ISSN 1016-1007 GPN2005600032
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前期出版
頁數:1﹣46 後疫情時代下「脆危的」影視勞動—臺灣影視文化產業紓困政策再思考 Precarious Media Labor in the Era of Post COVID-19: Rethinking the Supporting Policy for Film and TV Industry in Globally and in Taiwan
專題論文
作者(中)
蔡蕙如、林玉鵬
作者(英)
Hui-Ju Tsai, Yu-Peng Lin
關鍵詞(中)
文化政策、文化勞動、脆危、新自由主義、新型冠狀病毒肺炎、影視產業
關鍵詞(英)
COVID-19, cultural labor, cultural policy, film & TV industry, neoliberalism, precariousness
中文摘要
在後疫情時代,電影產業更加嚴峻,好萊塢預估有近20萬人失業,臺灣電影院初期票房也損失慘重。面對如此嚴峻的環境,對於影視工作者的工作勞動實為一大挑戰,自由工作者或自雇者工作的脆危(precariousness)和不平等(inequalities)亦可能加深。本研究即以影視工作者的文化勞動為主題,透過相關政策與二手資料分析,試圖回答三個層面的問題:第一層面在於目前脆弱的文化勞動環境,在疫情影響下,影視文化勞動的樣貌為何?是否因此加深其脆弱性?第二層面於政策層次的討論,公部門對於影視產業相關的紓困方案和執行,對於工作者的影響,以及透過Murray&Gollmitzer「文創生態系」的概念發展出更具公共性與包容性的新政策。第三層面藉由疫情期間政府、工會、影視文化產業行動和趨勢,觀察疫情下文化勞動的困境與新的可能性。本研究希望能提供文化勞動與脆危性的批判性觀點,亦能提出文化勞動和政策間關係的實質建議。
英文摘要
The film industry has experienced rather severe times in the post- COVID-19 epidemic era. Hollywood estimates that nearly 200,000 people will be unemployed, and Taiwan’s movie theaters have also suffered heavy losses at the initial stage. Faced with such a severe environment, the jobs of film and television workers have really been a big challenge. The precariousness and inequalities of free-lance or self-employed workers may further be impacted. This study examines film, television, and cultural industries. With the theme of cultural labor, through in-depth interviews and relevant policy analysis we aim to answer three levels of questions. The first level lies in the current fragile cultural labor environment. What is the appearance of creative and cultural labor under the influence of the epidemic? Does this deepen its vulnerability? The second level is a discussion at the policy level, the public sector’s rescue plan and implementation of the cultural and creative industry, the impact on workers, and whether it is possible to develop new policies that are more public and inclusive through this epidemic. The third layer observes the plight and new possibilities of cultural labor under the epidemic through the actions and trends of governments, film, and television labor unions as well as the film and television industry around the world during the epidemic. This research adopts Murray & Gollmitzer’s (2012) concept of ‘creative ecology’, which provides us a new framework of a better cultural and creative industries policy to improve the employment conditions of precarious cultural workers. This research hopes to provide new perspectives on cultural labor as well as substantive suggestions on the relationship between cultural labor and policy.
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2021/ 夏
No.148
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