國內報業在開放報禁後逐漸邁入競爭激烈的市場型態，各報先後朝以讀者需求與利潤為依歸的市場導向模式發展，而《蘋果日報》於2003年在台灣發行之後，再度對台灣報業市場產生一次極大衝擊。本研究聚焦在報紙政治新聞，觀察以往以硬性資訊為主的政治新聞在此脈絡下是否也受其影響開始出現或加劇原有的「小報化」傾向。 本研究以《自由時報》、《中國時報》、《聯合報》三大報的前三版政治新聞做為「非小報」的政治新聞樣本，並以《蘋果日報》在台發行當年、以及前後三年（2000年、2003年與2006年）做為分析期間，採用量化內容分析法，比較這三階段政治新聞的報導形式、內容與風格等面向。 在形式面，國內報紙政治新聞的報導內文篇幅並沒有顯著的減少跡象，其標題與搭配的照片面積也沒有明顯增大，改變最大之處在於報紙政治新聞搭配刊登照片的新聞比例逐漸提高，使得整體版面呈現出更加視覺圖像導向的「小報化」形式特色。 在內容面，本研究發現在報導主題的轉變上，關乎政府政策與國會等較具公共性質的新聞量明顯減少、針對政治醜聞的報導明顯增加；然而，聚焦單一政治人物的個人化報導，多年來卻維持一定比例沒有明顯增加，這部分並不吻合「小報化」的新聞主題發展。 在風格面，政治人物的個人報導朝軟性化發展，含納更多私領域動態或是人情趣味元素；而記者在撰寫特稿與評論時，更容易以明顯字句對特定政治人物或黨派進行負面批評；聚焦政治衝突的新聞量雖然沒有顯著增加，但衝突事件的主角卻也逐漸轉移到政治人物彼此的個人恩怨上。 最後，本研究以四個客觀性報導處理手法做為觀察指標，檢視國內政治新聞報導是否受「小報化」負面影響而在新聞專業與報導素質上做出讓步。在純淨新聞裡不摻記者個人意見、和明確提供消息來源等基本處理方式上，《蘋果日報》登台前後的政治新聞差異並不大；然而，國內報紙政治新聞的解釋與評論性質報導卻帶有了更多的黨派色彩，且平衡陳述對立意見的報導比例也逐漸減少。 / Apple Daily has made an impact on the strongly competitive newspaper market in Taiwan since its publication in 2003, spilling over tabloid news values into other media outlets. This study focuses solely on traditionally serious and hard political news and sets out to examine whether it has been influenced, or tabloidized, over time. Quantitative content analysis on political news items from three largest non-tabloid newspapers - Liberty Times, United Daily and China Times - was carried out and measured at three different levels: form, main topic and style. News samples were randomly selected in 2000, 2003 and 2006. In terms of form, more and more political news incorporated visual elements, such as photographs, as means for presenting information, while the page space devoted to text remained relatively stable. As for main topic, the overall decrease of coverage on government, parliament and policies was evident, and the focus has been shifted toward political scandal. With regard to style, the personalized coverage on political figures was done with a more softer approach by focusing more on human interest stories. And personal conflicts of politicians were highlighted in coverage on political conflict. Finally, measurement of objective reporting was adopted to gauge whether there was an overall decrease in journalistic standards of political reporting. The results were mixed. While the basic practices of not presenting subjective opinion and anonymous news source were maintained over the period, the news comments have become more partisan and the balanced presentation of conflicting political views has decreased.

