看電視新聞，到底看哪裡？除了聽聲音之外，我從電視新聞鏡面裡，可以看到什麼我想要得到的訊息？有天氣、有時間、有不斷在往左跑的跑馬燈、有新聞大標、新聞說明、和播報這一則完全無關的新聞畫面、新聞標題、還有讓人誤解的新聞鏡面（以為下大雨或失大火了）；同一個主播忽換左，忽然右，甚至轉來轉去，一會兒坐一會兒站，台灣電視新聞鏡面，繽紛萬千。 　　這些繽紛萬千的鏡面，產生的原理原則為何？影響產生的動機又是什麼？從1962年台視成立開始，到2005年有線電視多樣的鏡面，電視鏡面又做了什麼樣的改變？形成的生態為何？生態改變的當中，主要環境是如何形成？ 　　透過資料的整理和深度訪談，發現，「競爭」是左右鏡面一項重要的因素；台灣鏡面發展的五個時期，與「競爭」息息相關，三台時期因為競爭因素，開始創造辦公室背景、單雙主播播報；1993年有線電視法通過後，也因為SNG和跑馬燈的廣泛運用，鏡面開始出現不同的元素；到了2003年，更因為媒體環境的激烈競爭，讓新聞鏡面不只充滿服務的元素，更多促銷自己與主播特性明顯的鏡面。只要可以「預告新聞」「留住觀眾」的任何元素，都可以塞進鏡面裡：一則新聞兩個鏡面以上、鏡面像四格漫畫一樣說新聞、把鏡面變成火焰或任何主題等，整個電視鏡面，滿滿都是訊息，超過九個以上的資訊，要在鏡面出現的一分鐘以內，讓觀眾吸收。 　　這樣繽紛鏡面的生態，主要來自於科技支援下的巿場競爭，因為收視競爭，製作人就必需「創造」新的鏡面元素（像是天空標、訊息框等），而新的鏡面元素呈現之後，只要收視率不出現下降的趨勢，各台迫於競爭壓力，開始形成「模仿」與流行，而一旦模仿與流行成為趨勢，製作人或主管，又得為了收視率開始想辦法，創造新的鏡面元素。 　　所以，在本研究，整理出電視鏡面的改變趨勢與時間進程，分析目前電視新聞鏡面的構成元素與產製流程，透過資深電視人的訪談，找出電視新聞鏡面的設計原則、動機與生態系統，希望透過本研究，除了提供業界人士鏡面的缺失和思考的方向以外，能夠為將來鏡面研究，累積資料數，進而發現閱聽人接收端對鏡面的接受程度與態度。 / What do we look at on TV news reports? In addition to audio presentation, what else is presented on the television? Weather reports, current time, continuously updated crawls, news title, news content, as well as the scene, title, and confusing television graphics of a piece of unrelated news (such as about a sudden downpour or a fire accident). The anchor changes his camera angle from left to right, right to left; being seated in one second, and standing in another. The television graphics in Taiwan are really versatile. 　　What is the principle and rule for the production of these versatile graphics? And what is the motivation behind the production? From the establishment of TTV (Taiwan TV Enterprise, Ltd) in 1962 to the development of versatile graphics on cable TV channels in 2005, what has been the change of television graphics and background of the formation? And how the main environment was formed amid the change of the ecosystem? 　　Through data collection and in-depth interviews, it was discovered that “competition” is an important factor for television graphics. There are 5 stages of the development of television graphics in Taiwan, all of which are closely related to competition. During the 3-channel stage, the background of an office, single and duo anchor reporting were innovated. After the CATV Law was passed in 1993, due to the extensive applications of SNG and crawls, different elements of graphics were created. By 2003, under the intensive competition in media, television graphics were not only filled with multiple service elements but also self-promotion messages and features of the anchor. Any element that “previews news” and “retains the audience” can be stuffed into the graphics. A piece of news may contain more than 2 graphics in 4 boxes, like a comic book. The graphic can be a fire or any theme, making the whole television graphic filled with messages. Sometimes, more than 9 messages are presented to the audience in just one minute. 　　This ecosystem is mainly attributed to the competition in the market supported by technologies. Because of the competition for reception, producers have to "create" new graphic elements (such as sky bar, message boxes). And when the new elements are presented, as long as the rating does not decline, bowing to the pressure of competition, every channel starts to "imitate" and prevail the creation. When it has become a popular trend, TV producers or managers have to brainstorm again for new graphic elements. 　　Therefore, this study organized the trend and evolution of television graphics and further analyzed the elements and procedure of production of the current television graphics. Through interviews with senior television producers, it aimed to find out the design principles, motivation, and ecosystem of the television graphics. It was hoped that the study could provide the industry with the flaws of television graphics and a direction of thinking as a reference, accumulate data for future studies, and further discover the degree of acceptance and attitude of the audience toward television graphics.

