文化圈地：台灣文化產業與智慧財產的地緣政治

Abstract

本研究從批判地緣政治取徑關注文化產業與智慧財產權的關係，目的在於從後進國家的觀點如台灣與中國，探討全球文化產業不均分布的現象。文化產業可謂20世紀以來發展最快速的新興產業，已成為都市區域發展、經濟地理及國家政策研究的重要課題。多數文獻指出文化產業對於都市與區域發展已產生廣泛性影響，經常伴隨產生文化產業「群聚化」現象，集中在全球特定城市區域。然而，全球文化產業的利潤基礎實際上是透過智慧財產權「掌控」與「連結」創意與資本，成為文化產品利潤的壟斷工具。因此，本研究主張從智慧財產權制度角度切入分析此全球文化產業的不均發展，提出「文化圈地」分析概念，以「全球法律秩序／國家、圈地／越界」雙軸線架構分析全球／國家尺度下文化產業與智慧財產制度的領域化、去領域化及再領域化的動態過程。經驗資料方面，音樂作為一種文化的實踐，並且具備快速形變與傳播的特性，因此本研究進一步聚焦以「台灣華語流行音樂」為主要田野範圍。 本研究發現台灣等後進國家的文化產業發展現象，具有「文化圈地」三層次意涵與特殊性：（1）抽象法律的圈地，即全球法秩序及智慧財產制度下的文化產業想像；（2）市場佔有與國際分工的圈地，即文化生產功能分工的地理過程以及市場佔有背後的文化產業想像；以及（3）物質空間的圈地，即國家導向文化園區式的文化產業想像。後進國家如台灣與中國面對此三層次的「文化圈地」，除了接受全球標準的智財權規範與文化產業發展模式之外，也同時藉由各種去領域化、再領域化的方式來宣稱文化差異性及地方獨特性與認同，與以美國為首的全球法秩序及視文化生產為財產目的的智財權制度進行對抗與對話，不斷重新定位（re-positioning），找尋其在全球的位置（place-in-the-world）。 唯有經由「文化圈地」的視角，才能清楚看到經由制度與論述的國家調節，同時，透過封閉（智慧財產圈地）、排除與單向截取（盜版山寨與拼貼他者化）等角度，與主流經濟地理研究中文化經濟與創意群聚的「開放、包容與多元」等概念對話，凸顯後進國家發展的慾望、既有學術文獻中西方文化霸權的意識形態，及其無所不在的滲透。

Cultural industries broadly include advertising, architecture, handicrafts, design, fashion, film, music, performing arts, publishing, television and radio, and digital content industries. Although each of them is a specific industry, we can still use a collective term—cultural industries—to refer to them. Researches that focused on the space of cultural industries have risen to a position of prominence in the field of urban studies and economic geography. Topics include the local economic impact of cultural industries and the importance of agglomeration; the contribution of local art activities to the regional development; the relationship between the creative class and urban growth; and the implementation of urban planning toward creative cities. Most of the studies indicated that cultural industries have provoked a broad impact on urban and regional development and they are not evenly distributed. However, the role of states and intellectual property in cultural industries has not been discussed in detail. It is the control and connection of creativity and capital that makes the “cultural industries” a collective concept. Cultural industries, through legal devices such as intellectual property rights, become the method of “monopoly rent” and accumulation based on dispossession in cultures. Mandarin popular music (Mandopop) is the empirical material for this study because music is a form of cultural practice with the characteristics of rapid transformation and dissemination. This paper aims to analyze the relationship between cultural industries and intellectual property rights in a geopolitics perspective. From the viewpoint of latecomer countries like Taiwan and China, the uneven development of cultural industries on a global scale is discussed. States, along with legal devices like intellectual property rights, play a key role in the cultural enclosure of global cultural industries. In the case of Mandarin pop music, the argument of cultural enclosure proceeds at three levels: (1) a metaphysical enclosure – cultural industries under the enclosure of the global legal system and intellectual property rights regime; (2) a geographical process and imagination under the marketplace and New International Division of Cultural Labor; and (3) a material enclosure – a state-orientated cultural district formation in the development of cultural industries. The de- and re-territorialization of cultural industries are shaped by cultural-enclosure, which is a dynamic re-positioning process by which latecomer countries like Taiwan and China look for a place-in-the-world. Through the analysis of cultural enclosure, this paper shows that the uneven development of global cultural industries is the enclosure of intellectual property rights, the exclusion of the others in the case of the “outlaws,” and the lack of imagination in a digital era. This paper questions the Western mainstream theories of cultural industries and creative cities.