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台灣電影與劇集內容產業在過去三十餘年，於公共資源持續投入、全球影視市場擴張與 OTT 平台提供跨境流通機會的背景下，在本土市占率、國際能見度與資本累積等面向，整體仍僅呈現長期有限且缺乏持續性的改善。相較於韓國與日本長期維持較高的本土內容市場優勢，台灣多數影視製作公司仍維持微型化與高度專案化的組織型態；公共投入規模雖已達百億新台幣等級，電影與劇集內容產業的結構卻未出現相應的系統性升級。基於此，本論文關注的核心問題為：在外部資源與市場機會並不缺乏的情況下，台灣電影與劇集內容產業為何仍難以將公共資源與市場機會轉化為可持續累積的競爭優勢？
本論文整合 Porter（1990）鑽石模型與 Rhodes（1997）政策網路理論，建構兼具宏觀結構診斷、中觀治理分析與微觀行為驗證的多層次分析框架，並針對文化產業脈絡下的鑽石模型進行調整：其一，將政府重新界定為持續介入資源配置與產業運作的制度性行動者；其二，將專案化程度與組織承載能力納入企業策略與結構構面的核心觀察。研究方法上，本論文採質性個案研究與比較分析結合的設計，以台灣電影與劇集內容產業為主要研究對象，韓國與日本電影與劇集內容產業作為制度性對照座標。資料來源涵蓋官方統計、政策文件、產業報告、既有研究，以及六位影視產業關鍵從業者之深度訪談；分析上則透過約 1990 年、2002 年與 2018–2025 年三個歷史結構快照，觀察產業條件與治理邏輯的歷時演變。
研究發現，台灣電影與劇集內容產業的困境並非來自單一構面缺口，而應理解為需求條件、生產要素、相關與支援產業、企業策略與結構及政府工具之間長期相互制約所形成的「多構面低效率均衡」。在治理層次上，既有政策網路在防弊與可辯護性優先的問責邏輯下，逐步收斂為以單案補助為核心，而投資型與能力建構型工具則相對邊緣化。此治理偏好進一步形塑企業的日常決策，使補助依賴與專案制形成相互強化的制度路徑，本論文將此概念化為「雙重鎖定」。在此條件下，企業更傾向「以案養案」與短期存續作為生存模式，品牌經營、IP 累積、銷售與人才養成則相對受到擠壓。
本論文認為，台灣電影與劇集內容產業當前的結構困境，關鍵未必在於資源投入規模不足，而較可能與工具組合及治理安排所形塑的誘因結構有關，使資源較傾向
分配於維持既有運作模式，而非導向能力累積與結構升級。研究結果顯示，小型開放文化市場中影視產業的發展，未必僅受市場規模限制，更與制度誘因如何影響企業行為及能力累積密切相關。基於此，本論文進一步對政府、產業業者與投資資方三類行動者提出具角色指向性的調整方向，作為後續制度改革與產業治理討論的參考。
Despite three decades of sustained public investment, an expanding global audiovisual market, and cross-border distribution opportunities created by OTT platforms, Taiwan's film and television content industry has achieved only limited and unsustained improvement in domestic market share, international visibility, and capital accumulation. Unlike South Korea and Japan, which have sustained a comparatively strong domestic content market position, most Taiwanese production companies remain micro-sized and organized around a high degree of project-based production. Although public investment has reached the NT$10-billion level, it has not been accompanied by a corresponding systemic upgrading of the film and television content industry's structure. Against this backdrop, this study asks: given that external resources and market opportunities are not lacking, why has Taiwan's film and television content industry remained unable to convert public resources and market opportunities into sustainable, cumulative competitive advantage?
This study integrates Porter's (1990) Diamond Model with Rhodes' (1997) Policy Network Theory to construct a multi-level analytical framework combining macro-level structural diagnosis, meso-level governance analysis, and micro-level behavioral verification, and adapts the Diamond Model for the cultural-industry context in two respects: first, government is redefined as an institutional actor that continuously intervenes in resource allocation and industry operation; second, the degree of projectification and organizational capacity are incorporated as core observations within the firm strategy and structure dimension. Methodologically, the study adopts a design combining qualitative case study and comparative analysis, with Taiwan's film and television content industry as the primary research object and South Korea's and Japan's film and television content industries as institutional comparators. Data sources include official statistics, policy documents, industry reports, existing research, and in-depth interviews with six key audiovisual industry practitioners; the analysis further draws on three historical structural snapshots (circa 1990, 2002, and 2018–2025) to observe the diachronic evolution of industry conditions and governance logics.
