複雜歷程，以及學理的意涵。本研究發現，探索媒介集團在「在地化」過程，主要採取多樣化策略進行不同選擇，該集團亞洲總部和在地的製作人扮演關鍵角色，採取的多樣化策略包括節目編排、專案合作、產品屬性重新定位、全球在地化製作公式、和因地制宜的行銷措施，均保持相當彈性；其全球品牌的效益則以發揮品牌吸引力、產業平台效益和跨業合作的綜效為目的。研究也發現，該集團歷經建構、成長、維持等過程，在台灣能獲得一定商業利益，主要因其策略以經濟力為最重要考量。此外，跨國媒體集團「在地化」的成敗必須考慮經濟以外的因素，例如在地政治情境和在地化的市場行銷策略，才能提高利潤。其次，探索集團更在找出和在地重要組織或機構的「構連」機制後，克服許多在台灣發展的障礙；不過，跨國經營媒介的「在地化」終究不是「真正」實施在地化或再地化，而是為了追求母公司獲利最大化不得不採取因地制宜的措施。

This article examines the global media's institutional logic of programming for local audiences using Discovery Communications Inc. as an example. Global media expansion is connected to other trends such as the fragmentation of audiences, special genre for local market, lower cost and greater profit expectations. One of the genre fitting these new programming demands is so-called nonfiction entertainment. The authors analyze how Discovery Communications Inc. developed this genre in Taiwan and collaborated with local producers. Concluding, the authors highlight some new consequences of these findings for research in glocalization theory and media economy. One strategy of DCI in Taiwan's market was to develop a variety of channels that are jointly promoted. Another strategy was to involve local producers to co-produce programs under one well-known brand name that could be easily sold. The types of cooperative projects have become more common in Taiwan, Discovery is careful not to dilute its quality brand by appearing overly commercialized.