Comment

Comment by 超人偶爾飛 1 hour ago

[愛墾研創·嫣然]《給阿嬤的情書》是否是統戰作品？——從「作者已死」到文化詮釋權的爭奪

《給阿嬤的情書》是否屬於統戰作品？這個問題近來引發不少討論。然而，在直接回答之前，更值得思考的是：我們究竟是如何判斷一部文化作品具有政治性？一部作品的政治意義，究竟來自創作者本身，還是來自後來的詮釋者？

若從文化研究、傳播學與文學理論的角度來看，可以區分為兩種不同的情況。

一、創作者自始便具有宣教意圖：由上而下的規訓

第一種情況，是創作者從創作之初便帶有明確的教化、宣傳或統戰目的。此時，作品雖然具有藝術形式，但其真正功能更接近政治傳播工具，而非純粹的文化創作。

這類作品通常可以被視為一種「封閉式文本」。創作者希望觀眾依照預設的價值框架閱讀作品，並透過精緻的影像、美術、音樂、人物塑造與戲劇張力，把政治理念包裝在娛樂外殼之中。這也是今日文化政治中經常提到的「軟實力」運作方式，甚至可被理解為一種潛意識式的宣傳（Subliminal Propaganda）。

然而，這種模式也面臨現代文化理論的重要挑戰。

法國思想家羅蘭・巴特提出「作者已死」（The Death of the Author）的概念，認為作品完成之後，其意義便不再完全屬於作者，而是在閱讀過程中由讀者重新生成。也就是說，作者雖然希望完成「編碼」（encoding），但最終是否成功「解碼」（decoding），仍取決於讀者。

因此，即使創作者企圖灌輸特定思想，現代觀眾也未必照單全收。當讀者察覺作品具有強烈的說教意味時，反而可能啟動「作者已死」的閱讀機制，拒絕接受其核心價值，只保留娛樂元素，甚至透過諷刺、迷因（meme）或惡搞進行「對抗式閱讀」。

近年不少刻意迎合官方政治論述的電影便出現這種情況。儘管製作規模龐大、技術成熟，但網路社群往往將原本嚴肅的政治台詞改造成笑梗，在社群媒體大量流傳，使原本希望建立權威的敘事反而遭到解構。

由此可見，即使作品本身具有宣傳意圖，也未必代表宣傳必然成功。

## 二、作者沒有政治意圖，但作品遭到重新詮釋：借屍還魂的規訓

第二種情況則更符合「作者已死」的核心精神。

此時，作品原本可能只是單純的藝術創作，甚至作者從未打算介入政治。然而，由於作品具有高度知名度、多義性或文化影響力，後來的第三者──包括政治力量、政府、媒體、特定社群或網路文化──重新詮釋作品，賦予它新的政治意涵，使作品成為另一套意識形態的載體。

這是一種典型的文化挪用（Cultural Appropriation）或符號綁架（Symbolic Appropriation）。

此時真正運作的，已經不是原作者，而是新的詮釋者。他們利用作品既有的文化影響力，建立新的政治論述，使作品逐漸脫離原本的創作脈絡。

在這種情況下，可以說出現了「雙重作者已死」的現象。

第一位死亡的是原作者，其創作初衷被完全拋棄；第二位誕生的是新的詮釋者，他成為新的「作者」，重新定義作品的意義，並透過新的解讀方式對受眾進行規訓。

這種情況在文化史中屢見不鮮。

例如，許多古典詩詞或武俠小說，原本只是文學創作或個人情感的表達，但後來卻可能被政治力量重新包裝，成為「弘揚中華文化」、「民族認同」甚至統戰論述的一部分。此時，被利用的未必是作者本人，而是作品所累積的文化象徵資本。

另一個著名例子是漫畫角色「佩佩蛙」（Pepe the Frog）。原作者最初只是創造一位悠閒、無害的卡通角色，但之後卻遭到美國部分右翼團體大量二次創作，被賦予白人至上主義等政治意涵。最終，原作者甚至選擇讓角色「死亡」，以表達對這種政治挪用的抗議。

