美國影視產業的聚合性質－藉電視法案Finsyn與PTAR立廢的政治經濟脈絡理解之

The Nature of Convergence of the U. S Audiovisual Industry: Political Economic Context after Finsyn and PTAR

10.30386/MCR.201001_(102).0009

張時健(Shih-Chen Chang)

美國影視產業 ； 好萊塢 ； 電視網 ； 財務利益與辛迪加規定 ； 生產體制 ； U. S. audiovisual sector ； Hollywood ； networks ； Financial Interest and Syndication Rules ； PTAR ； production regime

新聞學研究

102期（2010 / 01 / 01）

327 - 364

繁體中文

本文藉由回顧美國電視法案《財務利益與辛迪加規定》(Finsyn)與《黃金時段接取規定》(PTAR)的通過與修廢所經歷的產業變遷，針對一般認定美國影視產業發生了全面性的聚合與壟斷的說法加以辨析。在以製作－發行－映演的架構理解影視產業資本的運動路徑後，本文指出，戰後好萊塢在片廠體制(studio system)崩毀後，職能集中於影視產品的代理與發行，並以電視業為新興映演通路。面臨電視網業者坐大而挑戰其職能的危機，好萊塢業者透過司法與政治遊說手段節制了電視網資本積累的可能性，成功占取辛迪加市場並持續開發、整併新興的映演通路，最終將電視網業者整合進娛樂集團事業中。本文欲指出Finsyn與PTAR的意義必須放在好萊塢與電視網競合的政治經濟史中理解，增進多元性的說法僅是立法上的修辭。而這個歷程中資本往發行與映演部門集中、但生產部門零細化的意義，應當注意。

The U. S audiovisual sector has been monopolized by a few entertainment giants after several merger and acquisitions in the past 20 years. The process is known as ”convergence”. However, if the industry is identified as being composed by the three sectors of production, distribution and exhibition, and then trace the movement of the capital around them, the concept of ”monopoly” or ”convergence” may not be the exact description of the process. After reviewing the history between 1970 and 1995 during the application of FCC's Financial Interest and Syndication Rules (Finsyn) and Prime Time Access Rules (PTAR), this article specifically indicates that Hollywood studios have concentrated on distribution of AV products since the collapse of the ”studio system”, and have treated television industry as an important exhibition channel. When the television networks tried to produce programs and challenge the studios' position, Hollywood studios canvassed and pushed the pass of Finsyn and PTAR, which limited the capital accumulation of networks and allowed studios to dominate the syndication market. While studios kept creating and merging with the new exhibition channels in the 1980s, they were hoping to have their own networks as well. This article in addition points out that whether or not Finsyn and PTAR are accepted still very much dependent on the political-economic conditions. Furthermore, since the capital concentrates on either distribution or exhibition sectors, there should be an attention on the problem of the fragile production sector.

