後疫情時代下「脆危的」影視動－臺灣影視文化產業紓困政策再思考^*

The film industry has experienced rather severe times in the postCOVID-19 epidemic era. Hollywood estimates that nearly 200,000 people will be unemployed, and Taiwan’s movie theaters have also suffered heavy losses at the initial stage. Faced with such a severe environment, the jobs of film and television workers have really been a big challenge. The precariousness and inequalities of free-lance or self-employed workers may further be impacted. This study examines film, television, and cultural industries. With the theme of cultural labor, through in-depth interviews and relevant policy analysis we aim to answer three levels of questions. The first level lies in the current fragile cultural labor environment. What is the appearance of creative and cultural labor under the influence of the epidemic? Does this deepen its vulnerability? The second level is a discussion at the policy level, the public sector’s rescue plan and implementation of the cultural and creative industry, the impact on workers, and whether it is possible to develop new policies that are more public and inclusive through this epidemic. The third layer observes the plight and new possibilities of cultural labor under the epidemic through the actions and trends of governments, film, and television labor unions as well as the film and television industry around the world during the epidemic. This research adopts Murray & Gollmitzer’s (2012) concept of ‘creative ecology’, which provides us a new framework of a better cultural and creative industries policy to improve the employment conditions of precarious cultural workers. This research hopes to provide new perspectives on cultural labor as well as substantive suggestions on the relationship between cultural labor and policy.