哲學史也有類似案例。尼采的「超人」思想原本探討的是個體如何超越既有價值體系，並非種族優越論。然而，後來納粹政權卻透過斷章取義，將其重新包裝為極端民族主義與種族主義的思想資源，使尼采長期背負並非出自其本意的政治形象。

## 詮釋權，才是真正的戰場

因此，無論是第一種情況，還是第二種情況，本質上都涉及同一個問題：作品意義究竟由誰決定？

第一種情況，是創作者希望透過作品主動建立意義，屬於「由上而下」的思想規訓。

第二種情況，則是第三者利用作品既有生命力重新定義其象徵意義，屬於一種「半路攔截」式的文化規訓。

兩者真正競爭的，並非作品本身，而是作品的詮釋權。

因此，回到《給阿嬤的情書》的討論，我們不能僅因某些政治力量引用、推廣或重新包裝該作品，就直接推論作品本身必然具有統戰目的。同樣地，也不能因為作品觸及文化認同、歷史記憶或家族情感，就自動排除它可能被政治利用的可能性。

更合理的分析方式，是首先區分創作者是否自始具有明確的政治宣傳意圖；其次，再觀察作品是否在流通過程中，被不同政治力量重新詮釋、挪用或賦予新的政治功能。

換言之，一部作品是否成為「統戰作品」，不能只看作品內容，更不能只看後續的政治使用，而應同時考察創作意圖、文本本身，以及作品進入公共領域後所發生的多重詮釋過程。

文化作品一旦問世，便不再完全屬於創作者，而是進入不同讀者、不同社群與不同權力體系持續競逐意義的公共空間。真正值得關注的，不只是作品是否具有政治性，而是誰正在定義它的政治意義，以及這種定義又如何影響社會對作品的理解。

Comment by 超人偶爾飛 yesterday

[愛墾研創]當潮汕話走進大馬戲院：一部《給阿嬤的情書》如何印證影視文創的新方向

一部以潮汕方言為主要語言的小成本電影，竟在馬來西亞院線掀起觀影熱潮。這不只是《給阿嬤的情書》（Dear You）的市場成功，更是一個值得文化界重新思考的訊號：在全球影視競爭愈來愈激烈的今天，真正能打動觀眾的，未必是更大的製作、更昂貴的技術，而可能是一句熟悉的鄉音、一段家族記憶，以及一份跨越世代的情感連結。

《給阿嬤的情書》登陸大馬後，潮汕方言原音版本受到熱烈歡迎，甚至引發排隊購票現象。這部電影沒有依靠明星光環，也不是典型商業大片模式，卻憑藉祖孫親情、家庭記憶與地方文化氣息，觸動了許多觀眾內心深處的位置。

這個現象，恰好呼應了愛墾網今年4月提出的〈大馬2035年代影劇生產模式與情動策略〉研究觀察。

愛墾網當時就指出，未來馬來西亞影視發展的關鍵，不一定在於追求高成本、大規模製作，而在於重新發掘本土文化中的「輕資產」價值。其中包括方言、民間故事、地方生活、非物質文化遺產，以及不同族群共享的情感經驗。

如今，《給阿嬤的情書》的大馬反響，正好提供了一個生動案例。

過去，方言電影常被認為面對市場限制，因為語言範圍較小。然而，這部作品反而證明，方言並不是阻隔，而是一座橋樑。潮汕話所帶出的，不只是語言本身，而是上一代人的生活方式、家庭關係與文化記憶。當觀眾聽見電影中的語音、稱呼與交流方式，接觸到的不只是劇情，而是一種「曾經存在於自己家庭裡的感覺」。

這對馬來西亞尤其具有特殊意義。

作為一個多語、多族群社會，馬來西亞一直擁有豐富的語言文化資源。福建話、潮州話、客家話、廣東話等地方語言，不只是溝通工具，更保存了移民歷史、社群記憶與家庭傳承。然而，這些文化資源長期未被充分轉化為影視創作力量。

