本論文主要目的在探討，工作十年以上之在職中生代優秀之專業主播，受過高等教育，在新聞界有一定之定位，為什麼選擇轉職？轉職的真正原因為何？本文研究目的有三： 一、瞭解電視新聞主播轉職原因； 二、探討哪些內部因素與外部因素導致主播轉職； 三、分析主播轉職後之斷層危機。 在瞭解內部因素與外部因素為何後，分析新聞主播在目前職場環境是否面臨斷層危機，接下來，造成轉職的主要動機。因此本研究發現如下： 一、轉職主播對媒體生態環境感到失望； 二、內部因素與外部因素的不認同： (一)外部因素：組織因素的介入 (二)內部因素：自我價值認同不夠 三、實務界的危機：中生代主播式微造成主播界的斷層與人才流失。 本研究係透過深度訪談法，訪問五位已轉職主播與兩位在職主播，進而得到上述研究發現。 / The purpose of the subject is to study the real reason why the anchors of TV news reporter who are with higher education and have settled down in the News Field for more than ten years, and decided to redirect their careers to something else? There are three approaches: 1.Understanding the circumstances of transferring 2.Researching the internal and external factors 3.Analyzing the risk of changes and challenges In light of internal and external concerns, it is the issue that we are confronting against with whether there is a supply shortage in the profession of Anchorpersons and the current working conditions of the press; subsequently , if might also cause the Anchorpersons’ career transformation. The followings are the disclosures: 1.The disappointment of media behavior and environment 2.The disagreement between internal and external system exchanges: (1) Outside factor: functional involvement (2) Inside factor: higher self-value 3.The risk of system construction: The disconnection and skill lost in the middle generation of the prime anchors in the TV news field. The above result comes from a constructive interview to five news reporters who have been transferred to the other business fields as well as two from the current news anchors.

科技影響電視新聞產製流程，種種新科技的發明給電視新聞製作人員帶來了觀念、知識及技術上的衝擊不斷。台灣新聞台競爭激烈，為因應類比技術淘汰後數位技術的發展，民視、東森、大愛、年代、三立及TVBS都朝非線剪輯及無帶化發展，能將一支新聞完成帶同時提供二個以上的頻道使用，減少帶子播出的錯誤率。研究者曾為TVBS資深導播，長期親身參與新聞台數位化過程，記錄了導播知能與觀念的改變與因應方法，本文也期盼透過深度訪談各台新聞導播，探討新聞導播角色的三個面向： 1、 新聞產製流程最後一道關卡的導播，數位衝擊前後的角色與知能。 2、 數位衝擊的過程中在技術及觀念上如何回應。 3、 未來導播們該如何在心理和角色認知上做調整？並提出導播未來養成訓練的建議。 / Technology has impacted the procedure of news production. Various new innovations have also contributed to concepts, knowledge and continuous influence of TV news producing workers. As a result, it has been competitive in Taiwan news field. According to the development of the digital technology after eliminating analogy techniques, non-linear editing and tapeless production are the goals to be achieved for many companies, such as Formosa TV, ETTV, DaAi TV, Era TV, SetNews and TVBS. Offering one piece of edited news to two or more channels to broadcast reduces the mistakes. As a researcher, I had been a senior director in TVBS. Moreover, not only had I participated the digital procedure but also recorded the awareness of a director, the change of any concept and the methods of adjusting and solving the problems, Through the profound interviews with many directors of different TV companies, It is expected that I would like to discuss three aspects of a news director: 1. Being the last inspector of the news producing. the director’s characters and awareness shift after digital impact, 2. How does a director response to the techniques and the concept during the process of digital impact? 3. How do the directors adjust their roles in mind? There are some suggested solutions in the future program for directors-to-be.

