本論文旨在探討當代文化全球化的趨勢下，在地文化如何在全球流行文化的操作中被挪用、重組與重新包裝，使其可以在跨國的流動中具有吸引力。論文中以杜林（Simon During）所提出「全球流行」（the global popular）的概念出發，以四部與「全球好萊塢」（global Hollywood）的運作模式有關，且十分賣座的電影為例。目的在說明文化全球化的趨勢下，這些雜揉不同跨國文化元素的電影，如何再現文化身分（cultural identities），讓原本看起來地域侷限的文化表現，可以在全球的流通中被想像。
在文化全球化中，全球流行文化常以「差異性」（difference）標榜文化商品的特殊性，藉此殺出全球流行文化的競爭重圍。本論文處理二○○○年後在好萊塢（Hollywood）的機制下，透過跨國合作生產的四個電影文本。論文中第一章以兩部《BJ單身日記》為例（Bridget Jones’s Diary與Bridget Jones: The Edge of Reason），說明以好萊塢再現邏輯的浪漫喜劇如何重新包裝「英國性」（Britishness）討好全球觀眾。第二章與第三章則以李安的兩部電影為例，分別是《斷背山》（Brokeback Mountain）與《臥虎藏龍》（Crouching Tiger, Hidden Dragon），說明《斷背山》如何以美國西部文化為基礎再現同志議題，並在全球市場奏捷，其背後操作全球與在地想像的邏輯為何？而武俠片《臥虎藏龍》在全球廣受歡迎之餘，令人好奇的是李安如何再現華人世界中的武俠文化，賦予原是地域性十足的文化具有跨國的吸引力。
乍看之下，這四部作品似乎沒有必然連結的關係，然而這四部影片代表的是千禧年以來好萊塢電影工業在窮途末路下，透過跨國合作、尋找其他文化素材的例證。上述的電影文本不斷在東方與西方之間、在保守與開放之間，混搭早已行之多年的文化傳統，重新包裝成為當代文化全球化的炙熱商品，其背後所隱藏的文化身分如何得以被跨國想像正是本論文所要探討的重點。

Simon During speaks of the “global popular” in “Popular Culture on a Global Scale: A Challenge for Cultural Studies?” Many “local” cultural products, he maintains, have aimed at the global market and have succeeded in becoming popular in many parts of the world: this is the “global popular.” In this dissertation, I investigate three cases of the complex and paradoxical relationship between cultural globalization and the global popular with the aim to account for their specificity and global appeal as the global popular.
The texts selected here for illustrating the linkage between the global and the local represent three national frameworks of culture—British, American and Chinese. Based on the plot of Jane Austen’s Pride and Prejudice, two Bridget Jones films, Bridget Jones’s Diary (2001) and Bridget Jones: The Edge of Reason (2005), are two romantic comedies associated with British culture. Ang Lee’s Brokeback Mountain (2005) tells a romantic tragedy whose significance is anchored in the ideological sense of the American West as well as the iconological sense of the cowboy image. Finally, Crouching Tiger, Hidden Dragon (2000), another film directed by Lee, is a Chinese martial arts film mixed with drama and romance in its plot. Despite the fact that these filmic representations are recognizably structured in specific cultural contexts, they are, incidentally, texts which have already become the global popular in During’s sense.
My attempt here is to investigate the global popularity of these texts and then to prove that During’s concept of the global popular is inadequate to account for how these filmic texts play with “cultural differences” as a global Hollywood’s strategy to create global appeal out of the always already existing cultural heritage.

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