| Summary: | 碩士 === 國立臺灣藝術大學 === 電影學系碩士班 === 97 === Abstract
This thesis derives from the researcher’s interest in the role of “film producer” and attempts to explore the possibilities outside the auteur-centered mode of short film production. Reviewing the past studies conducted by other researchers, the thesis finds that the discourse surrounding “producer” is quite scarce, and none of the research papers is written on the basis of practical participation in film production. Overall, the first-hand materials dedicated to the research of production modes is severely deficient.
Therefore, I have chosen two distinct cases of short films Let Off and Ms. Cupid, which differ significantly from one another in terms of content and style, as the basis of my research in short film production modes. The thesis purpose to reach the following objectives: first of all, probing the role of the producer and the production modes in these two films, in order to provide references for future Taiwanese short film productions; second, conducting a preliminary research concentrating on the role of film producer, as part of the reference literature for related fields; last but not least, hoping that the thesis will contribute to the possibilities of other production modes in the relatively-homogeneous film industry in Taiwan.
Through examining the relevant literature, this survey concludes that the production mode of Taiwanese short films places the director as center of the production, while other personnel as the supportive crew sustaining the auteur-centered system.
In the case studies discussed in Chapter 3 , the research categorizes the production mode of Let Off as “labor division of artistic creation and administration,” which compartmentalizes the creative work of the director from the legal and financial aspects of the production manager. In another case, the production mode of Ms. Cupid grants the producer prerogatives of creating the story, developing the script, controlling the finances, and selecting the main creative staff, and the decision-making throughout the production is collectively discussed by the screenwriter, the director and the producer. Accordingly, it should be categorized as the “producer’s team” production mode.
This thesis evaluates the strengths, drawbacks, and feasibilities of the “auteur-centered,” “labor division of artistic creation and administration,” and the “producer’s team” modes, and concludes the characteristics of film production as high-risk, high-budget, and case-specific. Therefore, any subjective, self-indulged or rigid, inflexible production modes are doomed to fail. The suitable and sustainable production mode should consider the original intention ad purpose of the creative project.
In conclusion, the survey proposes a conceptual short-film production mode “MEED,” which includes four essential components: Manager, Executer, Experienced people and Dreamer. This mode is defined as audience-oriented based on the communicative purpose of producing short films, through which the creative process is constantly adjusted to meet the audience’s standards. Accompanied with the circular communication and mutual learning of these four essential roles, the mode can ultimately culminate in successful short-film projects that comply with both the creative purpose and the audience’s expectations.
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