評估俄羅斯菸盒警示圖文之警示效果研究 / Nowadays tobacco use leads to one of the most common reasons of preventable deaths. According to the Global Adult Tobacco Survey, in 2012 Russia has moved to the first place as a most smoking country in the world. Since 2013 Russian government has implemented a variety of methods to reduce smoking in the country. There is not much research done to analyze one of these methods, graphic warning labels on cigarette packs, which were implemented in Russia more than one year ago. Therefore current study aims to evaluate how college students in Russia react on these warning labels. Using fear appeal theory and Witte’s Extended Parallel Process Model (EPPM), this research explains the advantages and disadvantages of graphic warning labels in Russia. Focus group was conducted to evaluate each of 12 graphic warnings. According to the focus group participants, the paradontosis, stillbirth, oncological diseases, and prematurity were the labels that made them feel concerned. The participants felt that these topics were very important, as the pictures were unpleasant, scary, or disgusting. However, topics, such as impotence, suffering, and emphysema were evaluated as indifferent, irrelevant, and not impressive. Also it has been noted that there is lack of knowledge among Russian college students about the harmful consequences of smoking. Topics, such as early aging and impotence were evaluated as they make no sense and irrelevant to smoking.

本篇論文研究主要針對香菸警示圖文相關政策做消費者廣告效果的衡量，主因為世界反菸相關運動及政策近幾年不斷的在興起，而台灣在政策上雖然也有相同的聲音出現，但在相關研究上卻寥寥可數，並無足夠實證證據去推動相關法案的運行，且在警示圖文的面積及廣告訴求上，台灣目前所推行的警示圖文相對世界而言，不僅單調且在與消費者的溝通效果上也不如預期，因此引發本研究之動機，警示圖文面積對消費者的影響為何?而是否在不同的廣告訴求下，會使警示圖文面積的放大對消費者的影響有加成效果，而面對香菸消費者對香菸的不同涉入程度，警示圖文面積是否仍然有效? 本研究先利用現行實施的警示圖文政策中，面積佔比最大及最小的警示圖文做為本次研究實驗的基準，並取兩者中位數定義為面積佔比中，主要衡量警示圖文面積的改變與廣告效果的關係，並根據文獻推論這三個層次的廣告效果會受到消費者對涉入程度以及警示圖文之廣告訴求的干擾。 理論架構以3*2的實驗設計，利用不同廣告訴求之警示圖文，採用實際菸盒大小比例，設計包含了大、中及小三種層次的警示圖文，研究樣本為有抽菸習慣的人，並將對香菸的涉入程度做為組內設計，隨機抽樣180人進行實驗後填答問卷，以隨機分配的方式至六組，有效問卷為177份，先利用敘述性統計及因素分析檢驗樣本及問卷，再利用變異數分析進行後續的統計分析。 經實證研究後發現以下結果，(一)單純香菸警示圖文面積佔比的改變，對消費者的廣告效果並無顯著的影響，且台灣現行警示圖文已失去該有的警示效果，(二)考慮干擾效果之後可以發現，不同的廣告訴求確實會對香菸警示圖文面積佔比的廣告效果，對態度上有顯著的影響，對理性訴求來說，警示圖文的放大仍然會有影響力，但總體效果並不如感性訴求的警示圖文(三)不同涉入程度水準，也會對香菸警示圖文面積佔比的廣告效果，對購買意願有顯著的影響，對涉入程度較低的香菸使用者而言，警示圖文確實能造成其未來對香菸購買行為的改變，而對香菸涉入程度高的消費者而言，警示圖文可產生的廣告效果並不會對其行為有太大影響。 / The anti-smoking campaign and relative policies is growing around the world in these years. However, there were not much related researches in Taiwan. In addition, our anti-smoking policy really fallen behind which compared to other developed countries. It’s became the motivation of this study. This thesis focuses on cigarette warning label issues, and measure advertising effectiveness of warning label area. In addition, it also considers the disturbance variables, including