政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/157651

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/157651

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政大機構典藏 > 傳播學院 > 傳播學院傳播碩士學位學程 > 學位論文 > Item 140.119/157651

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题名:	數位修復影視作品再造新時代「迷」群 —以宮崎駿作品《魔法公主》為例 The Digital Film Restoration and the Rise of New-Age Fans: A Case Study of Hayao Miyazaki’s Princess Mononoke
作者:	劉依貞 Liu, Yi-Chen
贡献者:	劉慧雯 Liu, Hui-Wen 劉依貞 Liu, Yi-Chen
关键词:	數位修復行動者網絡理論強制通過點媒介化宮崎駿複迷群影迷文化 digital restoration Actor-Network Theory hybrid fans Obligatory Passage Point Mediatization Theory Hayao Miyazaki fan culture
日期:	2025
上传时间:	2025-07-01 14:10:38 (UTC+8)
摘要:	本研究以宮崎駿動畫《魔法公主》數位修復版為個案，探討數位修復技術如何在疫情後的文化脈絡中，作為行動者網絡中的「強制通過點」（Obligatory Passage Point，OPP），促成新型態迷群——「複迷」的生成。研究採用行動者網絡理論（Actor-Network Theory，ANT）為主架構，輔以媒介化理論（Mediatization Theory），並透過問卷篩選與深度訪談，分析影迷如何在媒介轉換與記憶喚起的過程中，重構其文化參與與身份認同。特別聚焦於「複迷」這一跨媒介行動者，他們曾透過錄影帶、DVD、電視播映等舊媒體接觸宮崎駿作品，疫情後再度進入電影院觀賞數位修復版，展現出跨越時代的媒介素養與文化行動力。研究發現，數位修復技術本身並非觀影的唯一動因，其文化召喚效力必須與影院場域、個人經驗與行銷機制等異質行動者協作，方能形成穩定的文化網絡。此外，行銷贈品策略雖為部分觀眾的重要驅力，卻也引發觀眾對商業與文化之間界線的反思；另有非典型觀影者雖不具粉絲認同，仍因設計美學或社交邀請進入文化網絡，反映出粉絲文化參與的多樣性與階層性。本研究揭示數位修復不僅是技術工程，更為觀眾與經典之間重新建立文化連結的中介物，對理解數位時代的觀影行為、粉絲身份與文化傳承具有理論與實務啟發意義。 Using the digitally restored version of Hayao Miyazaki’s Princess Mononoke as a case study, this research investigates how digital restoration functions as an “Obligatory Passage Point” (OPP) within Actor-Network Theory (ANT), fostering the emergence of a new type of fan cluster known as “hybrid fans” in the post-pandemic cultural context. Guided by ANT and supplemented by Mediatization Theory, the study combines screening surveys with in-depth interviews to explore how audience identities and cultural participation are reshaped through technological mediation and nostalgic re-engagement. Hybrid fans are characterized by their cross-media experiences: having first encountered Miyazaki’s works through VHS tapes, DVDs, or television broadcasts, they later re-enter theaters to engage with restored digital versions. These viewers not only seek high-fidelity cinematic experiences but also actively participate in collecting merchandise and sharing within fan communities, revealing diverse motivations and strong cultural agency. Findings indicate that digital restoration alone is not the primary driver of theater attendance. Rather, it operates within a broader network involving cinema space, marketing strategies, and emotional nostalgia. In addition, some non-traditional viewers—those without prior fan identification—were drawn to screenings by design aesthetics or social invitations, reflecting a layered and heterogeneous model of cultural engagement. By conceptualizing digital restoration as both technological and cultural mediation, this study contributes to our understanding of fan practices in the digital era and offers insights for future applications in film education and cultural policy.
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描述:	碩士國立政治大學傳播學院傳播碩士學位學程 109464021
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