本論文以當代臺灣所風行的文創現象為出發探討電影《陣頭》中所 呈現的宗教文創化以及現代時間性「除魅化」所產生的種種問題。本文 認為，當今所謂的宗教文創化所代表的並非是表面上意欲延續傳統文化 的思維，而是某種企圖將傳統宗教世俗化、娛樂化、以及奇觀化的策 略。更精確地說，宗教文創化所指向的並非是所謂的傳統風骨延續，而 是馬克斯所言之異化（alienation）與資本化，以及此異化後的資本如何 整合、收編於國家機器與全球資本主義的體制與時空性之中。藉由將傳 統所具備的時間性文創化，宗教所具備的傳統時間性便能成為符號（文 化資本）而具備交換價值，而企業、商家、地方、甚至是國家便成為了 文化生意的資本家，各取所需。筆者擬由上述問題意識出發探討臺灣電 影《陣頭》（2011）中的宗教文創化現象及其限制。《陣頭》此一文本的 重要性在於其對於傳統宗教形式（陣頭）的呈現恰恰服膺了當代臺灣文 創風潮的迷思，而其在票房上的亮眼成績也說明了其嫁接於當代娛樂工 業的有效性和作為商品的高獲利性。文章分為兩部分：第一部份討論當 代臺灣官方的文創意識形態以及其在臺灣社會所引發的各式論戰。第二 部分則以《陣頭》為文本，進一步剖析宗教文創化在援引現代時間性除 魅化過程中所衍生的種種問題。

Taking the hit movie Ding Tao as the text of analysis, the paper aims to examine the hotly debated issue of Cultural and Creative Industry in contemporary Taiwan by taking a look at the problems generated in the incorporation of traditional religion by that industry and its relation to the disenchantment of traditional time in the process of modernization. The paper suggests that the purpose of encouraging the incorporation of traditional religion into Cultural and Creative Industry in contemporary Taiwan is not simply an attempt to preserve traditional religion in its own right but a strategy adopted to secularize it by turning it into a spectacle for capitalist consumption and entertainment. This incorporation actually aims to alienate traditional religion by turning it into capital, which will further facilitate its smooth integration into the global capitalist economy and easy co-optation by the state apparatus. In this way, pre-modern temporality embodied by traditional religion is thereby capitalized and equipped with an exchange value to be circulated and profited by local communities, shops, industry, and nation state. This paper aims to tackle the problematic outlined above by taking the movie Ding Tao as a case in point for discussion. This movie is suitable for the purpose at hand, for its representation of traditional Taiwanese religious practice (ding tao) foregrounds the myth of Cultural and Creative Industry in contemporary Taiwan, and its successful box office sales also proves itself to be a competent commodity for the entertainment industry on the competitive market. The paper is divide into two parts. The first part discusses the ideology of Cultural and Creative Industry in Taiwan’s cultural policy and the subsequent debates on the issue. The second part addresses the problematic of “the disenchantment of traditional religion” by modern temporality and the ideology of Cultural and Creative Industry in the movie Din Tao.