《給阿嬤的情書》的成功提醒我們：地方性不一定等於小眾，反而可能成為作品最獨特的競爭力。

愛墾網提出的「情動策略」，正是在指出這種新的文化生產邏輯。影視作品未來的吸引力，不只是依靠視覺震撼，而是如何讓觀眾產生情感投入。一個關於家庭、離別、記憶與親情的故事，即使發生在潮汕，也能讓馬來西亞觀眾聯想到自己的祖輩、自己的家庭，以及正在消逝的語言與文化。

這也是小成本電影可以突圍的原因。

當大型製作需要投入大量資金才能製造聲勢時，小品電影反而可以透過真實感建立力量。素人演員、地方場景、生活語言，這些看似不起眼的元素，可能正是觀眾在高度商業化內容中重新尋找的「真」。

從更大的文化產業角度看，《給阿嬤的情書》帶來的啟示是：中華影視文創的未來，不一定只是複製主流市場的大製作模式，而可以從地方文化出發，創造具有跨地域感染力的故事。

真正具有世界性的作品，往往不是刻意去掉地方特色，而是把地方經驗轉化為人類共同情感。

愛墾網對2035年代大馬影劇模式的觀察，正是在這個方向上提出前瞻性的判斷：馬來西亞未來的影視競爭力，可以建立在自身多元文化土壤之上，透過方言、記憶與情感，發展出一條不同於好萊塢式高投入競爭的新路徑。

《給阿嬤的情書》的熱潮，或許就是這條道路的一次提前預演。

當一句方言能喚醒一代人的記憶，當一個地方故事能跨越地域打動觀眾，文化創意的真正力量，便不再只是市場數字，而是人與人之間仍然存在的情感連結。

Comment by 超人偶爾飛 on Wednesday

[iCONADA Research Team] Malaysia’s Film and Television Production Models and Affective Strategies in the 2035 Era

Within the context of the rapid transformation of East Asian film and television cultures around 2025, the production models and affective strategies of China, Japan, and South Korea offer Malaysia’s film, television, cultural creative industries, and education systems a highly inspiring mirror. These insights are not only related to industrial development, but also involve the construction of cultural identity, innovation in emotional storytelling, and the need to rethink the very nature of “creation” in an era increasingly shaped by artificial intelligence. From the perspectives of cultural production, affective structures, and educational transformation, Malaysia is currently positioned at a critical moment with significant potential.

I.Cultural Position: Multilingualism and Multiethnicity as Creative Resources Rather Than Limitations

Malaysia’s film and television industry has long faced a structural challenge: the market fragmentation caused by its multilingual environment (Malay, Chinese, English, Tamil) and multiethnic society (Malay, Chinese, Indian, and others). This phenomenon has often been regarded as a reason why the industry struggles to achieve scale. However, from the perspective of East Asian experiences, such “fragmentation” may instead be transformed into a creative advantage.

Japanese works such as Long Vacation continue to attract audiences not because of the universality of their language, but because of the authenticity of their emotions. Korean works such as The Glory demonstrate that even highly localized social issues can become globally resonant texts when effectively translated through emotional structures. Meanwhile, China’s The Long Season shows that local narratives can achieve universal meaning through sophisticated temporal structures and deep character development.

From this perspective, Malaysia’s cultural diversity is not an obstacle, but rather an underdeveloped “narrative resource.” The key lies in transforming multilingual and multiethnic experiences into stories with emotional depth and resonance, rather than allowing them to remain merely at the level of cultural representation.

II.Affective Strategies: Moving from “Cultural Representation” Toward “Emotional Co-construction”

One of the major limitations of Malaysian film and television lies in the overemphasis on “cultural representation” while relatively neglecting the design of “emotional mechanisms.” Many works focus on presenting local landscapes, festivals, or ethnic differences, yet often lack sufficient tension in narrative progression and character emotions.

East Asian experiences demonstrate that successful cultural export does not come from cultural elements alone, but from the effective operation of affective structures. Korean dramas achieve this through intense emotional engagement, quickly immersing audiences in the story. Japanese dramas rely on subtle emotional aftereffects, allowing feelings to continue developing after viewing. Chinese film and television works often create connections between grand narratives and individual emotional experiences.

