相較於好萊塢片廠體系透過垂直整合與各種制度化的風險管理機制，掌控資源流動且獲取利潤，臺灣電影產業處於高度不確定、資源有限且去整合的結構條件之中，多仰賴專案式與跨組織合作完成從創作到流通的過程。面對產業結構上的諸多限制，理應攜手合作、建立夥伴關係的國片製片與發行方，其間的衝突卻屢見不鮮。本研究以此產業觀察為出發點，探問：面對高度不確定且缺乏垂直整合的結構條件，國片製作方與發行方如何透過跨組織互動與中介實踐，在合作與衝突並存的過程中，共同協商與創造電影的多重價值？回應此研究問題，本研究結合電影價值鏈、價值共創、價值共毀、關係治理與文化中介者等理論的綜合性視角，理解產業行動者的結構位置、跨組織互動的關係性框架與中介實踐方式。並採取現象學引導的反身性主題分析方法，訪問 18 位來自國片製作與發行的資深實務工作者，輔以相關產業文本資料與產業相關課程之實地觀察紀錄，探索製作方與發行方之間衝突的多重樣貌，以及中介者促進電影價值共創的具體策略。
研究發現，國片製作方與發行方透過不同的合作模式，循大致既定的互動流程將電影作品推向市場。在此過程中，「認知落差與市場未明」、「作品詮釋權的爭奪」，以及「投入、授權與信任感的斷裂」，是三項最主要的衝突面向。這些衝突可視為一種失調的資源整合，同時體現文化產品作品意義的辯證與跨階段動態累積的特徵。為突破此困境，電影產業內的文化中介者發揮了關鍵的協商作用：透過「期望管理」促成雙方想像同步，運用「解構與排序策略」商議市場溝通的優先順序，並推動投入與授權的雙向互惠實踐，使信任與關係規範相互強化，形成關係治理的正向循環。透過建構「國片製作—發行介面之價值創造模型」，本研究認為，臺灣電影產業中的價值並非由單一行動者或組織獨立創造，而是在跨組織互動中，經由持續的價值主張協商與資源整合共同生成。在此動態過程中，文化中介者透過溝通調節衝突，促進行動者建立合作基礎，推動以信任為核心的關係治理。國片製作與發行方之間的互動，因此不只是產業價值鏈上的分工接力關係，更是一種圍繞作品意義與市場想像所展開的文化協商實踐。

Taiwan's film industry operates under high uncertainty, limited resources, and disintegration. The process from creation to circulation depends heavily on project-based and interorganizational collaboration. Despite the imperative for partnership, conflicts between domestic film producers and distributors remain pervasive. This study thus asks how, under such conditions, Taiwanese film producers and distributors negotiate and create the multiple values of film through interorganizational interaction and intermediary practices, amid the coexistence of cooperation and conflict.
This study integrates perspectives on the film value chain, value co-creation, value co-destruction, relational governance, and cultural intermediaries to unpack the structural positions of industry actors, the relational framework of their interactions, and the practices through which mediation occurs. Methodologically, it adopts a phenomenologically informed reflexive thematic analysis. Empirical data are drawn from in-depth interviews with 18 experienced practitioners in Taiwanese film production and distribution, supplemented by industry documents and field observations.
The findings reveal that producers and distributors bring films to market through various forms of collaboration and a relatively established process of interaction. Three major dimensions of conflict emerge: perception and knowledge gaps coupled with market uncertainty, struggles over the film's interpretive authority, and breakdowns in engagement, delegation, and trust. To address these tensions, cultural intermediaries play a pivotal role in negotiation through expectation management, deconstruction and prioritization strategies, and reciprocal practices of engagement and delegation, thereby setting in motion a virtuous cycle of trust.
By developing a "Value Creation Model of the Production–Distribution Interface in Taiwan's Film Industry," this study argues that value is not generated independently by any single actor or organization. Rather, it is co-created within interorganizational interactions via the continuous negotiation of value propositions and resource integration. In this dynamic process, cultural intermediaries mediate conflicts through communication, establish a foundation for collaboration, and strengthen relational governance grounded in trust. The producer–distributor relationship is, therefore, not merely a sequential relay of specialized tasks along the value chain, but a practice of cultural negotiation centered on the meaning of the film and its imagined market.

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