involvement and advertising appeals. This study conducted experiment method. According to literature review, the Independent variable based on current world warning label policy, we define three levels of different warning label area. This study take the smoker in Taiwan as research objects in order to distribute 180 questionnaires, 177 of which are retrieved and the valid ratio is 98%. As the result of experiment, we found that the advertising effectiveness of cigarette warning area wasn’t distinct, but that would be affected by involvement and advertising appeals. The result of research supported part of fundamental hypothesis. The effectiveness of attitude could be higher when the warning label was emotional appeals. The smoker with lower involvement would have higher effectiveness of purchase intension. Beside of that, this study also found that the current cigarette warning label isn’t work anymore.

80年代出生於蘇聯，筆者與童年伙伴們見證了國家極大變遷的時代，也成為了該年代的小孩。新俄羅斯的90年代讓我們親自體驗家鄉從「世界上最厲害」變成「最破爛的地方」180度的轉變。可我們從未想過，長大後會被社會學家輕易地稱之為遺失的世代。 蘇聯解體後的俄羅斯經歷了經濟大幅下滑和接踵而來的兩次金融危機，1993年和1996年兩次大規模的私有化運動，在加上俄羅斯社會秩序也因此差點崩潰，這些事件對俄國人民造成極大的衝擊，導致了社會發展停滯甚至倒退。當時我們的父母經歷了很恐怖的十年，可是我們自己也沒有想到，這一切對我們的世代造成了多大的隱形傷害。國家解體後，家裡沒有錢的小朋友跟其父母一同失去了被尊重的權利。而殘酷的90年代吞掉了很多的家長，也帶走了很多的夢想。普通人不是被逼辭職，就是幾個月沒領薪水，或是選擇離開家，到很遍遠的地方以健康換來薪水。當俄羅斯人民認識了市場經濟時，由蘇聯長輩帶大的我們都還沉浸於蘇聯生活態度、道德與世界觀。我們從小那麼用心準備邁入的那個世界徹底貶值了，突然間變得好陌生，並不像蘇聯兒童書與電影講的那樣。長大後，新社會的密碼我們無法揭開。雖然無法接受政府樹立的新時代理念，90年代的小孩，還堅信著做對社會有貢獻的工作才有意義，就算「做好事有好報」這個道理在現代社會眼裡已徹底失效。 作品內容平均分為文字、繪圖與相片三種文本；敘述風格以較單獨文字片段來解決故事經過的陳述。而且由於本作品是創作者整理過的回憶的緣故，內容大都是屬於情感層面，所以故事情境充分表達通過數位技術較容易達成的目標。相較傳統文字作品，數位技術有提供給創作者更多表達方式與傳達管道。所以筆者決定將《蘇聯遺失的小孩》本作品將以兩個形式呈現：印刷版與電子版（iBookAuthor2）。雖然都基於同樣的懷舊氛圍，傳統圖文書與電子書將成為兩個獨立的作品。

近年來，動漫(動畫、漫畫與線上遊戲)越來越受歡迎。全球資訊網也陸續出現收集大量包括故事情節、動漫角色、作者等動漫相關資訊的動漫網站。多數動漫網站都提供使用者文字檢索的功能，以搜尋動漫網站文字內容。但是動站網站若能提供根據文字與圖形風格來搜尋圖文內容，對於動漫使用者而言，將更為方便。圖文風格可能是漫畫人物的繪畫風格、動畫故事的敘事風格等等。 為了方便使用者以圖文風格進行搜尋相關資訊，本論文根據動漫關連探勘技術，研究並開發一個動漫網站的搜尋引擎：動漫魔鏡，以提供使用者根據圖文關連來搜尋動漫網站中風格相似的動漫資訊。本論文的搜索方法關聯了圖像特徵和文字特徵。首先，針對圖像特徵，由於動漫角色是動漫的靈魂，因此經過動漫臉部偵測後，我們以電腦視覺中的局部二值樣式(Local Binary Pattern, LBP)與灰階值分佈來抽取並表示動漫角色的臉部特徵。針對文字特徵，我們利用一般全文檢索技術來擷取文字特徵。接著，運用階層式分群技術將文字特徵與圖像特徵值轉換為文字與圖像關鍵詞。最後，以語意主題模型中的隱含狄利克雷分布(Latent Dirichlet Allocation, LDA)分析圖文關鍵詞的潛在語意，並據此計算動漫網頁之間的相似性。實驗結果顯示本論文所研發的風格搜尋，其效果優於其他三種基本作法。 / Animations, comics, and games (ACG) have become more and more popular in recent years. There exist many ACG web sites which contain lots of textual and visual information on stories, characters and authors of animations, comics and games. Most ACG web sites provide users text retrieval capability to search for textual contents. However, there is a need for users to search for textual and visual contents by styles. Examples of styles are drawing styles of comic characters, narrative styles of animation stories and so on. In order to