近年來，好萊塢影片在台灣電影市場累創佳績。從賣座影片、票房總收入、上映片數等數據看來，西片在台灣電影市場蓬勃發展；相形之下，國片市場則日益萎縮。種種的事實驗證下，台灣的映演市場為外片（尤其是好萊塢影片）所主導，其中又以「八大」掌握泰半的市場權力和票房收入。

本論文關切「美商八大」在台灣發展過程中的問題包括：總公司對台灣分公司有哪些影響？「八大」如何在台灣崛起，其組織和市場策略的演變過程為何？因應美國政府╱美商的要求，台灣的外片管制政策，作哪些調整？

為了探討上述的主題，本研究以電影史為架構，參佐電影經濟以闡釋「美商八大」的經營型態和市場結構，同時加入全球化的觀點，解析影片配銷的過程、影響和意義。整個研究以「質」的論述為主，「量」的資料為輔，並且採取文獻調查和深度訪談法，進行事實的描述、歸納和連結。

然而，由於歷時久遠，資料蒐集不易，加上訪談對象的歷史記憶難免疏漏，因此，各個時期的研究主題難以面面俱到，比較無法鉅細靡遺地加以闡述，是本研究深感遺憾之處，也是後續研究可以加以補強的地方。

由上，「美商八大」在台灣的發展變遷，可概分為三個時期。最早的階段穩定成長期（一九四六至一九七○年）：此時期美國「八大」主導好萊塢的發展，而且以海外發行為重心。台灣適逢回歸祖國，「八大」上海分公司陸續派員來台成立辦事處。人事統籌上，透過「以夷至夷」的方式，深入台灣的發行環境，並且以「長期合約」、「大片挾小片」的方式排片。政策管制部分，政府訂定配額制度、實施匯率管制。但是，由於台灣政府對「美援」的經濟依賴以及政治的依存關係，配額淪為外交交換的工具，美國影片╱美商佔有多數的配額。對於美商的結匯比例和稅率的徵收，同樣因為美方的強勢，而作退讓。

第二階段為「八大」在台灣拓展業務的挫折（一九七○至一九九○年）：不同產業的企業集團接管美國「八大」，以高度控管的管理方式，推出賣座的鉅資影片；發行上，精簡組織，其中以CIC/UIP聯合發行機構為典型代表。台灣「八大」亦隨之調整，發行公司集中於三到五家，不過，分合情況頻仍。另一方面，好萊塢的獨立製片逐漸崛起，台灣的華商，因而得以充裕片源，發行勢力足以抗衡美商。政策管制部分，政府與美商爆發一連串的衝突事件，「八大」以拒絕供片作為抵制，並訴諸外交和經貿談判向台灣政府施壓。八六年，台灣政府宣布廢除外片配額制度，以開放市場，同時回應美方╱美商的要求，這種「有求必應」的互動模式，往後日益深化。

第三階段為「八大」寡佔台灣市場（一九九○至一九九九年）：跨國資金主導好萊塢的發展，其中又以「六大」公司為主。多數的獨立製片陸續併入「八大」，台灣華商的片源因而一度緊縮。這個時期，台灣名列好萊塢影片前十大輸出國， 「八大」分公司的年營收動輒億萬新台幣，日漸鞏固中心化的市場結構。組織規劃上，「八大」加強本土經營，擴展在台組織，以此統籌影片的發行，發揮相互宣傳、組織綜效和銷售的乘數效果。至此，台灣分公司與總公司的發行模式日趨同軌。種種的演變，與台灣自由貿易的政策關係密切，因為政府落實智慧財產權等法令，保障「八大」影片的版權利益；而開放外片進口拷貝數、允諾外資經營戲院，使「八大」得以推行多元的行銷╱市場策略，垂直整合發行和映演，同時間接促成「八大」寡佔台灣市場的事實。

因此本研究認為，政府對進口影片的管制政策，非但沒有調節供需，反而對國片的輔導欠缺完整的考量，處處可見錯置的邏輯。然而，目前的拷貝數量雖有限制，但與開放市場毫無兩樣。據此，如果要全面開放市場，政府尚有責任從基層的努力做起，培植國內的電影專才，廣設研究機構，全面研究國內外電影市場的產業、文化等資料。另一方面，國片業者應可積極籌措企業資金，規劃映演空間、著重科學化的觀影型態調查，由此企劃影片的發行、映演和周邊市場，但應強調「本土文化」的概念，勿全然仿效「好萊塢」影片的產銷模式。

