輔大大傳所94學年度上學期
林麗雲老師
課程名稱:廣電制度與文化生產



課程目標:
探討主要的廣電體制與生產模式。特別自1990年以來,各國基於文化經濟邏輯,為振興影視產業,而進行變革。本課程即探討在此變革中,廣電制度、生產模式與關係,與勞動條件的轉型。本課程並討論台灣的發展型態。從反思國外的經驗與國內的情況,希望能對健全的廣電體制,提出建議。


評分(滿分120)
一、 課堂:
每週課堂輪流導讀,請不要全譯,而是摘要出重點。                      30
次週同學交心得,可針對當週全部讀物,或針對一篇。交4次即可                20
二,轉化學術作品於媒體(如傳學鬥、破報、南方),2000字即可,交兩次ref.1.3         20
三,期末作業:口頭及書面(50)11/03確定,12/22口頭報告,01/05交,需符合學術論文的精神與格式。50



課程進度:

09/22 課程介紹與交流


09/29 一,廣電制度與生產模式(一):1980年代之前的主要制度
1.1 Ellis, J. (2004). Television production. In A. C. Robert and A. Hill (Eds.), The Television Studies Reader (pp.275-292). London: Routledge. 
1.2 Ouellette, L. and J. Lewis (2000). Moving beyond the "Vast Wasteland": cultural policy and television in the United States. Television New Media,1,93-113.
1.3 劉昌德(2004)。〈媒體公共化之路長且遠:從三○年代美國公共廣播抗爭史看當前的台灣公共化運動〉。《媒體改造論壇》。http://twmedia.org/


10/06 二,廣電制度與生產模式(二):1980年代之前的主要制度

2.1 Harrison, J.L. and L. M.Woods (2001). Defining European public service broadcasting. European Journal of Communication,16,477-504.
2.2 張時健(2005)。〈台灣節目製作業商品化歷程分析:一個批判傳播政治經濟學的分析。2005年中華傳播學會論文。台北:台灣大學。
2.3 陳明輝(2003)。《我國無線電視產業的政治經濟分析》。交通大學文化與社會研究所碩士論文。


10/13 三,文化經濟邏輯的興起:1990年代
3.1 Garnham, N. (1987). Concepts of culture: public policy and the cultural industries. Cultural Studies, 1:1, 23-37.
3.2 Scott, A.J.(1999). The cultural economy: geography and the creative field. Media, Culture Society,21,807-817.
3.3 Pratt, A.C. (2004). The cultural economy: A call for spatialized “Production of Culture” Perspectives. International Journal of Cultural Studies, 7,117-128.
3.3 Pratt, A. C. (2004). Creative Clusters: Towards the governance of the creative industries production system? Media International Australia Incorporating Culture and Policy, 112, 


10/20 四,廣電政策變革:廣電產業作為文化創意產業
4.1 Deakin, S. and S. Pratten (1999). Reinventing the market? competition and regulatory change in broadcasting. Journal of Law and Society, 26:3, 323.
4.2 Deakin, S., A. Lourenco and S. Pratten (2003). Competition and capabilities in British television production. (draft version).
4.2 Lowe, G.F. and A. Alm(1997). Public service broadcasting as cultural industry: Value transformation in the Finnish market-place. European Journal of Communication,12:169-191. 


10/27 五,產製模式:類市場模式
5.1 Barrowclough, D. (1998). Public television quasi-markets in New Zealand and the UK. In W. Bartlett, J. A. Roberts & J. L. Grand (Eds.), A revolution in social policy: quasi-market reforms in the 1990s (pp. 257-273). Bristol: The Policy Press.
5.2 Le Grand, J. (2001, April). The quasi-market experiments in public service delivery: did they work? Paper presented at Pontingnano Conference.
5.3 Cunningham, S. et, al. (2004). Financing Creative I in Developing Countries. Brisbane: Creative Industries Research and Applications Centre, QUT.
* 林麗雲與王靖婷(2005)。〈紐西蘭電視公共化下產製關係的轉變〉。國立中正大學
傳播學系暨電訊傳播研究所2005年數位傳播國際學術研討會。2005年11月。


11/03 六,產製部門的網絡化
6.1 Scott, A. J. (2004). The other Hollywood: the organizational and geographic bases of television-program production. Media Culture Society, 26, 183-205.
6.2 Windeler, A. and J. Sydow. (2001). Project networks and changing industry practices – Collaborative content production in the German television industry. Organization Studies, 22:6, 1035-1060.
6.3 Blair,H.(2003). Winning and losing in flexible labour markets: The formation and operation of networks of interdependence in the UK film industry,Sociology,37,677-694.


11/10 七,產製關係
7.1 Pratt, A. C. (1997). The cultural industries production system: a case study of employment change in Britain, 1984-91. Environment and Planning, A:29:11, 1953-1974.
7.2 Baumann, A. (2002). Informal labour market governance: the case of the British and German media production industries. Work, Employment and Society, 16:1, 27-47.
7.3 Ursell, G. (2000). Television production: issues of exploitation, commodification and subjectivity in UK television labour markets. Media Culture Society, 22, 805-825.


11/17 八,勞動條件 提案討論
8.1 Dex, S., Willis J., PatersonR. and Sheppard, E.(2000). Freelance Workers and Contract Uncertainty: The effects of Contractual Changes in the Television Industry. Work Employment Society. 14: 283-305.
8.2 Paterson, R. (2001). Work histories in television. Media Culture Society, 23: 495 - 520.
8.3 Blair,H.(2001). You're only as good as your last Job': the labour process and Labour market in the British film industry. Work Employment Society, 15: 149 - 169.


11/24 九,製作過程(一)
9-1 Ytrenerg,E.(2002). Continuity in environments: The evolution of basic practices and dilemmas in Nordic television scheduling. European Journal of Communication, 17,283-304.
9-2 Ytrenerg,E.(2004). Formatting participation within broadcast media production, Media Culture Society, 26: 677 - 692.
9-3 Mauws, M.K.(2000). But is it art? Decision making and discursive resources in the field of cultural production. Journal of Applied Behavioral Science, Jun 2000; 36, 229 - 244.


12/01 十,製作過程(二)
10.1 Born, G.(2003). Strategy, positioning and projection in digital Television: Channel four and the commercialization of public service Broadcasting in the UK, Media Culture Society,25,774-799.
本地個案討論或演講


12/01;12/08  十一,節目型態與文化意義(請交作業二)
11.1 Curtin,M.(2003). Media capital: Towards the study of spatial flows, International Journal of Cultural Studies,6, 202-228.
11.2 Kim, M.(2004). Cultural proximity and the type of Korean Television Programs in Asian Market. 6th World Media Economics Conference, HEC Montreal, Montreal, Canada.
11.3 Tzanelli,R.(2004). Constructing the ‘cinematic tourist’: the ‘sign industry’ of the Lord of the rings. Tourist Studies,4,21-42.
11.4 Havens, T. (2002). “It’s still a white world out there”: the interplay of culture and economics in international television trade. Critical Studies in Media Communication, 19:4.


12/15 演講:澳洲的文化經濟與廣電政策,王菲菲(澳洲雪梨科技大學博士,公視研究員)(暫定)

12/22 期末提案口頭報告(一)

12/29 期末提案口頭報告(二)

01/05 交期末報告

01/12 個別討論報告


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