Museum "Blockbusters"in Contemporary Taiwan: A Discourse Analysis

• Main Authors: Kuo Jui-Kun, 郭瑞坤
• Other Authors: 張譽騰
• Format: Others
• Language: zh-TW
• Published: 2000
• Online Access: http://ndltd.ncl.edu.tw/handle/11693254907468789861

碩士 === 臺南藝術學院 === 博物館學研究所 === 88 === Abstract From 90s, A museum “blockbusters” phenomenon emerges in Taiwan society. The special exhibition characters it presents, and lots of visitors it attracts, have specific relationship with associated discursive field in society. The purpose of the research is to analyze each type of the blockbusters and to study associated discursive system about cultural problems and related fields. By the methods of the observation, documental analysis and interviews, the author will use discourse analysis as the theoretical approach in order to understand the signification of this exhibition phenomenon in Taiwan society. According to the purpose, the research develops two questions : （1） What are related discursive fields of these museum blockbusters? （2）What is the relationship between the configuration of the blockbusters and the related fields? What is the function of this relationship? According to the investigation and analysis, the research has the following results : （1）Museum blockbusters in 90s begin from the Monet exhibition in National Palace Museum in 1993. They form a kind of system of relationship which makes the mode of the blockbuster continue to operate. Then the following blockbusters divide themselves into three diffreent kinds of conceptual types: “French or European delicacy”, “Mysterious Ancienancy”, “Master and Collector”. （2）The formation of these conceptual types is related to some associated fields. The discourse about cultural problems in 80s set up some discursive regularities in accordance with the hybrid logic between “quality” and “quantity”. Kinds of discursive events, just as culture “problematic”, “cultural development”, “delicate culture”, “quality of life”, “cultural consumption or leisure”, and so on, form related fields of the formation of concepts and objects of the blockbuster-discourse. The action mode of joining the crowds which exists in the blockbuster spectacles is much related to the discursive practice of the media. In addition, the description of “curatorship” in the speech about the art programmers is associated with the characteristics of the role of the blockbuster curators. （3）The research discovers that the blockbuster-discourse transforms those “quantity” statements existing in the discourse about cultural problems into its own conceptual types concerning “quality”, which may be derived most from the desire of “quantity”. Besides, the formation of objects of the blockbuster-discourse is concerned with different rules of the emergence of social populace in the discourse about cultural problems. Lastly, so far as the enunciative modelities are concerned, what the total situation of the blockbuster curators is that specific agents occupy the “curatorship”, which are special “curators” aiming at the quality of social populace. As far as the context of the analysis is concerned, the research regards the blockbuster as a particular art-“reforming” practice in contemporary Taiwan which deals with the “regulation” problem of social populace from 80s. By the framework of knowledge constructed by three conceptual types of the blockbusters, the reforming function of the blockbuster-discourse toward the viewers is actually proceeding to do social differentiation and social division. In other words, contemporary blockbusters in Taiwan are deliberate exhibition mechanisms concerning social domination.