For Malaysia, the future key is not simply “what stories to tell,” but “how to make people feel.” For example, identity anxiety within a multiethnic society, emotional differences created through language switching, and experiences of movement between urban and rural spaces can all be transformed into universal emotional themes. These experiences themselves reflect contemporary realities. Through precise storytelling, they have the potential to become points of connection for audiences across Southeast Asia and even globally.

III. Industrial Models: Platform Strategies within a Small Market

Compared with South Korea’s industrialized system and China’s advantage in scale, Malaysia’s film and television industry is relatively small and operates with limited resources. However, in the era dominated by streaming platforms, market size is no longer the decisive factor. The key lies in how content and audiences are positioned.

South Korea has achieved global distribution through platforms such as Netflix, while Japan has gradually introduced its high-quality productions to international audiences. For Malaysia, streaming platforms provide an opportunity to “bypass the limitations of the local market.” As long as works possess clear affective strategies and distinctive storytelling characteristics, they can directly reach transnational audiences.

In addition, short-form dramas, web series, and cross-media content (such as combinations of film/television with music and games) represent possible directions. These formats require lower production costs and align more closely with younger generations’ viewing habits. If Malaysia can establish a distinctive presence in these areas, it may develop differentiated competitiveness within the regional market.

IV.Artificial Intelligence: From Technology Adoption to Creative Integration

As an AI-driven cultural production environment gradually takes shape in the 2030s, Malaysia faces a choice: should it simply become a user of technology, or should it become an integrator of creativity?

AI can assist with script generation, editing optimization, and audience analysis, lowering production barriers. However, if content relies solely on AI generation, works may become increasingly homogeneous. The true value lies in treating AI as a “creative partner” rather than a replacement.

Malaysia’s advantage lies in its cultural diversity, which can provide AI training environments with narrative patterns and emotional structures that are less commonly represented. By combining local experiences with AI tools, Malaysia may actually develop a unique creative style within the global content market.

V.Implications for Cultural Creative Education: From Skills Training to Affective Literacy

The transformation of the film and television industry presents new demands for cultural creative education. Traditional education has often emphasized technical skills (cinematography, editing, script structure), but in the contemporary environment, technical ability alone is insufficient to respond to a complex cultural market.

First, education needs to introduce the concept of “affective literacy.” Students should not only learn how to write stories, but also understand how emotions are constructed, transmitted, and received. For example: What narrative rhythms create emotional resonance? What character designs generate audience identification? These questions should become central components of education.

Second, interdisciplinary integration is essential. Cultural creative education should not exist in isolation within art schools, but should connect with sociology, anthropology, psychology, and data science. Only by understanding social structures and audience behaviors can creators produce works with a genuine sense of the times.

Third, “local research” should be encouraged. Malaysian students can use methods such as field research and oral history to discover local storytelling resources. This not only strengthens cultural confidence but also provides authentic materials for creative production.

Finally, AI education is indispensable. Students must learn how to use AI tools creatively while also understanding their limitations and ethical issues. Future creators will become designers of human–machine collaboration, rather than merely technical operators.

VI. Conclusion: The Possibility of Moving from the Periphery to a Cultural Node

Overall, the future of Malaysia’s film, television, and cultural creative industries does not lie in copying the successful models of China, Japan, and South Korea. Instead, it lies in redefining pathways of cultural production based on its own conditions. Its multicultural environment, multilingual experiences, and flexible industrial scale give Malaysia the potential to become a “cultural node.”

In an increasingly competitive global audiovisual landscape, the true advantage is no longer the amount of resources available, but whether creators can produce works with unique affective structures. For cultural creative education, this means shifting from “training technical professionals” toward “cultivating cultural creators” — individuals who can understand local realities while engaging with the world.

Looking back at the development trajectories of East Asian film and television, we can see that every breakthrough has emerged from a renewed understanding of one’s own cultural conditions. For Malaysia, such a moment may now be gradually approaching.(Reviewed & Verified by: Dr.Tan Beng Huat, Founder of iconada.tv)