在本論文中，我們試圖回答「為何在有政府干預及扶助的狀況下，台灣電影產業還會如今日一般蕭條？」。要回答這個問題，我們必須先瞭解電影市場的邏輯以及政府干預的邏輯。
回顧電影產業及電影市場現況後，我們發現全球電影市場是按home market effect此一經濟學邏輯運作的：本地市場大的企業比本地市場小的企業有利，所以好萊塢電影業處在最有利的位置上。
我們並分析了不同場合中的不同政府干預手段，發現干預發生與否的條件是看該對象是否存在於政府的意識範圍之內，若否，則即使該對象面臨危急存亡政府也不會出手干預。另外，干預的本質其實是支配與反支配的邏輯，是一種政治力的施行。
我們也根據干預對象的數目及身份差異區分出兩種干預形式：(1) 有限特定(2) 無限不特定。這兩種干預形式的差異在於其對象範圍不同。
藉由觀察美、日、法、韓、台這些國家的例子，我們知道對沒有實行或只有實行少數電影政策的國家可用home market effect的理論解釋；而電影政策理論則可用於解釋以干預手段對抗home market effect的國家；政治經濟學理論則描述了霸權如美國在遇到他國使用干預手段意圖反支配時會作出何種反應。
我們並根據法國與韓國的模式列出一張可能可以改善台灣電影產業的干預手段清單以供台灣政府參考。
最後我們分析了為何台灣政府之前沒有實行這些干預手段的原因：(1) 受到美方壓力 (2) 電影「產業」並不在政府的意識範圍內 (3) 電影產業因其中小企業性格而自己拒絕。

In this thesis, we propose a question that why would the cinema market in Taiwan be in its current deserted state as there does exist some government intervention and support? To answer this question, we first need to know the logic of cinema and the logic of intervention.
After reviewing the movie industries and the cinema market of its current state, we found that the world cinema market operates on a basic economic logic called “home market effect”, which makes companies reside within a larger home market will be advantageous to their counterparts in a smaller home market.
And we examined different government intervention schemes in different situations. We found that whether or not an intervention will take place depends on whether the concerning matter is in the conscious scope of the government or not. If one thing is not in the conscious scope of the government, it will not intervene even if that thing is in immediate jeopardy. In addition, the true essence of intervention is actually domination and anti-domination, which in turn is a mode of political power exertion.
We also identified that there are two types of interventions, judging by the number and identity of the subjects, (1) limited and specific, (2) unlimited and non-specific. Identification of these two types is based on the scope of intervention.
By observing the example countries, we now know that the economic theory of home market effect could be used to provide explanations on cinema market status of a country which employs little or no film policy, while policy explanations of intervention could be used to interpret countries which engage intervening measures to antagonize home market effect. And the political economy theories depicted what a hegemony will do as it encounters anti-domination interventions stated above.
In the end we sorted out a list of possibly beneficial cinema market interventions based on French and Korean models for Taiwanese government to consider for application.
Finally we identified that the reason for Taiwanese government did not deploy these intervention measures because of (1) pressure from the U.S. (2) not having film “industry” in its conscious scope and (3) some movie businesses objected themselves.

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