L’objectif de cette thèse est de recenser les critères qui permettent de donner sens aux oeuvres d’art contemporain dans l’espace public. Lors des conflits d’opinions, les protagonistes sont amenés à monter en généralité pour justifier leur point de vue, ce qui permet au chercheur d’avoir accès aux valeurs qui confèrent un sens à l’objet. Cependant, l’emprise du discours promotionnel du monde de l’art contemporain et les contraintes ayant transformé la critique d’art en un journalisme désengagé et consensuel rendent problématique la légitimité d’une critique négative dans l’espace public. L’enquête a d’abord porté sur les sujets développés par les journaux télévisés sur l’art contemporain afin d’appréhender les critères mobilisés par ce journalisme de communication qui tente de satisfaire la variété des valeurs admises par la société. Par la suite, les disputes des profanes sur le réseau social YouTube ont été analysées. Celles-ci donnent accès à une prise de parole libérée des contraintes du monde de l’art et du journalisme permettant à des critiques négatives de s’exprimer. Grâce à une sociologie des valeurs et une analyse du discours, il fut possible de typifier les arguments recevables dans l’espace public.Cette typification permet d’énoncer l’hypothèse que le sens politique donné à l’art désamorce, paradoxalement, la possibilité d’une polémique. Cette politisation de l’art favorise des critères d’évaluation des oeuvres dont la cohérence apparaît en considérant l’insolite comme une nouvelle catégorie esthétique commune à différentes pratiques culturelles. / The purpose of this thesis is to identify criteria to understand how contemporary artworks make sense in public space. When conflict of opinions happen, protagonists are led to rise in generality to justify their point of view, which allows the researcher to access at values giving a meaning to the object. However, the influence of the promotional discourse from the contemporary art world and the constraints that transformed art criticism in a journalism disengaged and consensual make problematic the legitimacy of a negative critique in the public space. First, the research focused on the subjects covered by newscast about contemporary art in order to understand criteria raised by this communication journalism that tries to satisfy the variety of accepted values by society. Then, disputes on the social network YouTube were analyzed. These give access to a speech freed from the constraints of the art world and journalism where the expression of a negative critique is possible. Thanks to sociology of values and a discourse analysis, it was possible to typify the receivable arguments in the public sphere. This patterning allows to state the hypothesis that the political meaning given to art defuses, paradoxically, the possibility of controversy. This politicization of art promotes evaluation criteria of artworks whose consistency appears considering the ‘‘insolite’’ as a new aesthetic category common to different cultural practices.

Made available in DSpace on 2014-06-11T19:24:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-09-28Bitstream added on 2014-06-13T19:51:06Z : No. of bitstreams: 1 leal_pmv_me_bauru.pdf: 1627255 bytes, checksum: 55fb934a268155edeb585e38239c7469 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa tem como objetivo: 1) investigar como são construídos os enquadramentos noticiosos televisivos no telejornalismo, por meio da análise comparativa de dois importantes telejornais brasileiros, sendo um de uma emissora comercial e o outro de uma público-educativa; 2) estudar o papel dos enquadres dos telejornais em um caso de violação dos direitos civis da cidadania. Para atingir tais objetivos, optamos por analisar o Jornal Nacional, a Rede Globo de Televisão, e o Jornal da Cultura de São Paulo, ambos veiculados no horário nobre da televisão brasileira. Definidos por Gitlin (1980, p. 6-7), os enquadramentos da mídia são padrões persistentes de cognição, interpretação e apresentação, de seleção, ênfase e exclusão, através dos quais os detentores de símbolos organizam de forma rotineira o discurso. Desta forma, enquadrar significa selecionar um aspecto de fato e satisfaze-lo, ao passo que as omissões podem ser igualmente fundamentais para conduzir a audiência. Para salientar os enquadramentos dessas emissoras televisivas distintas, escolhemos o caso do Morro da Providência, Rio de Janeiro, ocorrido em junho de 2008, que mostrou a participação do Exército na morte de três jornais e denúncia de propaganda política eleitoral feita por Marcelo Crivella. A análise mostra que os telejornais foram muito semelhantes e focalizam o aspecto informativo, não aproveitando este episódio para a educação cidadã dos brasileiros ou para reforçar os direitos humanos que foram violentamente violados / This researh aims: to investigate how the television news framing are built in broadcast news, through comparative analysis of two major Brazilian news programs, one from a commercial TV station and the other from a public TV station; 2) to study the role of the frames of the news programs during the coverage of a civil rights of citizenship violatin event. To achieve the goals, we chose to analyze the Journal Nacional, from Rede Globo TV, and the Jornal