1966年，中國現代史上爆發一場名為「無產階級文化大革命」的政治運動，由中共最高領導人所發動，數千萬青年響應，做出許多難以理解的瘋狂行徑，例如「破四舊」、使用熱兵器的大武鬥，嚴重衝擊當時的黨政機關與社會秩序，甚至徹底洗滌了中國人的內心。官方宣稱的文革已經結束了近40年，卻仍有許多老人挺身而出，對著媒體述說著往日的故事，懺悔昔日的罪過。 是什麼原因讓這些老人願意在遲暮之年揭開傷疤悔過？甚至開記者會或登報道歉？儘管有個人的回憶錄紛紛問世，中國大陸媒體也在2013年的夏秋之際密集報導紅衛兵懺悔的種種故事，但那都屬於個人的故事，過於瑣碎。要重建歷史現場，除了高層政治活動以及底層群眾的回憶，筆者試圖使用基層革命群眾組織報刊（又稱文革小報、紅衛兵小報），去揭示一個廣泛具有群眾基礎，卻又代表地方基層觀點的「文革」。 筆者希冀能用「文革」研究去釐清一些歷史真相，還原本來面貌，也為了療癒廣大曾受這場政治運動迫害的民眾，達成生命、心靈上的救贖。因為歷史可以原諒，但不能被遺忘。

本研究探討台灣地區電視新聞小報化與守門過程。研究者從歷史的橫斷面（民國93年的電視新聞報導抽樣）及縱斷面（民國52-90年的台視新聞報導抽樣），分析台灣地區電視新聞邁向小報化的過程。研究方法係使用內容分析法、深度訪談法及論述分析法，收集資料，分析比對後，得到電視新聞報導的十九項表現特徵、守門行為的五項組織運作特徵，以及外部影響的兩項特徵。 電視新聞「小報化」的表現特徵方面，分為形式內容與專業表現。形式內容方面又可分為形式特徵與內容特徵。電視新聞的形式特徵方面，有「重點呈現的小報化」、「內容呈現的小報化」、「效果呈現的小報化」三項次特徵。內容特徵方面，有「新聞本質的小報化」、「新聞處理的小報化」二項次特徵。 專業表現方面，有新聞調度特徵、記者角色認知特徵、新聞元素特徵、及新聞敘事特徵等四項特徵。其中，新聞調度特徵方面，有「新聞的深度與廣度」、「新聞的強度與速度」、「新聞的熱度與角度」三項次特徵。記者角色認知特徵方面，有「資訊傳遞者」、「解釋者」、「對立者」、及「商業主義者」四項次特徵。新聞元素特徵方面，有「詮釋性因素」、「重要性因素」、「軟性化因素」、及「衝突性因素」四項次特徵。新聞敘事特徵方面，有「新聞切入點」、「敘事表現手法」、「運鏡表現手法」三項次特徵。 新聞守門過程的特徵方面，有「新聞組織的科層化」、「組織內正式會議的商業化」、「組織內互動的潛移默化」、「新聞價值的商業化」、及「組織外政經因素的商業化」五項次特徵。外部環境影響特徵方面，則有媒介體制的「商業化」、傳播市場的「全球化」兩項次特徵。整體而言，台灣地區的電視新聞媒體，自開播以來，逐漸走向「小報化」、「商業化」、「全球化」的結果。 電視新聞「小報化」的文本特徵，則呈現出「形式」日趨小報化，具體的特徵包括鏡面有越來越大的標題、越來越多的標題、圖案標誌、跑馬燈文字，描寫的內容也極盡「煽色腥」能事，似乎到了「語不驚人死不休」的地步。此外，電視新聞報導的鏡面分割、圖表運用、模擬動畫，也日漸增多，且多以「花俏」的「展示」為目的，而不是「樸實」的「說明」功能。尤有甚者，電視新聞報導加配樂、影像變造，以拍電視劇的手法，製作電視新聞，最為誇張。 電視新聞「小報化」內容方面，則打破「硬性新聞」與「軟性新聞」分際，政治、經濟、國際新聞等「硬性新聞」，除了有更多「軟性化」的表現外，新聞主題的模糊化程度，也越來越嚴重。生活、娛樂、休閒等新聞，也有越來越「多元化」及「軟性化」的表現，同時也有更多「軟、硬性新聞主題」的互相參雜，新聞工作者日漸捨棄傳統新聞專業角色的自我要求。 整體而言，台灣電視新聞「小報化」情形相當普遍，本研究抽樣的電視台，九成以上都是商業電視台，也都有「小報化」的傾向。台灣電視新聞市場因為電視公司新聞部門間的競爭激烈，新聞市場有限，導致電視新聞報導的品質日漸低下，電視新聞「小報化」的程度日漸嚴重。 結論部分，本研究以社會責任論為理論導引，從新聞自由、媒介近用權、政經環境鬆手控制媒體、及媒介教育等方面做出建議，希望有助於匡正電視新聞媒體亂象。

本研究比較小報（蘋果日報）與大報（聯合報、中國時報）報導的不同處。同時也比較聯合報、中國時報於蘋果日報在台灣發行前後，其報導型式及方向是否有所改變。研究結果顯示聯合、中時兩大報只有在少數項目上有差異，大部分的類目沒有差異，意即兩大報無論在圖文比例、報導類型、頭條新聞的報導及選擇上，都是非常類似的兩份報紙。而兩報與蘋果日報除了少數類目外，大部分項目都有達到顯著差異，顯示兩大報與蘋果日報在圖文比例、報導類型、頭條新聞的報導及選擇上，是截然不同的報紙。另一方面，兩大報增加新聞總則數、總頁數、照片數、圖表數、彩色印刷頁數來因應蘋果。新聞則數及頁數的增加，顯示兩大報欲增加報導量來吸引讀者；而照片、圖表、彩色印刷頁數的增加，則顯示兩大報在某些項目上有逐漸向小報靠攏的趨勢。此現象也顯示台灣兩大報在報導形式上，的確漸漸「圖像化」，而傳統以文字為主的質報，也毫無例外的逐漸向圖像化靠攏。

本文旨在掘發《三六九小報》(以下簡稱《小報》)中「通俗小說」之女性造型的書寫及相關敘事模式，並廓清三O年代《小報》創作社群觀看女性的文化視域；且進一步與日治時期其他小說文本並列比較，從而顯豁《小報》通俗小說中的「女性」圖像意義，全文共計五章，簡述如下： 第一章緒論。本章為全文論述框架之簡述，第一節中說明研究動機，第二節進行研究現況之檢討，第三節在分析相關先行研究之基礎下，思考本文可能之論述發展，並指出本文研究範圍，及援用之研究方法。 第二章「女性」造型——《小報》通俗小說中「女性形象」的書寫與敘事。本章根據通俗小說類型的歸納、整理，分析《小報》通俗小說的「程式化」現象；第一節「小說敘事模式」，指出通俗小說中的程式化情節，傳達大量重複的訊息，反映通俗創作社群取材的興味；而作者聲音對文本故事干預程度的強弱，則可由作者／敘事者的相對關係進行觀察；再者，《小報》多以旁觀者的視角，取用全知敘事或限制敘事的敘事觀點，也開展了不同的敘事風格。第二節「女性造型書寫」，由命名意義、身體描摹、形象設計及意象隱喻等角度，對《小報》小說中女性形象的塑造，作形式上的探求。 第三章書寫女性的文化視域。文本中女性被書寫的文化意涵，呈顯出性別、文化的關係；第一節「父權體制的壓迫」，說明傳統價值觀影響所及，男尊女卑，女性地位低落，一方面面臨被「物化」的命運，一方面受到「婦德」的規範，從而建構了錯誤的自我認知；第二節「對社會的控訴」，挾帶資本主義而來的殖民社會，女性面對生活的窘迫，其處境的艱難、命運的悲慘，是社會中多重壓迫的犧牲者；第三節「婚戀問題的省思」，在新／舊文化的衝激下，受教育新女性／童養媳，大多在自由戀愛中失敗、在傳統婚姻中不幸，顯見《小報》創作社群處於文化過渡時期，對於傳統婚戀與新式婚戀，均懷隱憂、質疑與不安。 