本研究立足于两岸文化交流的大背景之下，聚焦对台传播中的流行文化现象，围绕这一跨地域影视文化传播过程所涉及的诸多主体、路径和受众展开研究。本文系统梳理了三十余年来大陆电视剧在台湾地区的传播过程，并将之划分为三个特点迥异的历史阶段：20世纪90年代、21世纪初、2010年至今。在此基础上，本文采用传播政治经济学的分析框架，对大陆电视剧在台湾地区传播的两大主体——电视台（台湾无线电视台、台湾有线电视台）和互联网平台（以爱奇艺为代表的大陆地区视频网站、以Netflix为代表的国际流媒体平台）分别展开考察。通过问卷调查、参与式观察、焦点小组和深度访谈，本文对大陆电视剧在台湾地区的传播进行了受众研究，陆剧的台湾观众群体已经完成了从小众到主流的历史变迁，在偏好剧集题材上呈现出更加丰富多元的取向。同时，互联网技术带来的媒介行为代际差异也在逐渐显现，新生代陆剧观众呈现平台化分流和碎片化收视特征，在争夺这一收视群体时大陆电视剧遭遇了来自全球的影视文化产品竞争。在分析大陆电视剧对台湾社会造成的文化影响时，本文以文化研究取向选择了“集体记忆”和“文化认同”概念，阐释大陆电视剧如何以文化为锚点深入台湾日常生活，以审美与品味上的“表同”促进情感与心理上的“趋同”。同时，大陆电视剧以数字技术加持为传统文化和集体记忆带来保存、创造以及有效传播的新可能，也给两岸的持续交流带来了新的契机。此外，在以观看、讨论影视剧等跨两岸的群际互动实践中，两岸民众不断进行共有知识生产，形塑新的群集意义系统，弱化彼此差异性的知识存在，实现了文化的包容性弥合，建立起意涵丰富的两岸文化认同。总得来说，本研究选择了对台传播领域“大陆电视剧在台湾地区传播”这一前人研究较少的主题，在当前两岸对话空间日益萎缩的背景下，从文化认同层面对这一传播学现象加以考察，进行了详尽的史料梳理和数据补充，研究结论涉及到台湾地区对于祖国大陆的想望与集体记忆、迁台外省族群的身份认同与变迁、台湾地区在意识形态中建构的祖国大陆形象、两岸亲缘关系与情感共同体等重要议题，具有一定的学术意义和政治意义，同时，大陆电视剧在台湾传播的经验也为中国影视产品的进一步对外传播提供了一定借鉴。

This study is based on the background of cross-strait cultural exchanges, focusing on the popular cultural phenomenon of the spread of mainland TV dramas in Taiwan since the 1990s. It focuses on the many subjects, paths, and audiences involved in the cross-regional film and television cultural dissemination process. By examining the local TV industry profile and the history of foreign drama introduction in Taiwan, combined with the dissemination characteristics of mainland TV dramas entering Taiwan in different periods, this article systematically reviews the dissemination process of mainland TV dramas in Taiwan over the past three decades, and divides it into three distinct historical stages: the 1990s, the early 2000s, and the period from 2010 to the present. On this basis, this article uses the analytical framework of communication political economy to examine the two main subjects of mainland TV dramas in Taiwan: Taiwan's wireless TV stations and cable TV stations, as well as the Internet platforms represented by iQIYI and Netflix. Through questionnaire surveys, participatory observation, focus groups, and in-depth interviews, this article conducts an audience study on the dissemination of mainland TV dramas in Taiwan. The Taiwanese audience group of mainland dramas has completed a historical transition from niche to mainstream, showing a more diverse and enriched orientation in terms of preferred drama themes. The female theme has surpassed the social differences between the two sides of the Taiwan Strait, completing the same theme writing and intertextual imagination of feminism. The family theme has firmly grasped the middle-aged and elderly male market, allowing Taiwanese audiences to resonate in their daily aesthetic process. The costume drama theme has surpassed the visual spectacle stage, and through value transmission and emotional resonance, it has taken on the mission of constructing cultural identity. The realistic theme shows a vivid and authentic image of China, and builds a "emotional community" under the perspective of civilians. At the same time, the intergenerational differences in media behavior brought about by Internet technology are gradually emerging. The new generation of mainland TV drama audiences presents platform-based streaming and fragmented viewing characteristics, and in competing for this viewing group, mainland TV dramas encounter competition from global film and television cultural products. When analyzing the cultural impact of mainland TV dramas on Taiwan society, this article chooses the concepts of "collective memory" and "cultural identity" from a cultural research perspective to explain how mainland TV dramas use culture as an anchor to deeply engage with Taiwanese daily life, unite common consciousness, bond "circle" divisions, and allow people on both sides of the Taiwan Strait to return to the interaction of "daily life", promoting emotional and psychological "convergence" through aesthetic and taste "sympathy". At the same time, the digital technology blessing of mainland TV dramas has brought new possibilities for the preservation, creation, and effective dissemination of traditional culture and collective memory, and has also brought new opportunities for sustained cross-Strait exchanges. Through "repetition" and "individual interaction", it strengthens collective "bonding", and thus forms collective memory, evokes cultural memory, and builds historical and national memory. In addition, in the practice of cross-Strait intergroup interaction such as watching and discussing TV dramas, people on both sides of the Strait continue to produce shared knowledge, shape new systems of group meaning, weaken the existence of different knowledge, achieve cultural inclusiveness, and establish a rich cross-Strait cultural identity. In general, this study chooses the topic of "the spread of mainland TV dramas in Taiwan" in the field of Taiwan-related communication, which has been less studied by previous researchers. Against the backdrop of the shrinking space for cross-Strait dialogue, this study examines this communication phenomenon from the perspective of cultural identity, and conducts detailed historical research and data supplementation. The research conclusions involve important issues such as Taiwan's desire and collective memory for the mainland of China, the identity and changes of migrant provinces in Taiwan, the image of the mainland of China constructed in Taiwan's ideology, and the relationship and emotional community between the two sides. It has certain academic and political significance. At the same time, the experience of mainland TV dramas spreading in Taiwan also provides a reference for further external communication of Chinese film and television products.