1. 萬毓澤(2008)。歷史唯物論中的結構與行動：資本主義起源論再探索。臺灣社會研究季刊，71，109-156。
   連結：
2. (1970).Prime Time Access Rule, 47 C.F.R. § 73.658(k).
3. (1970).Financial Interest and Syndication Rules.C.F.R..
4. Besen, S. M.,Krattenmaker, T. G.,Metzger, A. R.,Woodbury, J. R.(1984).Misregulating television: Network dominance and the FCC.Chicago:the University of Chicago Press.
5. Bielby, W. T.,Bielby, D. D.(1999).Organizational mediation of project-based labor markets: Talent agencies and the careers of screenwriters.American Sociological Review,64,64-85.
6. Blackstone, E. A.,Bowman, G. W.(1999).Vertical integration in motion pictures.Journal of Communication,49,123-139.
7. Blair, H.(2001).You're only as god as your last job: The labour process and labour market in the British film industry.Work, Employment, Society,15(1),149-169.
8. Blair, H.,Grey, S.,Randle, K.(2001).Working in film: Employment in a project based industry.Personnel Review,30(2),170-185.
9. Blair, H.,Rainnie, A.(2000).Flexible films?.Media, Culture & Society,22(2),187-204.
10. The Hollywood Reporter
11. Bordwell, D.,Staiger, J.,Thompson, K.(1985).The classical Hollywoodcinema: Film style & mode of production to 1960.New York:Columbia University Press.
12. Cantor, M. G.,Cantor, J. M.(1992).Prime-time television: Content and control.London:Sage.
13. Chan-Olmstead, S. M.(1991).A structural analysis of market competition in the U.S. syndication industry.Journal of Media Economics,4(3),9-28.
14. Chisholm, D. C.(1993).Asset specificity and long-term contracts: The case of the motion-pictures industry.Eastern Economic Journal,19(2),143-155.
15. Christopherson, S.,Storper, M.(1989).The effects of flexible specialization on industrial politics and the labour market: the motion picture industry.Industrial and Labor Relations Review,42(3),331-347.
16. Christopherson, S.,Storper, M.(1986).The city as studio; the world as back lot: The impact of vertical disintegration on the location of the motion picture industry.Environment and Planning D: Society and Space,4,305-320.
17. Collette, L.,B. R. Litman (Ed.)(1998).The motion picture mega-industry.Boston:Allyn and Bacon.
18. Compaine, B. M.,Gomery, D.(2000).Who owns the media?: Competition and concentration in the mass media.Mahwah, N.J.:L. Erlbaum Associates.
19. Conant, M.(1982).The Paramount Decrees reconsidered.Law and Contemporary Problems,44(4),79-107.
20. Covington, W. G.(1994).The financial interest and syndication rules in retrospect: History and analysis.Communications and the Law,16(2),3-19.
21. Creech, K. C.(1993).Electronic media law and regulation.Boston:Focal Press.
22. Creech, K. C.(1996).Electronic media law and regulation.Boston:Focal Press.
23. Cucco, M.(2009).The promise is great: the blockbuster and the Hollywood economy Media.Culture & Society,31(2),215-230.
24. Einstein, M.(2004).Media diversity: Economics, ownership, and the FCC.Mahwah, N.J.:L. Erlbaum Associates.
25. Faulkner, R. R.,Anderson, A. B.(1987).Short-term projects and emergent careers: Evidence from Hollywood.American Journal of Sociology,92(4),879-909.
26. Fletcher, J. E.,H. Newcomb (Ed.)(2004).Encyclopedia of television.New York:Fitzroy Dearborn.
27. Fowler, M. S.,Brenner, D. L.(1982).A marketplace approach to broadcasting regulation.Texas Law Review,602,207-257.
28. Garnham, N.(1990).Capitalism and communication: Global culture and the economics of information.London:Sage.
29. Ginsburg, D. H.(1979).Regulation of broadcasting. Law and policy towards radio, television, and cable communications.St. Paul:West Pub..
30. Hilmes, M.(1990).Hollywood and broadcasting: From radio to cable.Chicago:University of Illinois Press.