第四章「女性」圖像的書寫策略差異——《小報》與其他通俗小說中「女性」敘事的比較。經過第二、三章小說文本的討論，已為《小報》小說中女性形象定調，本章則據此展開與其同時或前後的文言、白話通俗小說作品之比較研究；第一節「與《小報》之前文言通俗小說作品的比較」，與李逸濤發表於《漢文臺灣日日新報》（1905-1911），以淺近文言文寫成的46篇通俗小說作品，進行對話；第二節「與《小報》同時或其後白話通俗小說作品的比較」的討論參照系前衛出版社所發行《臺灣大眾文學系列》，以及四O年代的《風月報》、《南方》中的白話長篇通俗小說。藉此掌握《小報》書寫載體文言、白話兼有，作品的選材、小說敘事者聲音的不盡相同的現象，並突顯出風味各異的書寫策略取向。 第五章結論。總結前文，指出本文研究的要點及其意義，最終呈顯出《小報》乃置於一個通俗小說創作的過渡期，在文言與白話通俗小說發展史上，別具遞變、糾葛的交混面貌；且在三O年代特殊的現代化情境中，《小報》通俗小說的文學敘事與文化視域，有著鮮明的文化氛圍及歷史語境，而其所建構的饒富時代意義的女性圖像，更具耐人玩味的性別視野。 / The purpose of this study was to investigate the written description of female appearance and related narrative mode in “popular fictions” of 369 Tabloid, and to figure out the cultural vision of the writers of 369 Tabloid toward females in the 1930s; moreover, there were comparisons between 369 Tabloid and other novels during the Japanese-ruled period to show forth the significance of “female” images of popular fictions in 369 Tabloid. There are five chapters in this thesis, and the brief previews are as follows: Chapter one is the introduction part. This chapter showed the frame of this study. The first section provided the motivation of this study, the second section contained the aspects of problem already studied by other researchers, and the third section presented the need for more investigation based on the previous research, pointing out the realm of this study as well as the research method being used. Chapter two was titled “female” appearance—the description and narration of “female images” in popular fictions of 369 Tabloid. According to the collection of different types of popular fictions, this chapter displayed the phenomenon of the fixed patterns in popular fictions of 369 Tabloid; the first section, “Narrative mode of fictions”, indicated that the phenomenon of the fixed patterns in popular fictions showed a great number of repetitive messages, reflecting an interesting angle in choosing the material among common writers; and the intensity of interference from the writer’s viewpoint to the story could be observed through the relative position of the writer/narrator; furthermore, 369 Tabloid was mostly written through the view of an onlooker, employing the narrative technique of 全知敘事 or 限制敘事，and thus developed a totally different narrative style. The second section, “Description of female appearance”, explored the formation of female image in the fictions of 369 Tabloid according to the meaning of the characters’ names, description of their body, image design, imagery metaphor and so on. Chapter three was about the female status in culture. In light of the way women were presented in the text, we could see the relationship between gender and culture; the first section “Oppression from the fatherhood system”, illustrated that due to traditional values, the concept that male was better than female, and female had a lower status than