da Cultura, from TV Cultura de São Paulo, both running in the prime-time of Brazilian television. Set by Gitlin (1980, p. 6-7), media frames are persistent patterns of cognition, interpretation, and presentation, of selection, emphasis, and exclusion, by which symbol-handlers routinely organize discourse, whether verbal or visual. Thus, to frame means slecting a point of fact and highlight it, while the omissions may also be critical to conduct the audience. To highlight the frameworks of those different television stations, we chose the case of Morro da Providencia, Rio de Janeiro, in June 2008, which showed the involvement of the army in the deaths of three young men, and the reporting of political election propaganda made by Marcelo Crivella. The analysis shows that television news programs were very similar and focused on the informational aspect, not using this episode for the Brazilian citizenship education or to enforce human rights that have been violently violated

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-03-14T12:53:33Z No. of bitstreams: 1 arquivototal.pdf: 8607046 bytes, checksum: 27458efa5a2d7d92d8bdb7df6e8ea405 (MD5) / Made available in DSpace on 2016-03-14T12:53:33Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8607046 bytes, checksum: 27458efa5a2d7d92d8bdb7df6e8ea405 (MD5) Previous issue date: 2015-04-28 / This paper aims at investigating how digital technologies and TV spectators as contents producers affect the routines and the ways of news making at JPBI. We try to identify and understand the changes in the productive routines of this news bulletin with the aid of a conceptual dialogue among media phenomenon, convergence of media, ‘collaborative journalism’, ‘participative journalism’; use of mobile digital technologies and productive routines. To understand the scenery in which the productive routine is affected, the methodology of case study was used together with Ethnography, highlighting, however, that we do not intend to adopt the same accuracy in the description of the facts as Ethnography does. Qualitative data recollection techniques, like participative observation, semi-structured interviews and observation records or field diaries have been used in this work. It is assumed that the adoption of traditional processes of production, internet researches and commentaries sent spontaneously by viewers or stimulated by the production of the program, configure production routines. The JPBI’s production routines benefit from the collaboration of viewers as long as this process engenders a criterion of relevant noticeability to the profile of the service provider of this television news program, that is, ‘viewer’s visibility’; this process is guided by the producers and the mediators of JPBI based on patterns of a certain ‘contact zone’ with rules and regulations dictated by this program. As a way to meet the demands of a professional Master degree, more than a problematic analysis, what we also try to do is to prospect the mobile TV news JPB which was developed by the researcher during her study, with the intention of improving the practice of inclusion of the viewers in the processes of production of a “collaborative journalism”, that is, with a large and effective participation of the viewers in all stages of its production. / Investiga-se nesta pesquisa como as tecnologias digitais e os telespectadores, como geradores de conteúdos, afetam as rotinas e os modos de construção da notícia no JPB1. Procura-se identificar e compreender mudanças nas rotinas produtivas desse telejornal com o auxílio de um diálogo conceitual entre fenômeno da midiatização, convergência entre mídias, “jornalismo colaborativo”; “jornalismo participativo”, uso de tecnologias móveis digitais e rotinas produtivas. Para compreender o cenário das afetações das rotinas produtivas, adota-se a Metodologia de Estudo de Caso, procurando aproximação com a Etnografia, ressalvando-se, contudo, que não se pretende adotar com rigor a descrição dos fatos em nível de Etnografia. Utilizam-se técnicas de coleta de dados qualitativas: observação participante, entrevista semiestruturada e registros de observação ou diário de campo. Pressupõe-se que as rotinas de produção se configuram com a adoção de processos tradicionais de produção, pesquisas na Internet e absorção de materiais enviados pelos telespectadores espontaneamente ou por estímulos da produção do programa. As rotinas produtivas do JPB1 são submetidas à colaboração dos telespectadores, na medida em que esse processo gera um critério de noticiabilidade relevante para o perfil de prestador de serviço desse telejornal: “visibilidade do telespectador”; sendo esse processo “guiado” pelos produtores e mediadores do JPB1 nos moldes de uma “zona de contato” com normas e regras ditadas por esse telejornal. Como forma de atender as demandas de um mestrado profissional, para além da análise da problemática, procura-se prospectar, descrevendo o JPB Móvel, produto criado pela pesquisadora para o telejornal em questão no interstício do mestrado, com a intenção de avançar nas práticas de inclusão dos telespectadores nos processos de produção de um “telejornalismo participativo”, ou seja, com participação mais ampla e efetiva do telespectador em todo o processo produtivo.