The findings show that the predicament of Taiwan's film and television content industry does not originate from a gap in any single dimension, but should instead be understood as a multidimensional low-efficiency equilibrium formed by the long-term mutual
constraint among demand conditions, factor conditions, related and supporting industries, firm strategy and structure, and government instruments. At the governance level, the existing policy network has, under an accountability logic that prioritizes fraud prevention and defensibility, gradually converged on single-project subsidies as its core instrument, while investment-oriented and capability-building instruments have become comparatively marginalized. This governance preference further shapes firms' everyday decisions, causing subsidy dependency and project-based production to form a mutually reinforcing institutional pathway—conceptualized in this study as a Dual Lock-In, the core dynamic underlying the thesis's integrative Policy Tool–Industry Structure Interaction Lock-in (PTISIL) framework. Under these conditions, firms are more inclined to sustain themselves by moving from one project to the next (以案養案) and to treat short-term survival as their operating mode, while brand building, IP accumulation, sales, and talent development are correspondingly squeezed out.
This study argues that the structural predicament currently facing Taiwan's film and television content industry may lie less in an insufficient scale of resource input than in the incentive structure shaped by the existing policy mix and governance arrangements—one that channels resources toward sustaining existing modes of operation rather than toward capability accumulation and structural upgrading. The findings further suggest that in a small, open cultural market, industry development is not determined by market size alone, but is closely tied to how institutional incentives shape firm behavior and capability accumulation. On this basis, the study proposes role-specific directions for adjustment aimed at three types of actors—government, industry practitioners, and investors—to serve as a reference for future institutional reform and discussions on industry governance.
謝辭 i
摘要 ii
目錄 vi
表目錄 xiii
圖目錄 xiv
第一章 緒論 1
第一節 研究背景與研究提問 1
第二節 研究目的與研究問題 4
第三節 理論定位與研究方法概述 6
第四節 研究範圍、限制與推論邊界 7
第五節 論文架構說明 8
第二章 文獻探討 10
第一節 全球影視產業發展歷程 10
一，電影工業基礎與美國市場模式的形成（1890s–1940s） 10
二，戰後媒體競爭與產業策略（1950s–1980s） 10
三，數位平台化與演算法治理（1990s–至今） 11
第二節 全球影視市場規模與策略分化 12
一，全球核心模式：好萊塢的跨國霸權與資本擴張 12
二，區域中心模式：制度韌性與文化壁壘 13
三，邊陲市場的利基模式：政策依賴與跨國合製 14
四，全球影視產業結構與市場規模 15
五，全球市場的制度與經濟邏輯 16
第三節 台灣影視產業的歷史與現況 16
一，殖民至威權時期（1895–1980s） 16
二，自由化至數位化時期（1990–2008） 17
三，平台經濟時期（2016–迄今） 19
四，台灣影視產業困境 19
第四節 麥可·波特的競爭力理論 20
一，鑽石模型起源 21
二，波特鑽石模型理論結構 23
三，自我強化與產業陷阱 26
第五節 政策網路理論 29
一，理論發展路徑 29
二，政策網路基本定義與三個面向 30
三，政策社群—議題網路類型 31
四，政策網路的批判與理論深化 33
五，政策網路的信念、敘事與知識—權力 34
六，研究設計的理論基礎 35