male had on the one hand made female face the destiny of being materialized and on the other made them construct a false self-recognition because of being confined by “female virtues”; the second section, “The accusation toward society”, showed that living in a colonial society which advocated capitalism, women faced difficulties in life, and the difficult situations and miserable destiny surrounding them let them become victims of multiple oppression; the third section, “Reflection on marriage and love”, pointed out that under the impact of new/old culture, new women with education/ child bride, had mostly failed in free love or been distressful in traditional marriage, and these all revealed that writers of 369 Tabloid were in a transitional stage—they felt worried, suspicious, and uneasy whether in traditional love and marriage or new love and marriage. Chapter four consisted of different writing strategies used in displaying “female” images—the comparison between 369 Tabloid and other popular fictions. In chapter two and three, the discussion about the text itself had already made the female images of the fictions in 369 Tabloid clear, and to go a step further, this chapter included the comparison between 369 Tabloid and other classical Chinese and vernacular Chinese popular fictions, no matter at the same period or other times; in the first section, “The comparison between 369 Tabloid and previous classical Chinese popular fictions”, the compared target were 46 popular fictions written in simple classical Chinese and published in 漢文台灣日日新報 by 李逸濤(1905-1911); in the second section, “The comparison between 369 Tabloid and contemporary or later vernacular Chinese popular fictions”, the compared target were台灣大眾文學系列published by 前衛publisher, and the vernacular Chinese popular fictions in Feng-yue-bao and Nan-fang in the 1940s. After these research, the results that there were both classical Chinese and vernacular Chinese used in 369 Tabloid, and that various materials as well as narrator voices were employed in it were shown. This also revealed that different writing strategies were used in different popular fictions. Chapter five is the conclusion part. This chapter summarized the previous chapters, pointing out the gist and significance of this study, finally showing that 369 Tabloid is at the transitional stage of popular fictions; that is, we can see the changing, entangled, and blended phase in the developmental history of classical Chinese and vernacular Chinese popular fictions in 369 Tabloid; besides, under the special modernized condition in the 1930s, the literary narrative and cultural vision in 369 Tabloid made it distinctive in its cultural atmosphere and historical background. And the female images it had constructed during that time had provided us with an interesting view toward the gender issue.