help users to search for textual and visual contents by similar styles, this thesis investigates and develops a search engine, Comirror, for ACG web sites based on latent correlation between textual and visual contents. First, while facial styles of characters play important roles in ACG, after comic face detection, Local Binary Pattern (LBP) along with gray-value histogram is utilized to extract and represent the visual features. For the textual contents, traditional full-text indexing technique is employed to extract textual features. Then, hierarchical clustering is performed to quantize and transform the textual and visual features into textual and visual words. Finally, Latent Dirichlet Allocation (LDA) is utilized to discover the latent semantic correlation between visual and textual words. Experiments show that the developed approach performs better than the other baseline approaches.

本研究以「使用與滿足」理論探討圖文創作部落格閱聽人使用行為，以時常造訪圖文創作部落格之網友為研究對象，本研究利用「問卷調查法」與「深度訪談法」進行研究，兼顧量化及質化兩種研究途徑。透過網路問卷抽樣調查方式，回收有效問卷325份，並針對知名圖文創作部落客及圖文創作部落格的重度使用者進行深度訪談。 本研究目的在探討圖文創作部落格讀者使用動機、使用行為、滿意度、忠誠度變數之內涵。分析不同人口統計變數對使用動機、使用行為、滿意度與忠誠度之差異性。檢定使用動機、使用行為對滿意度與忠誠度之關係。經由量化分析與質化訪談對經營圖文創作部落格之部落客提出行銷建議。 研究結果顯示圖文創作部落格讀者以女性上班族為主，年齡層以21-35歲居多，教育程度以大專為最多，居住地區以北部為主。圖文創作部落格之使用動機以「休閒娛樂動機」因素最高。在使用行為方面，讀者通常每天或每3-5天就會回訪一次，可見圖文創作部落格的讀者黏著度高。在使用滿意度上整體滿意度偏高，其中以「歡愉滿意度」因素最高。在使用忠誠度上則以「再訪忠誠度」因素最高。 經過質化與量化的分析，本研究建議想經營圖文創作部落格之部落客，應多著墨於有趣、好笑、生活化及流行話題的相關內容，並提高發文頻率，藉由舉辦實體活動，結合虛擬與實體創作，達到延伸性的長久經營。 / In this study, "uses and gratifications" theory of creative graphic blog audience usage behavior. To the users frequently visit the creative graphic blog as the research object. The present study, use"questionnaire" and " interviews" to research, both quantitative and qualitative study of two kinds of ways. Sample survey questionnaire via the Internet way, 325 questionnaires were usable, and for the well-known graphic creative bloggers and fax heavy users interviews. The purpose of this study was to explore the use of creative graphic blog readers motivation, behavior, satisfaction, loyalty variables of the content.Analysis of different demographic variables on the use of motivation, and use of satisfaction and loyalty of the differences. Test the use of motivation, and use of satisfaction and loyalty to the relationship. By quantitative analysis and qualitative interviews with creative graphic bloggers make marketing recommendations. The results showed that creative graphic blogs for readers are women, mainly of office workers, mostly age to 21-35 years of age, educational level to college as the most northern area of residence-based. To the use of motivation is "leisure motivation" factor in the highest. The use of behavior, the reader is usually every day or every 3-5 days would be a return visit, we can see