研究限制與未來展望

第六章、結論

第三節、研究限制與未來展望

本研究從政治經濟學取徑，歷時性地分析好萊塢的生產脈絡與3D科技的關係，以及3D科技介入文本美學所產生的影響。並輔以1920年代2010年的利潤率數據來驗證科技在市場上的表現，再者，以文本分析歸納出2009後改良過的3D 美學之特徵。

首先，政治經濟學關心資源的分配和制度內的權力移轉，以及在消費上的實踐，本研究礙於篇幅的關係無法將研究範圍的擴及好萊塢透過技術取得來運行它權力上的支配，另一方面，國家政策對電影工業影響力亦不容小覷，美國政府透過法律、租稅優惠、資金援助等方式長期扶持好萊塢征服世界市場，在3D技術的發展與電影推行必定也有密切的關係。此外，本文也較少提及閱聽人的觀影經驗，以及消費3D電影上的文化意義，對社會和文化的意義在本研究中相對薄弱，

期待未來的學者可以進一步探究3D電影科技與社會形態上的涵義。

即便本研究已羅列出三大構面來觀察影片，但敘事分析仍然牽涉到論述或語境的涵義，很難抽離研究者的主觀認同和評判，因此在3D效果的評估上可能稍有偏頗，此乃文本分析法上的一大侷限。另外，本文聚焦於好萊塢的3D電影，

無法經由訪談取得對於美國業界人士對3D產業和電影語言的思考，僅透過部分

報紙的評論和專訪來了解當地對於3D電影的想像，與真實的產業情境發生部分斷裂。數位3D電影從2004年至今不過十年，製作成本、內部生產狀況如何，本文尚無法得到較新的資料，未來學者若有機會，期待藉由專家訪談、更完整的成本資料來補充體制內部的意見，充實好萊塢技術與工業結構的分析。

本文強調3D電影並非好萊塢的獨有產物，歐洲、亞洲均有案例可以解析，

只不過好萊塢對全球影業的影響力最大，3D電影產量最高，故以其為觀察對象。

事實上不必侷限於好萊塢的胡同當中，像英國學者Atkinson就以英國獨立製片出產的3D電影為觀察對象。亞洲地區的日本和中國一直是好萊塢電影的大市場，

特別是中國對好萊塢3D電影情有獨鍾，不僅3D轉製的《鐵達尼號》在中國開出亮眼成績，災難片《2012》甚至唯獨在中國上映3D版，全球市場結構與中國因素值得深究。香港導演徐克也致力於3D武俠片的製作，已推出《龍門飛甲》、

《狄仁傑之神都龍王》兩大片，甚至在本研究完稿前，港星劉德華主演的第一部華語3D警匪片《風暴》正在上映，3D效果能不能為華語電影創造新的局面，是個值得關注的課題。

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