近年金馬獎頒獎典禮後，除了星光熠熠的影人、得獎落馬影片發燒議題外，必然反覆上演的橋段有二，其一為從臺灣當年度入圍、獲獎情形，檢討臺灣電影產業是否衰微，以及金馬獎是否向大陸文化輸誠，而有自我矮化之疑慮；其二則是在獲獎陸片因普遍不為國人窺見，引起對大眾對於大陸電影進口配額制度妥適性的疑竇。固然，陸片配額制之文化治理爭議連年蔚為話題，然而，放諸國內相關文獻，卻著墨者希。筆者認為無論就業界實務之文化產業經營面向，抑或國家文化政策的擘畫，均有梳理與檢視此制度之必要。因此，本文擬以陸片配額制的法理分析為中心，並依次探討議題如下：(一)以歷史回溯研究之方式，探尋陸片配額制度之法源與沿革；（二）由電影政策的政治、經濟與文化連動關係，進一步剖析陸片配額制的形成理由與影響；（三）回顧司法實務案例，分析陸片配額制的運行結果，是否仍能切合政策目的？以及在文化傳播效果上，會產生何種疑慮。本文目的即在透過此等縱橫交錯的分析，理性省思陸片配額制於現今社會之意義。

“Cultural space” is an important concept which caused the birth of the “Convention for the Safeguarding of Intangible Cultural Heritage”, and put more attention to the intangible value of the world heritage site. “Cultural space” is the pivotal element connecting the cultural and intangible heritage, and emphasizes the interdependency and symbiotic relationship between tangible and intangible heritage. The aim of this paper is focused on the important role of “cultural space” played in the process of the promotion of intangible cultural heritage protection. Through probing into documents from the “Proclamation of the Masterpieces of the Oral and Intangible Heritage of Humanity” to “Convention for the Safeguarding of Intangible Cultural Heritage” and derived related discourses, the innate quality and significance could be revealed. The concept of “cultural space” could help us rethink about the holistic extent and strategy of the protection of the cultural heritage.