The diploma thesis deals with the role of a television news anchorman/woman. It focuses on the origin of the anchorman, the main and characteristic professional prerequisites, and the differences between the anchormen of public and commercial television. The primary role of the moderator is to inform about current events. But in the same time be objective, neutral, and trustworthy, and leave a way expressing one's own emotions. However, these values may differ as to the television broadcasting system. As part of his role in television, they can be a suitable element in media self-presentation. The thesis focuses on work with commercial and public television, analyses the emotional and professional aspects of his work and his contribution to the creation of news programs. The research is also carried out among the public, which enables the main characteristics and functions of moderators.

根據過去研究發現，電視新聞已成為台灣地區民眾主要的消息來源，而轉型期的台灣 社會，各種不同層面的社會衡突正與日俱增，電視以其社會公器的本質所提供的公共 議壇，如何在有限的時間內，讓社會上各種聲音都有機會出現在新聞中，這就牽涉到 消息來源選取的問題；此外，電視媒介對消息來源所作不同程度的處理，亦是一種社 會權力的展現，有其重要的社會意義。 本研究乃以電視新聞中的爭議性新聞為對象，研究新聞中之消息來源以及對於消息來 源的處理方式，並藉此探討不同特性之消息來源的言論導向。 本研究共分四章，約五萬四千字。第一章為研究動機、目的以及文獻探討。第二章為 研究方法，詳述其抽樣與內容分析之類目建構。第三章為研究結果報告。第四章則對 結果提出討論與建議，並說明其研究限制。

數位時代社群媒體的應用，大大改寫媒體生態，21世紀初接連發生在北非、中東的抗議活動，Facebook、Twitter等社群媒體更發揮重要傳播作用，甚至成為政治運動的催化劑，國內外各大新聞組織也開始將這些被社交媒體平台大量分享、轉發的用戶生成內容 (UGC, User-generated content)重製後進行傳播，尤其是發生抗爭等社會運動、人為或意外現場等事件，因為時效性的關係，記者不能第一時間趕到，目擊者手機拍攝的影片或現場監視錄影器的畫面，往往成為重要新聞素材。 　　對於國內外新聞組織尤其是電視台來說，動態影片更同時具有吸引力與新聞說服力，新聞機構如何使用UGC資源，及其日漸普及的趨勢，則同時引發正反兩方意見，除了樂見其協助社會問題發聲，擴展公民參與，甚至打破新聞編輯室權威，讓媒體更加民主化之外；另方面卻也擔心降低新聞標準，尤其截稿時間，更增加電視台新聞記者判斷影片真偽的求證壓力，過度使用也可能造成媒體過度依賴社群媒體資源，瑣碎化的UGC甚至戕害新聞公共領域的發展。 　　本研究試圖剖析電視新聞使用來自目擊者或網友的第三方影音素材(TPV, third party video)的頻率與原因，研究分成兩步驟，首先選舉一家地面電視台一個月的prime time新聞，作為研究樣本，進行內容分析，以量化研究分析電視新聞如何應用TPV素材，研究樣本數共1825則；同時以質化研究中的深度訪談，訪問該電視台的文字、攝影記者，以及新聞室負責調度的大編輯台主管與編輯共九人，透過量化與質化的研究方法，來探究電視台採用TPV素材的動機、意願、標準與目的。 / The media ecology has been rewritten to a great extent by the application of social media in the digital age. In the 21st century, social media has even become a catalyst of social movements as Facebook and Twitter play an important role in disseminating the news on protests which commonly take place in North Africa and the Middle East. In fact, large news organizations at home and abroad have begun to reproduce and broadcast User-generated contents (UGC) that are greatly shared and forwarded on the social media. This applies especially to incidents such as social movements, including protests, and accidents. The video taken by an eye-witness’ mobile phone or the recording of an on-site surveillance camera has often become important news material due to timeliness of the news and the fact that reporters cannot arrive at the scene on time. According to foreign and domestic news agencies, especially TV stations, video is both appealing and persuasive as news materials. The growing popularity of UGC and the approach to make use of such resources have led the emergence of positive and negative viewpoints. It would be delightful to see the voicing-out of social problems through UGC since it could increase citizen participation. UGC could even lead to a breakthrough from pressroom authority, thus creating a more democratic media. However, UGC could also lower the news standard especially when there’s a deadline to meet. Furthermore, it could pile pressure on news reporters as they try to determine the authenticity of the video. The excessive use of UGC could lead to the media’s over-reliance on social media resources. The fragmentary nature of UGC could also be harmful to the development of news media at the public domain. The study attempted to