| Summary: | 碩士 === 淡江大學 === 大眾傳播學系 === 93 === In the global age, both the concept of nation state and most of national cultures have been to some extent facing challenges and threats. In the field of cinema, no single national film industry can completely escape from Hollywood domination.. Taiwan’s film industry began its declin since the 1980s and nearly collapsed in the 1990s, one of the major causes was that imported films, of which most was Hollywood products, dominated domestic film market. The Hollywood domination in the global film market system is supported by the trends of neo-liberalism and globalization, as well as most nation state‘s adoption of the ”deregulation” and “laissez-faire” policies. Besides, the consumerism arises along with them transforms audience from “citizen” to “consumer” who can deal with social issues only by consume commodities. In this context, Taiwan’s film policy is set up in the same manner which ignores the cultural significance and the citizen rights of film audience. Therefore, the thesis attempts to analyze the situation of and to inquire a solution for the national cinema in the global age from the perspective of “cultural citizenship”. The thesis draws some key principles of the practice of cultural citizenship include: access to information, diverse experience, access to knowledge, participation in communication, and egalitarian dialogue. French and Korean film policies, which are recognized as embodying the ideal of cultural citizenship and have in practice successfully maintained their national film industries, are also discussed to propose a possible link between the practice of cultural citizenship and film policy making. At last, the thesis uses the policy framework constructed by the discussions above from the perspective of cultural citizenship to examine Taiwan’s film policy. The thesis concludes that some necessary adjustments in film policy may actually revive Taiwan’s film industry and film culture.
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