creative graphics blog readers adhesion is high. The use of satisfaction on overall satisfaction high, in which the "joy satisfaction" factor high. On the use of loyalty by "revisit loyalty" factor in the highest. Through qualitative and quantitative analysis, this study suggests that wish to create a blog of business creative graphic bloggers should be more to write about interesting, funny, daily life and popular topic relevant content and increase issued a document frequency, by holding physical activity, combination of virtual and physical creativity, to achieve an extension of long-term business.

字彙學習是語文能力重要的一環，許多教學也都是以提升孩童單字量之目的設計的，其中，故事閱讀活動就被推崇為是能以提供豐富情境的方式來增進孩童語文能力的有效策略。本研究主旨在探討繪本共讀對EFL國小學童字彙學習的影響，主要的研究方向有：(1) 圖文標指與引導問答教學對學童運用繪本學習字彙的影響; (2)不同教學引導方式對學生字彙保留量的影響; (3)不同教學引導方式對不同程度學生所產生的影響。 受試者為五十四位台北縣五年級國小學童，其字彙測驗成績則為資料分析來源。本研究主要發現有下列幾點。第一，圖文標指和引導問答教學對國小學童運用繪本學習字彙皆有助益。第二，圖文標指和引導問答教學對學童字彙保留量都有正面的影響。第三，英語學習高成就學生在運用繪本學習字彙上收穫比低成就學生多，其中，圖文標指教學對高成就以及低成就學生皆有助益；此外，總括來說，引導問答教學對高成就學生的字彙學習幫助最大。 最後，本文提供了教學者以及日後研究者相關建議，並期盼研究結果能帶給台灣英語老師一些字彙教學上的參考。 / Vocabulary plays an important role in children’s emergent literacy. Many instructions were developed to build children’s word knowledge. Among them, storybook reading is promoted to be an effective strategy that enhances children’s literacy by providing rich contexts. The purpose of the present study aims to examine the effects of the techniques of labeling (L) and labeling plus questioning (L+Q) for vocabulary teaching with storybook reading in EFL elementary school. The study is mainly concerned with three aspects: (1) the effects of L and L+Q on student’s vocabulary learning during shared storybook reading; (2) student’s retention of learned vocabulary affected by the two techniques; (3) the influence of the two techniques on students with diverse English proficiency. Participants were 54 fifth-grade elementary school students in Taipei County, and the data analysis was based on their performance of the Picture Vocabulary Test (PVT). The findings of the study are as follows. First, L and L+Q techniques were both beneficial for student’s receptive vocabulary learning during shared storybook reading. Second, both L and L+Q techniques were effective in retaining student’s word knowledge. Third, overall performance of students with high English proficiency (HEP) in PVT improved more significantly than that of students with low English proficiency (LEP). Besides, L technique was helpful for HEP and LEP’s receptive vocabulary learning, but not for HEP’s word retention. Moreover, HEP were most influenced by L+Q technique in vocabulary learning during shared storybook reading. Based on the findings of the present study, pedagogical implications and suggestions for future study were provided at the end of the thesis.