analyze the purpose behind a TV station’s adoption of eyewitness/netizen-provided third-party video (TPV), as well as its frequency of use. The study was divided into two steps. First, research samples for content analysis were collected through a selection of one month’s worth of news reports that were broadcasted by a terrestrial station at prime time. A total of 1825 samples were studied through quantitative research and analysis with regard to the application of TPV by TV news. At the same time, in order to explore a TV station’s motivation, willingness, standard and the purpose in applying TPV, qualitative research was conducted through an in-depth interview with nine representatives from the TV station. This group included journalists, cameramen, editors and seniors who were responsible for ordering daily news in the Newsrooms.

Made available in DSpace on 2016-04-26T18:18:19Z (GMT). No. of bitstreams: 1 Mariana Pimenta Cama.pdf: 1094285 bytes, checksum: feaea7b876b6d9926947835492557d27 (MD5) Previous issue date: 2009-10-23 / The current research intends to reflect in a critical manner about the ways of representation of criminality on audiovisual media, especially on television. The target of this analysis is to point out media processes that highlight and exemplify the way crime is turned into a spectacle, reconfiguring narrative formats of police drama and news currently active. When it comes down to representing images of violence and criminality, the audiovisual media culture has been showing two main slopes: the news that incorporates construction elements typical of soup operas, and the fictional program that intends realism, showing the routine of police in action in big urban areas. Under the eye of speculation promoted by news media, two cases will be analyzed, which took place in 2008: the case of Isabella Nardoni and the young girl Eloá Pimentel, exhaustingly reproduced and detailed on the internet. In the thin line of the crime-spectacle in the universe of fiction, we ll analyze the narrative of TV series CSI: Crime Scene Investigation, highlighting the episodes "Grave Danger" and "Monster in a box". From the methodic point of view, the research bases itself on the audiovisual analysis provided for television and in its versions for Internet and DVD, willing to investigate the connection between the subject in question and the visible object, interpreting the spectator as a morbid voyeur. From the theoretical point of view, the research lays on "real shock" concept by Beatriz Jaguaribe, on the hypothesis of intimacy spectacle by Paula Sibilia, presented on O Show do Eu: a intimidade como espetáculo", and on the "A Sociedade do Espetáculo" by Guy Debord. The arguments concerning the News are anchored by work of Eugênio Bucci and Maria Rita Kehl, "Videologias". The reflexion regarding the spectator with violent images is based on the work by Susan Sontag, "Diante da dor dos outros", and on the works of Arlindo Machado, "A Televisão levada a Sério" and "O Sujeito na Tela". In the end, it is concluded that the persistent shocking images that infest the many diverse ways of informational communication operate through contagious systems, which lead to dramatization elements of the journalism of the real for the fictional and spectacle of crime for the News universe, on television and internet / A presente pesquisa pretende refletir de forma crítica sobre os modos de representação da criminalidade nas mídias audiovisuais, em especial na mídia televisiva. O objetivo da análise é apontar processos midiáticos que evidenciem e exemplifiquem o modo como o crime é transformado em espetáculo, reconfigurando os formatos