第三章 研究方法 37
第一節 理論架構 37
一，鑽石模型宏觀結構診斷 37
二，政策網路治理的揭示 39
三，政策工具—產業結構互動機制 39
四，理論互補的制約關係 40
五，理論框架的實踐轉化 41
六，本論文之推論邏輯與分析流程 41
第二節 資料建構與蒐集 43
一，產業代表半結構訪談 44
二，次級資料與結構快照 46
第三節 資料分析 47
一，編碼設計與主題建構 47
二，資料驗證與證據分級 48
三，操作化定義與觀察指標 50
第四節 研究品質與限制 50
一、研究品質 50
二、研究限制 51
第五節 研究倫理與資料治理 53
第六節 本章小結 53
第四章 研究分析 55
第一節 分析設計與推論邊界 55
一、核心研究問題與論述目標 55
二、漏斗式三層分析 55
三、結構快照 56
四、推論邊界 57
第二節 宏觀層級：鑽石構面的產業結構診斷 58
一、需求條件：市場承載萎縮、通路規則重組與文化符號建構困境 58
（一）三個快照的需求演變 58
（二）台灣與日韓需求條件的結構差異 61
（三）通路規則重組與本土內容能見度困境 62
（四）文化符號建構困境：跨文化可讀性低、品牌資本薄弱 64
（五）要素互構關係 66
二、生產要素條件：手工業困境、人才生態失衡與技術整合缺口 68
（一）三快照下的生產結構、人力階層與技術設施演變 68
（二）資本與人才要素的升級瓶頸 71
（三）日、韓生產要素路徑：作為台灣結構差距的對照座標 73
（四）要素互構關係 76
三、相關與支援產業：支援體系不足、跨產業連結偏弱與三快照演變 76
（一）定義邊界與分析架構 76
（二）三快照下的相關與支援產業演變 77
（三）台灣與日韓的核心支援產業結構差異 79
（四）相關產業的連結與外溢能力 81
（五）支援體系的長期滯後與日韓對照 83
（六）要素互構關係 85
四、企業策略、結構與競爭：商業規劃能力、組織規模與競爭壓力 85
（一）三快照下的企業策略演變 85
（二）組織結構與國內競爭樣態：從雙軌並存到專案化常態 87
（三）台灣與日、韓在企業策略與競爭構面上的結構性對比 88
（四）要素互構關係 91
五、政府與外生機會：鑽石體系的外部條件 92
（一）分析定位與比較方式 92
（二）三快照下的政府與外生機會演變 93
（三）台、日、韓影視產業比較：以外生事件與回應策略為軸 96
（四）要素互構關係：工具設計與誘因結構 106
（五）鑽石模型診斷力的邊界 107
六、影視產業宏觀診斷小結 108
（一）低效率均衡的形態確認 108
（二）產業結構與政策之間 110
第三節 中觀層級：政策網路 111
一、補助依賴與專案制 113
（一）補助依賴路徑 113
（二）專案制路徑 114
（三）兩條路徑的交互強化：雙重鎖定 115
二、政策網路如何維持補助依賴與專案制 116
（一）政策網路類型與邊界：誰在核心、誰留在外圍 116
（二）資源結構與權力不對稱：誰定規則、誰界定合法性 117
（三）理念／信仰體系與問責語法：補助優於投資的正當性結構 118
三、政策工具設計對影視業者行為的制度誘因 120
（一）核銷邏輯、行政避險與制度遵循成本 121
（二）企業端的行為收斂：雙重鎖定的微觀呈現 123
四、小結：制度選擇如何導致影視產業的結構困境 126
第四節 微觀層級：企業與業者行為 128
一、小節定位與資料策略 128
二、機制驗證一：補助依賴的企業邏輯 130
（一）啟動條件：補助由補充資源轉為專案成立的重要因子 130
（二）政府角色對於業者觀感與策略調適：資金來源轉為營運支點 131
（三）企劃重心：可通過性優先於市場可行性 132
（四）證據強度、條件性修正與下節銜接 135
三、機制驗證二：專案制的組織困境、人才斷裂與企業策略缺口 137
（一）組織承載縮減：一案一約成為常設能力不足的常規型態 138
（二）職涯路徑斷裂：人才流動與企業不投資之間的相互強化 139
（三）策略時間尺度的縮短：企業由能力建設轉向專案存續 140
（四）適用範圍、條件性修正與下節銜接 141
四、機制驗證三：投資工具可及性與平台合作結構 142
（一）投資工具門檻與融資階級固化 142
（二）平台合作不對等與內容風險外包 144
（三）對第四章第二、三節命題的補充、修正與潛在矛盾 146
五、小結：跨層整合、行動者視角與推論邊界 147
（一）三組命題的嵌合關係 147
（二）微觀訪談的互補貢獻：行動者視角與主觀合理性 147
（三）條件性反例與詮釋張力 148
（四）本節推論邊界與第五節銜接 148
第五節 多層次整合：「條件-工具-行為」路徑與推論邊界 149
一、穩健觀察整合與證據對照表 149
二、代表性機制路徑建構 152
（一）歸納說明：跨層次一致觀察 152
（二）補助依賴路徑：由結構缺口到「以案養案」均衡 154
（三）專案制與人才斷裂路徑：由工具設計到能力累積瓶頸 155
（四）兩條路徑的相互嵌合與雙重鎖定 157
三、不一致材料、替代解釋與命題條件修正 157
四、小結 160
第五章 理論詮釋、研究結論與政策建議 162
第一節 理論詮釋：核心機制的整合與概念化 162
一、問題再界定：市場規模與制度選擇的分析關係 162
二、鑽石模型的文化產業建議 163
三、政策網路視角：資源依賴、治理邏輯與工具偏好 164
四、政策工具與產業結構的互動鎖定機制：整合分析框架 165
五、低效率均衡的整體定位：存活、鎖定與持續 167
六、小結：理論詮釋的核心命題 169
第二節 研究結論：核心發現與理論命題 169
一、結論一：多構面低效率均衡 169
二、結論二：政策選擇再生產並強化困境 170
三、結論三：策略選擇偏好結構升級路徑 171
四、總結：從「投入與產出失衡」到「政策工具—產業結構的互動鎖定」 171
第三節 政策與行動建議：政府、業者與投資方的調適方向 172
一、跨國結構對照的政策意涵與排序原則 173
二、對政府的建議：由時序性三方向調整誘因結構與治理安排 174
三、對產業業者的建議：在既有誘因結構下的策略調適 178
四、對投資資方的建議：制度性風險識別與進場路徑 179
五、建議的證據基礎與實施限制：從個案洞見到制度辯論的起點 181
第四節 研究貢獻、限制與未來研究 181
一、學術貢獻 181
二、實務貢獻 182
三、研究限制與推論邊界 182
四、未來研究方向 183
五、結語：核心命題的最終收束 183
第六章 參考文獻 185
中文文獻部分(按筆劃) 185
英文文獻部分 (Alphabetical Order) 192
附錄 212
2015~26年台灣國片票房與補助核銷紀錄表 212
中文文獻部分(按筆劃)
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