邁向數位匯流時代下的台灣數位電影發展－－以結構功能論及整體數位電視情境為分析架構

Taiwan's digital cinema: its orientation and development in the era of digital convergence

本文運用Nagao(2003)「註解」（annotation）與「轉碼」（transcoding）的兩項技術觀念，提出數位匯流趨勢中”HD”數位電影的各項應用環節。本文又用「結構功能論」的「有機團結」（organic solidarity）概念做為分析架構，論述數位電影在許多方面都繫於整體數位電視環境的發展是否成功。作者希望藉此文做為電影產官學界研究、營運以及製定輔導法規時的參考。運用上述方法，本文一一探討數位電影傳播與營運的相關問題，例如數位電影內容製作、平台營運、寬頻傳輸、電視播出、媒介整合以及數位電影使用等相互作用的議題。在論述的過程中，論文都直接涉入研析數位電影與整體通訊傳播媒介的相互作用關係。本文在結論中建議電影業應建立跨業整合的觀念。電影業除積極成立營運平台並展開與電視集團或電信集團的合作之外，文章也呼籲電影輔導法規應有數位匯流的因應作為，整備相關法令以整合無線、有線、電信及DTH服務，並建設完善的傳輸網路。在整合的觀念下，一般節目平台營運業者以及擁有網路的傳輸平台業者可開始大力經營電影這項有價值的數位內容，朝發展類似「HBO」一樣的品牌而努力。數位化後的無線電視公司也應開始思考數位電影頻道分版經營的策略。而數位有線電視更可以藉自己超大的頻寬拓展電影的相關服務。本文在文後提醒創作者應開發新的劇作方法，在如何說好一個故事的基礎上去發揮屬於數位電影媒體的特性。最後，本文對終端播放以及數位電影的使用者提出思維上的辨證。反思觀眾今後在面對電視環境中所提供的HD電子影像、以及在線、計次付費、隨意點播等等的電影服務時，其可能引起的一些心理轉變。

This article attempts to demonstrate the ways in which digital cinema can transform the declining film industry by recognizing, and thereby taking advantage of, the trend of digital convergence. Two technical terms of “annotation” and “transcoding” are used as concepts to explicate HD’s (both a tool and a mean to produce an artifact within the bound of digital cinema) various applications to film production, distribution, exhibition as well as film’s management in the age of media convergence. In a similar manner, such theoretical frameworks as “structural functionalism” and “organic solidarity” are used as methodologies by which this article takes up its discourse of digital cinema in relation to other digital media such as TV and MOD of telecommunication platform. As a result, this article argues that in every aspect, the success of digital cinema depends on how well the basic digital infrastructure can develop. In other words, the cumulative result of the latter would help the former to improve its own management problematic. Therefore, film industry should start to cooperate with TV or telecommunication industries to complete media integration in a digital environment. In other words, digital film is examined within the context of convergence phenomenon as a whole. Issues concerning subscription fee (e.g. pay per view), management strategy and service model are all taken into consideration. Also, digital film production, platform management, broadband transmission, TV display, as well as film “usage and gratification” in digital environment are all discussed in a way that the context of digital convergence is omnipresent. Several suggestions follow as a conclusion for film industry to adapt itself to this new era of digital convergence.