narrativos de dramas policiais e do telejornalismo vigentes. A cultura das mídias audiovisuais, no que diz respeito à representação das imagens de violência e criminalidade, vem demonstrando duas vertentes predominantes: o telejornalismo que incorpora elementos de construção típicos das telenovelas e a programação ficcional que se pretende realista, retratando o cotidiano da polícia em ação nos grandes centros urbanos. Sob a ótica da espetacularização promovida pela mídia jornalística, serão analisados dois crimes ocorridos no ano de 2008: o caso da menina Isabella Nardoni e o da jovem Eloá Pimentel, fartamente reproduzidos e detalhados na internet. No que tange ao crime-espetáculo no universo da ficção, analisaremos a narrativa seriada televisiva CSI:Crime Scene Investigation, com destaque para os episódios "Grave danger" e "Monster in a box . Do ponto de vista metodológico, a pesquisa baseia-se na análise dos audiovisuais concebidos para televisão e em suas versões para internet e DVD, a fim de investigar a relação entre o sujeito vidente e o objeto visível, entendendo o espectador como voyeur-mórbido. Do ponto de vista teórico, a pesquisa apoia-se no conceito de "choque do real" de Beatriz Jaguaribe, na hipótese de espetacularização da intimidade de Paula Sibilia, apresentada em O show do eu: a intimidade como espetáculo" e na obra "A sociedade do espetáculo" de Guy Debord. As discussões sobre telejornalismo são ancoradas na obra de Eugênio Bucci e Maria Rita Kehl, "Videologias". A reflexão sobre a relação do espectador com as imagens de violência baseia-se na obra de Susan Sontag, "Diante da dor dos outros", e nas obras de Arlindo Machado, "A televisão levada a sério" e "O sujeito na tela". Ao final, conclui-se que as insistentes imagens de choque e violência que assolam os mais diversos meios informacionais de comunicação operam por sistemas de contágio, que levam elementos da dramatização do real do telejornalismo para o universo ficcional e de espetacularização do crime para o universo do telejornal, na televisão e internet

本論文的研究目的在探討影響電視新聞編輯編排的因素，以及24小時新聞台編輯因應這些因素發展出來的編排策略。依照Shoemaker〈1991〉所提的影響守門人因素的五個層次，包括個人層面、常規層面、組織層面、媒介外層面以及社會文化層面，作為分析架構，藉此了解電視編輯對於各層面的因素對其影響的程度，問卷調查總計訪問了127位新聞台的編輯人員，再針對問卷調查的分析結果，以深度訪談的方式訪問7位編輯人員。研究結果發現個人層面對新聞台編輯的影響主要包括：編輯在新聞價值判斷上偏重新聞的話題性及畫面的精采度；而越年輕、職務越低的編輯再編排新聞時越容易受到個人喜好影響；另外「獨家新聞」無論其新聞價值性如何，編輯普遍都盡量會排播。 常規層面部分，最主要影響的因素是「時間」面向，包括到帶時間及新聞播出的時間篇幅限制；而編輯負責的編排時段也會影響新聞的選擇，如是「黃金時段」新聞選擇較多樣化，「一般時段」就會考量「消化」新聞；而編輯一次負責編排的時數也會影響新聞的重複率；另外，晚夜時段編輯較早午時段編輯不偏愛SNG連線。編輯通常會選播做新聞品質較有口碑的記者的新聞；另外，編輯普遍認為一則普通新聞長度最好不要超過90秒；而平衡報導的操作模式已內化在編輯的操作模式中。 組織層面部分，部份編輯認為電視台屬性確實會影響其編排；而年紀輕、資歷淺、職務低的編輯也較會受到長官指示編排新聞；在「以編領採」的新聞室內，其新聞製作及編排方向越會以收視率為導向；而組織文化會影響編輯對於新聞品質的要求；本研究也發現組織獎懲對於編輯編排的影響不大。 媒介外層面部分，有93.7%的編輯認為其編排時會考量收視率，而且教育程度越高、年資越久的編輯影響越高，顯示收視率已逐漸內化成編輯判斷新聞的實考模式，而且前一天的收視率對於新聞規模及擺放位置有關鍵性指標；在禁止「每分鐘收視率」之後，編輯通常是以新聞區塊或新聞節奏思考觀眾喜好的趨向。另外被要求編排「業配新聞」對編輯而言是習以為常的事，通常編輯會將之排在新聞的最後，或依照業配新聞的性質隱藏在其他新聞之間。另外年紀越輕、資歷越淺、職務越低的編輯越容易受到其他媒體議題設定的影響；而本研究也發現，編輯是電視新聞「跟報風」的推手之一。 在社會文化層面，編輯認為若社會環境趨勢也是影響其編排的重大指標。另外編輯也認為馬賽克、消音等製播限制有逐漸增加趨勢，甚至在編播上有自我更加限縮的情況。本研究也發現，媒體自律隱隱成形，對於暴力、色情、自殺新聞的選擇並沒有放寬，尤其是自殺新聞基本上不選用。 比較五個層面的影響程度，編輯普遍認為媒介外層面是最主要的原因，其次為個人層面、接續是社會層面、組織層面及常規層面。 關於編輯編排策略上，研究發現編排模式會融合固定新聞模式及議題分散模式為主；編排節奏也趨於緊湊；新聞編排的重複率降低。除了TVBS恢復「整點開播」之外，其他新聞台仍是提早開播，因TVBS「整點開播」模式對其他台的收視率無明顯受衝擊，因此其他台均認為沒有跟進的必要。「短廣告」策略出現，其目的是為了減低觀眾廣告轉台機率，並且分散每段廣告時間的廣告量；此策略目前僅TVBS使用，其他台為跟進的原因是考量其觀眾的收視習慣不同。本研究也發現監看友台而調動新聞順序的頻率減少；並且插播新聞也已非隨到隨播；另外「假連線」已成目前新聞台的製播常態。 / This thesis aims to investigate the factors affecting TV news editing and the responsive strategy developed by editors in 24-hour news channel. It adopts Shoemaker’s (1991) five levels of gatekeeping decisions and forces, including individual, communication routines, organizational, extramedia, and social system level. Based on this analytical framework, the research was conducted by survey of 127 editors which was followed by in-depth interview of 7 editors. The research findings can be summarized into the five levels respectively. On individual level, editors preferred to evaluate news with the extent of controversy and excitement; the younger and lower-positioned editors were more easily to be subjective in editing news. Furthermore, “exclusive news” enjoyed higher priority to be broadcast regardless of its news value. On communication routine level, the influential factors are “time-related”. First, editors were concerned about the timing of videotape arriving and limited length of broadcasting time. Second, the session for which editors were responsible was also important. The news was more diversified in “prime time”, but more repetitive in “general session”. Third, editors of morning and noon sessions were more likely to conduct SNG connection than editors of late night session. Fourth, editors preferred to broadcast the news reported by reporters with fine reputation. Moreover, the consensus among editors was that general news should not be longer than ninety seconds; the principle of balanced report has been internalized in editors’ operational model. On organizational level, interviewees agreed that attributes of the channel and organizational culture were more consequential than reward system in news editing. The younger, lower-positioned, and junior editors were more likely to follow instructions from supervisors. Generally, the producing and editing of news were rating-oriented. On extramedia level, 93.7 per cent of interviewees would consider rating in news editing, especially the more educated and senior editors. This result indicated that rating has been internalized as the standard of editing. Specifically, the pridian rating is critical in deciding the length and placement of news in the following day. However, after the “rating per minute” was prohibited, editors inferred audience preference from news zone or news rhythm. Furthermore, “product placement” was placed in the end of or among other news according to its characteristics. This study also found that editors partook in promoting the trend of “follow suit” TV news. On social system level, editors thought that the social trend was critical in editing news. Some editors considered that constraints of broadcast such as blurring and muting were increasing which made editors more self-limited. This study also found that media self-regulation was in shape. The news about violence, pornography, and suicide were highly restricted or even abandoned. Based on interviewees’ response, the five levels can be listed in order of the extent of influence. The primary factors were on extramedia level which followed individual level, social system level, organizational level, and the communication routine level. This study found that editing strategies include: combination of fixed news model and issue diffusion model, tighter schedule, lower rate of repetition, and “short advertisement”. The last one was only used by TVBS channel in order to keep audience stay tune and to dilute quantity of advertisement in every intervals. TVBS was the only channel resuming “on the hour” news. Since this broadcast model had no significant impact on TV rating, other channels remained broadcasting a few minutes earlier. Last but not least, this study also found that “fake connection” has been commonly used and emergency news would not be broadcast on time. Fewer changes of broadcasting order due to monitoring news of other channels.