According to the survey of the boxoffice performances and the annual releases, the foreign films (mainly Hollywood pictures) have gotten a sweeping victory in Taiwan film exhibition market. On the other side of coin, the shrinkage of our domestic films is obvious. These have proved that the Major Hollywood Distribution Companies in Taiwan have dominated the market share and the gross revenues.

To depict the development of the Hollywood Majors Taiwan branches, the issues considered in the thesis were presented as below:

The first theme is the influences which Hollywood Majors' headquarters exert on the subsidiary companies in Taiwan. Next, the evolution of its organization and strategies operated was analyzed. Furthermore, the regulation constituted by Taiwan government to restrict the foreign films modified by the lobby of the American govemment@Hollywood Majors was discussed.

The expansion of the Hollywood Majors in Taiwan was divided into three phases. At the beginnings, the Major Hollywood Distribution companies in Taiwan had made steady progress in business (1946-1970). The "Big Five" and "Little Three" studio corporations were in fUll bloom and dominated the America film industry. However, the majors shifted the area of profit from the exhibition to the distribution branch. Meanwhile Taiwan extricated from the ruling of Japanese, the Hollywood Majors in Taiwan branches were established. Within the eight majors in Taiwan, the employee were mostly Chinese, and their booking strategies were "long-tern contracts" and the "block booking". As the regulation mentioned, owing to the fact that Taiwan government highly dependent on the American economic aid and the military power, the Hollywood Majors in Taiwan benefited from the quota, the exchange rate, tariff, and the assessment tax.

The transition period is that the Hollywood Majors in Taiwan had suffered a set- back in their b siness (1970-1990). Huge conglomerates purchased the eight major studios, and continued to emphasize the production ofblockbusters. In addition, conglomeration downsized the foreign distribution affiliated companies to form Cinema International Corporation/ United International Pictures which is joint venture of Paramount, Universal, and MGM/UA for foreign distribution in the free world.Therefore, the Taiwan branches converged among few institutes. Another fact is that the independent film companies thrived in America, this stimulated the growth of independent distributor in Taiwan. However, the Hollywood Majors in Taiwan came into conflict with the Taiwan government. They took the means of" Discontinue Supply" and put pressure upon the Taiwan government by the trade negotiations. Finally, the regulatory quota of foreign films was repealed.

The third phase is that Taiwan's film market operates as an oligopoly, and the majority of revenues is controlled by the Hollywood Majors (1990-1999). The Major Hollywood Corporations are the transnational conglomerates, and the six Majors are at the top. The Majors acquired or formed alliances with independent producers, thus the independent distributors in Taiwan underwent the shortage of films. In the early 1990s, Taiwan has became Hollywood's ten Major export market, while the revenue of Hollywood Majors in Taiwan have reached hundred millions NT dollars and the degree of Taiwan film market concentration has been high. To reinforce the localized strategies, Hollywood Majors' Taiwan Branches have exerted the cross-promotion, corporate synergy, and multiplier effect. Thus far, the distribution patterns of the Hollywood Majors' Taiwan branches have coincided with the parent companies. These relate to the deregulation of foreign films since the Taiwan government decreed the IPR enactment, deregulated the prints of foreign films, and permitted the FDI of theatrical operation. By doing so, Hollywood Majors in Taiwan introduce the marketing strategies and form a vertical integration in a faster pace.

To conclude, the regulation of foreign films had led the films supplied ill- conditioned and the development of domestic films to get steadily worse. In the meantime, the restriction of foreign film prints has made itself no difference from free trade.

If the policy of free trade will be carried out, the government has the responsibility to educate the talents of domestic films and to establish the research institutes in which the studies industries and culture are analyzed. Moreover, the domestic film companies should welcome the survey ofmoviegoing pattern and exploit the distribution, exhibition and the subsidiary market. The need to promote local culture, indeed, cannot be more emphasized.