Title: 中國大陸電影採「中外合拍」模式的政治經濟分析
An Analysis of the Film-Coproducing Model of Mainland China from the Perspective of Politics and Economy Authors: 趙成儀
Chao, Cheng Yi Contributors: 范世平
Fan, Shin Ping
趙成儀
Chao, Cheng Yi Keywords: 中外合拍
引進來
走出去
文化軟實力
傳播政治經濟學
Co-production
Bringing in
Going global
Soft cultural power
Critical political economy of communication Date: 2014 Issue Date: 2016-03-01 10:53:36 (UTC+8) Abstract: 在當前全球化背景下，電影作為一種特殊的文化載體，承擔著傳播各國文化和形塑國家形象的重要使命。對於中國大陸而言，採「中外合拍」模式拍攝電影，是中國大陸電影產業發展過程中的一種新模式，承載著中國大陸電影拓展國際市場，走向世界的新嘗試。
隨著中國大陸電影市場化與產業化進程不斷加速，2012 年成為全球第二大電影市場，也是最受矚目的新興市場。其中，中國大陸與境外合作拍攝電影（中外合拍）經常成為國內電影市場的常勝軍，「中外合拍」電影以其製作水準和票房表現，成為當前中國大陸電影製片的主流趨勢，極具研究價值。
1978 年中共十一屆三中全會後，中國大陸重返國際社會，對外交流持續擴大。憑藉著改革開放的政策導引，加上豐富的文化景觀與歷史人文內涵、便利的人力資源，及龐大的消費市場吸引全球的目光。
1979 年， 中國大陸文化部成立中國電影合作製片公司， 作為推動「中外合拍」電影的專責機構，負責推動並管理中外合作拍攝的事宜，開始積極引進境外電影製片公司與中國大陸合作拍片，以政府的力量推動合拍的進行。
中國大陸與境外合作拍片，最初的動機是希望借助境外的資金、人才、觀念、技術提升本國電影的製作水準，並利用國外合作拍攝機構的發行通路，將帶有中國題材的故事，以適合國際電影市場的方式表達出來，從而幫助中國大陸電影「走出去」，獲得國際市場的認可。因為以合拍片的形式是進入合拍機構所在地市場最有效的方式，「引進來」為的是能夠「走出去」，藉由「中外合拍」模式達成擴展海外市場與彰顯文化「軟實力」的雙重目的，而境外電影機構也經由與中國大陸合拍電影，作為打開中國大陸電影市場的敲門磚，雙方「一拍即合」，造就「中外合拍」模式的盛行。
近年來，由於中國大陸政治、經濟的國際影響力與日俱增，帶動電影市場的高速成長，使得一向以西方為本位的國際電影市場產生轉變，開始嘗試迎合中國大陸的法規和價值觀，顯示「中外合拍」已從過去的「借船出海」，到現在的「聯合造船」，反映出中國大陸正逐漸在合拍的過程中取得對等，甚至是優勢的地位。
綜觀中國大陸電影採「中外合拍」模式，從境外合作地區作劃分，依序為香港、台灣、美國三大主要合拍對象，其發展過程及影響各有不同。
近年中國大陸合拍片盛行，凸顯「中外合拍」模式已是當前全球化浪潮下電影製作的主流趨勢。目前「中外合拍」電影模式已成為實現中國大陸電影大國崛起與邁向國際市場的主力，承擔著擴展國內外市場與文化影響力的雙重目的。
本文採用傳播政治經濟學的研究途徑。傳播政治經濟學著重分析大眾傳播媒體的產製、傳送與消費過程中，市場機制（經濟）、國家機器（政治）與傳播體系（知識／資訊）三者之間的互動關係，也就是探討政治、經濟與大眾傳播體系三者間的互動關係。本文嘗試由三個中國大陸電影主要合作地區：中國大陸與美國合拍片、中國大陸與香港合拍片、中國大陸與台灣合拍片進行政治經濟分析。
總之， 當前中國大陸採「中外合拍」模式拍攝電影， 是以「引進來」，實現「走出去」的重要步驟。對外國電影而言，合拍最大的誘因，是以合拍模式進入中國大陸市場可避開外國影片進口的配額限制。然而進口配額並非外國影片進入中國大陸電影市場的唯一限制，還有電影審查制度、文化差異，及電影基礎建設落後、版權保障不足等內、外部限制性因素，其中包含「引進來」和「走出去」兩個層次的問題，形成「中外合拍」電影的限制，也成為影響「中外合拍」電影長期發展的隱憂。
In this era of globalization, as a special carrier of culture, the film undertakes an important mission of spreading cultures of various countries and shaping national images. For mainland China, coproducing films is a new model in the development of its film industry, which is a new attempt to expand into the international market and go global.