本研究以台灣《壹週刊》的影劇新聞為例，以批判論述分析法（Critical Discourse Analysis）的思考精神為啟發，從性別角色、發言權、新聞的語言特色等面向分析《壹週刊》文本。接下來，以明星、經紀人／宣傳的和小報記者的訪談，釐清台灣小報影劇新聞的產製方式，以及明星體系小報文化當中的運作過程，從中分析小報影劇新聞中誰掌握了發言權，明星和經紀人會使用哪些媒體策略來獲得正面助益。 　　本研究結果發現，小報媒體在全球不同文化間依循著類似的軌跡發展，從單元、圖片與題材編排的類似手法，將明星八卦、醜聞、性等細節無限制放大，透過主觀、嘲諷的口語敘事與大量圖片，讓讀者看到明星報導的幕後感與故事性。小報記者參與新聞製作時的立場是正向高度肯定的，因為小報調查式的新聞手法需要長時間籌畫、收集資料、蒐證，因此，記者認為小報才是為讀者揭發社會真相、真正敢言的媒體。另一方面，記者與明星的互動關係是多種權力交織而成的動態協商，多數時間記者掌握了報導發展的詮釋空間，但是，佔上風的角色會隨著藝人實力產生變動。操作過程中，經紀人為了徹底保護明星形象，將明星視為必須保護的文化商品，控制了明星對外發言的權力，也拉開了明星和媒體的距離。面對小報新聞可能造成的傷害，通常經紀人會預先設定立場、準備模板答案，來維護明星聲望在小報文化的侵入下能順利運作。 / Taken the entertainment news of Next Magazine as the example, the main research frame is inspired by Critical Discourse Analysis. The study analyzed the text of Next Magazine from the roles of gender, the voices and the linguistic characters of news to clarify the production logic of Taiwanese tabloid news. Next, from the interviews of entertainers, agents /publicists and tabloid journalists, the study tried to figure out how celebrity news production and Star system work within tabloid culture. Who take the initiative of speech and utilize what kind of strategy to manipulate media relations. The study found that, the tabloid media has developed along a similar path even in different cultures around the world. By using similar manners of the arrangement of units, images and subjects, the tabloids unlimitedly enlarge the details of the gossip, scandals and sex affairs of entertainers; additionally, a colloquial description in a subjective and mocking way and plenty of pictures are utilized to give readers a feel of behind-the-scene and narrative to the entertainers’ news. Nowadays, tabloid journalists hold a positive attitude toward the manner of digging out newsworthy materials, which requires a long time planning, information-gathering and evidence-collecting. On the other hand, the interaction between journalists and entertainers is a dynamic negotiation established by a variety of powers. What’s more, the agent may regard stars as a cultural goods, then control the power of speech of stars in order to completely protect the media image of stars. At the same time, agents block the normal communication between stars and media. To prevent the harm caused by tabloid, the agents might pre-set position and answer the template answer to maintain the reputation of stars.