| 摘要: | 近年來，成功併購了皮克斯、漫威和盧卡斯影業的迪士尼王國正以各式系列化的強檔電影盤據全球的電影院與票房寶座，雖是極為公式化的電影，卻為迪士尼創造前所未有之收益，不但在好萊塢刮起超級英雄電影的風潮，也以商品化與集團綜效推動整個龐大的迪士尼媒體集團。以政治經濟學的角度觀之，併購預設了新自由主義的龐大資本與解除管制，高度彈性的生產體制，與特色集中的產品和服務；身為福特主義先驅老將、一向強調精密控制與高度效率生產的迪士尼，勢必採取新的策略來因應這個新局。目前觀察到的是，從溝通協調集團化過程中的多角化、彈性化以指揮整合集團的運作，到在動畫製作生產中接合福特主義式的管理和後福特主義式的彈性生產，到形塑迪士尼旗下所有系列強檔電影的形式與內容，到以體驗經濟大幅擴張消費與服務並整合影視產品的行銷，迪士尼似乎都成功的放大了它的全球影響力。本計畫將分三年，從科技文化改造、集團綜效整合、體驗經濟開發等三個層面，來探究這個從資本結構到勞動生產模式到產品文本都環環相扣的轉變過程。 ;In recent years, the new Disney empire increasingly dominates worldwide movie theaters and the box-office after the successful acquisitions of major franchise-based studios as Pixar, Marvel and Lucasfilm. As formulaic as these franchise-driven blockbusters can be, they nevertheless generate unprecedented revenues for Disney. Not only do they make superhero movies so pervasive, but also animate the entirety of the mega media conglomerate of Disney with merchandising and synergy. From a political economy viewpoint, the acquisitions were premised on the neoliberal deregulation and financialization, post-Fordist flexible accumulation, and branded products and services. As the vanguard of Fordism, however, Disney, with its Fordist obsessions with control and efficiency, must come to term with the above-mentioned post-Fordist situations. So far, as observable from its recent success, Disney seems to excel in the orchestration of synergy and diversification of franchise productions and merchandising across its innumerable subsidiaries. For instance, founded on the most rigorous Fordist division of labor as an animation studio, the Disney conglomerate should acquire Pixar, one of the most emblematic post-Fordist startups that upholds peer-sharing communalism, and let Pixar reinvent the Disney animation studio. Meanwhile, Marvel, the superhero film studio, manages a longer and more complex chain of production by outsourcing visual effects to multiple international studios. In other words, the Pixar and Marvel cases underline the post-Fordist heterogeneity, which requires Disney to simultaneously accommodate Pixar’s knowledge economy and Marvel’s flexible accumulation; and, in turn, their heterogeneity will become defined by diversification and redefined by synergy and thus come to mold every aspect of the franchise-driven films they produce—all to serve the purpose of capitalist accumulation for the conglomerate. Eventually, with the saturation of the endless transmedial merchandizing from the franchise-driven blockbusters, the dream of the so-called experience economy to turn all kinds of transactions in the service industry into packaged experiences in themed spaces may finally become a reality. Therefore, the three-year project proposes to investigate the three interlocking aspects of the Disney conglomerate from technoculture, synergy, and the development of the experience economy so that the entertainment empire in transformations can be approached in the continuum of capital formations, the various modes of production, and film texts. |