As the marketization and industrialization process of films of mainland China has been accelerating, mainland China became the world’s second largest film market, also the emerging market that received the most attention, in 2012. And coproductions always draw well in mainland China; with high production standards and good box-office performance, co-productions have become the main trend for filmmaking in mainland China and are of great research value.
After the Third Plenary Session of the Eleventh Central Committee of the CPC in 1978, mainland China returned to the international community and continued to expand exchanges with foreign countries. Guided by reform and opening-up policy, plus abundant cultural landscapes and historic human heritages, convenient human resources and huge consumer market, it has attracted world attention.
China Film Co-production Corp. was founded in 1979 by China’s Ministry of Culture as a special agency for promoting co-productions. It’s responsible for promoting and managing matters relating to co-productions and started to bring in overseas film production companies to coproduce films with support of the government.
The initial motivation of mainland China’s coproducing films with overseas companies is to improve its production level in virtue of overseas capital, talents, ideas and technology, and to express stories with Chinese themes in ways that fit the international film market via the distribution channel of overseas production companies so as to help its films “go global” and win recognition of the international market. Because coproducing films is the most efficient way to enter the market of the partners, and the purpose of “bringing in” is to “go global”, the twin purposes of expanding overseas market and manifest China’s soft cultural power can be achieved by means of the film-coproducing model; moreover, for overseas film companies, coproducing films with mainland China is also a ticket to the film market of mainland China; therefore, they become partners quickly and make the film-coproducing model prevalent.
As the international influence of mainland China’s politics and economy has been increasing in recent years and driven rapid growth of the film market, the international film market which was always western-oriented begins to cater to the laws and values of mainland China, showing coproducing has evolved from “borrowing a ship to go to sea” to “cooperating to build a ship” and reflecting mainland China is gradually acquiring an equal or even dominant status during the process of coproduction.
In terms of regions, mainland China has 3 cooperators: Hongkong, Taiwan and America and their development process and effects are different. Coproductions of mainland China have prevailed in recent years, highlighting that the film-coproducing model has become the main trend of filmmaking in the wave of globalization. Now, the film-coproducing model has become the main force to achieve the rise of mainland China’s film industry and march towards the international market, serving the twin purposes of expanding domestic and foreign markets and cultural influence.
This paper uses the research approach of political economy of communications which focuses on analyzing the interaction between market mechanism (economy), state machinery (politics) and communication system (knowledge/information) during the production, transmission and consumption processes of mass media, i.e., discussing the interaction between politics, economy and the mass communication system. It tries to conduct a political and economic analysis on mainland China-America co-productions, mainland China-Hongkong co-productions and mainland China-Taiwan co-productions.
In conclusion, mainland China’s using the film-coproducing model to shoot films is an important step to realize “going global” via “bringing in”. For foreign films, the biggest reason to coproduce films is to enter the market of mainland China by means of co-productions so as to avoid import quota restrictions for foreign films. However, the import quota is not the only restriction of the film market of mainland China, and there are also other internal and external restrictions, such as film censorship, cultural differences, poor infrastructure and deficiencies in copyright protection, including problems of “going global” and “bringing in”. All of these have formed restrictions of co-productions and become a worry for the long-term development of co-productions. Description: 博士
國立政治大學
東亞研究所
93260506 Source URI: http://thesis.lib.nccu.edu.tw/record/#G0093260506 Data Type: thesis Appears in Collections: [東亞研究所] 學位論文

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