31. Holt, J.(2001).In deregulation we trust: The synergy of politics and industry in Regan-era Hollywood.Film Quarterly,55(2),22-29.
32. Jessell, H. A.(1995).PATR pros and cons: What's before the FCC is what's on before prime time.Broadcasting & Cable.
33. Jessell, H. A.(1995).'The great debate' on PTAR.Broadcasting & Cable.
34. Jhally, S.(1992).The codes of advertising: Fetishism and the political economy of meaning in the consumer society.New York:St. Martin's Press.
35. Jones, C.,M. B. Arthur (Eds.),D. M. Rousseau (Eds.)(1996).The boundaryless career: A new employment principle for a new organizational era.Oxford:Oxford University Press.
36. Litman, B. R.(1998).The Motion Picture Mega-Industry.Boston Mass.:Allyn and Bacon.
37. Litman, B. R. (Ed.),Hoag, A. M.(1998).The motion picture mega-industry.Boston Mass.:Allyn and Bacon.
38. Litman, B. R.,A. Alexander (Eds.),J. Owers (Eds.),R. Carveth (Eds.)(1998).Media economics: Theory and practice.Mahwah, N.J.:Lawrence Erlbaum Associates.
39. Maltby, R.(2003).Hollywood cinema.Malden, Mass.:Blackwell Pub..
40. Maney, K.(1995).Megamedia shakeout: The inside story of the leaders and the losers in the exploding communications industry.New York:Wiley.
41. McChesney, R. W.(2004).The problem of the media: U.S. Communication politics in the twenty-first century.New York:Monthly Review Press.
42. McChesney, R. W.(1999).Rich media, poor democracy: Communication politics in dubious times.Urbana, Ill.:University of Illinois Press.
43. McConnell, C.(1995).The end is near (or far) for PTAR.Broadcasting & Cable.
44. Napoli, P. M.(2001).Foundations of communications policy: Principles and process in the regulation of electronic media.Creskill, NJ.:Hampton Press.
45. Owen, B. M.,Beebe, J. H.,Willard, G.,Manning, J.(1972).Television economics.Lexington, Mass.:Lexington Books.
46. Owen, B. M.,Wildman, S. S.(1992).Video economics.London:Harvard University Press.
47. Scott, A. J.(2005).On Hollywood: The place, the industry.Princeton, N.J.:Princeton University Press.
48. Sedgwick, J. (Eds.),Pokorny, M. (Eds.)(2005).An economic history of film.London:Routledge.
49. Skocpol, T.(1979).States and social revolutions: A comparative analysis of France, Russia, and China.Cambridge:Cambridge University Press.
50. Staiger, J. (Ed.)(1995).The studio system.New Brunswick, N.J.:Rutgers University Press.
51. Storper, M.(1989).The transition to flexible specialization in the U.S. film industry: External economies, the division of labor, and the crossing of industrial divides.Cambridge Journal of Economics,13(2),273-305.
52. Vogel, H. L.(2007).Entertainment industry economics.Cambridge:Cambridge University Press.
53. Wakshlag, J.,Adams, W. J.(1985).Trends in program variety and the Prime Time Access Rule.Journal of Broadcasting & Electronic Media,29(1),23-34.
54. Wasko, J.(1982).Movies and money: Financing the american film industry.Norwood, N.J.:ABLEX Pub. Corp..
55. Wasko, J.(1995).Hollywood in the information age: Beyond the silver screen.Austin, TX:University of Texas Press.
56. Waterman, D.(1993).A model of vertical integration and economies scale in information product distribution.Journal of Media Economics,6(3),23-35.
57. Williamson, O. E.(1985).The economic institutions of capitalism: Firms, markets, relational contracting.New York:Free Press.
58. 林亦堂(1998)。跨世紀的美國電子傳播事業。台北:廣電基金。
59. 陳智凱譯、鄧旭茹譯(2008)。娛樂經濟。台北:五南。
60. 馮建三譯(1992)。廣告的符碼。台北:遠流。
61. 詹正茂譯、張小梅譯、胡燕譯(2006)。誰擁有媒體？－大眾傳媒業的競爭與集中。北京:中國人民大學出版社。
62. 劉北成譯(1998)。國家與社會革命。台北:桂冠。
63. 魏玓譯(1999)。超越大銀幕：資訊時代的好萊塢。台北:遠流。
64. 邊明道譯、陳心懿譯(2005)。傳播政策基本原理：電子媒體管制的原則與過程。台北:揚智文化。
65. 蘇采禾譯、李巧云譯(1996)。大媒體潮。台北:時報文化。

1. 王維菁(2012)。著作權與台灣影視產業的政治經濟分析：著作權法、影視產業與市場控制史。新聞學研究，111，129-197。