經過了一個世紀。 成立於1987年的意識形態廣告公司，在台灣廣告中被看作一個異數。在廣告創意獎與業務量上，都有傲人的成績。過去，對於意識形態廣告的研究或則將之視為洪水猛獸，會對社會造成負面影響；或則以片面的廣告效果來看待，並未解答，究竟意識形態廣告是甚麼？包含了哪些元素？ 在此研究中，我選擇了四則中興百貨廣告與四則司迪麥口香糖的廣告，以分鏡表式的方式，進行文本分析。結果發現意識形態廣告具有幾個特質：（一）又繁複、又單純。意識形態廣告的複雜處在於各種執行要素的精緻，呈現豐富的視覺結果；但另一方面，意識形態廣告也奉行了最單純的廣告概念：一次把一件事講清楚，選定了一個概念，便以各種方式窮盡之。（二）又思考、又感覺。一般認為，意識形態廣告採用的是「感覺策略」，通篇無涉產品品質的描述；然而，邊緣執行面的諸多元素卻又包圍了中央，在最後以文字總結，提出的簡短的話語中，包藏著使人會進一步思索的概念。（三）又閃避、又直接。意識形態廣告通常在結尾處，才出現文案旁白為影片定調，之前好看的影像堆疊，產生了空隙，讓人們有解讀的空間，但也漸漸鋪陳一個通道。（四）又快、又慢。意識形態廣告藉由短秒數、與相對長秒數的鏡頭交換；穩定的攝影機位置、緩慢誇張的舞台劇肢體效果、適時的溶接矇騙鏡頭的轉變，合成了一種又快、又慢的韻律，把重複的片段畫面加以組合，增加了訊息的密度、但延緩了壓迫感。 當產品所要強調的特質並不具體，或具體的特質不適合推銷產品時，找到一個態度、議題類型、來替代產品，在廣告中與消費者對話，拿視覺、聽覺等執行元素來吸引消費者的注意，進一步吸引其思考、參與廣告運作，是「意識形態廣告」模式可以奏效的一個起點。 第一章　緒論 第一節 問題的起點 第二節 有一家廣告公司叫做意識形態廣告公司 第三節 「意識形態廣告」 第四節 小結 第二章 文獻回顧 第一節 意識形態廣告相關文獻回顧 第二節 廣告創意策略 第三章 研究方法 第一節 訪談 第二節 文本分析法 第四章 影片分析 第五章 分析結果與發現 第一節 廣告內容 第二節 廣告形式 第六章 結論與討論 第一節 研究限制 第二節 回答研究問題 第三節 風格恐懼 第四節 研究建議 參考書目

本研究從業界對學校廣告教育的質疑中展開。過去研究指出，大部分的廣告從業人員皆肯定廣告教育的價值，但信心卻不是建立在學校教育上（陳文玲，1999）。另有學者認為，學校是發展創意表現的重要環境，但是不同領域的人都認為學校是抑制創造力的地方（吳靜吉等，2000）。學校教育環境究竟能否激起創意的火花？ 過去文獻多採業界觀點探討廣告創意教育。本研究由學界觀點切入，以深度訪談法針對在大學廣告系教授廣告創意課程的八位老師，進行一趟發現之旅。研究目的在瞭解（1）目前國內大學廣告創意課的現況；（2）一堂理想的廣告創意課背後的教學理念、教什麼與怎麼教；（3）大學廣告系究竟能不能教創意。 研究結果發現，創意確實有部分是教不來的，像天才、竅門或靈感。創意教學的成效也非立竿見影。但在能夠教授的範圍內，老師教學生認識廣告本質、教思考方法、教策略、教跨越從策略進入創意的靈感黑洞、教概念的一致性、教如何欣賞與評估作品以及教執行力。教學方式包括：接近廣告作品、與實務界建教合作、從廣告之外尋找創意、多元教材交互運用、創造互動的上課氣氛、模擬正式提案情境並以教學評量掌握學生學習成效等等。此外，在養成未來廣告創意人的態度上，老師也教學生自我配備，進一步發現自己、尋找自己，並且創造開放的環境以建立對事物的觀點。 由此鋪一條通往理想廣告創意課程的路徑。一個具示範性與感染力的老師、一群用回饋為創意課程守門的學生、一個鼓勵創造的整合學習環境，是構成創意互動的三大要素。或許理想的創意課不在教室內，也沒有下課鈴，大學四年就是一堂很大、很久的廣告創意課，學生在不同場合都能與創造力相遇。 長久以來學、業界因缺乏瞭解，造成彼此不信任與焦慮。本研究提供看見學校廣告創意教育面貌的機會，希望能藉此拉近學業界距離，展開更多對話；更期望能夠以此延伸廣告創意研究的軌跡。

本研究從實務界選擇廣告創意人的準則出發，探討大學教育在因應廣告創意的實務需求時，所提出並加強的課程設計方向。務使大學廣告創意教育所培育的廣告創意人才，符合實務界的用人期待。 廣告是一門實用科學，如何讓教育與實務緊密結合，是廣告教育的最大挑戰。因此課程設計益發重要。在文獻探討中，實務界認為大學廣告課程有太過學術化、脫離現實競爭等議題。實務界希望他們的創意人員，在學校能就概念、技術、溝通三種技巧學習，還要理解廣告公司環境裡的競爭性、官僚行為、內部政治跟商業行為等等；期待創意課程同時涉足判斷力養成、有策略紀律、熟悉國際廣告、團隊精神、提案技巧、對公司政治具備敏感度等等。 在個案研究及深度訪談後，進行對廣告創意課程的設計。個案研究以廣告系修習廣告文案進階課程的學生進行教學實驗。深度訪談則集中在國內各大廣告公司資深創意人對國內廣告創意教育的認識與建議上。 研究發現符合實務界理想的廣告創意課程有下列方向：現實感、發想概念的能力、判斷力的養成、教導想法、職業認知、提案技巧、作品集、加強實務師資、從國際廣告吸取經驗、團隊精神。並據此由實務界觀點出發，結合作者經驗建構出八節符合實務需求的廣告創意課程：1.如何從創意哲學中培養看廣告概念的眼光。2.創意簡報。3.消費者心聲。4.廣告概念。5.創意概念。6.創意執行手法。7.創意素材。8.評估廣告。 / This study started with how advertising agency chose their employees, and how the university advertising creative curricular played their role on educating students to meet the expectation, and how to design or reinforce the current creative curricular. The objective was to educate the students in a way that met the practitioners’ perspective. Advertising was a pragmatic science. How to tie education with practitioners’ expectation tightly was a real challenge. In literature studies, the practitioner considered that the university creative curriculum constrained with over-academic, and lack of the knowledge of competition in real world. The practitioners were looking for creative personnel who studied the skills of concept, technique and communication, as well as the competition, bureaucracy, politics and business reality in the advertising agency. The creative curriculum was expected to teach following disciplines: self-editing, adherence to strategy, exposing to awards annuals, partnership, presentation, agency politics…etc. After conducting a case study and several in-depth interviews, a design for creative curriculum was ready to form. The case study was experimented with students who took advertising copywriting program in university. And the in-depth interviews were from agency’s senior creative personnel who talked about their point-of-views on their knowledge and suggestion for university creative curricular. Research suggested that the creative curriculum to meet the practitioners’ perspective must include the following principles: learning the reality, capable of generating concepts, teaching cerebration, understanding the nature of business, presentation skill, portfolio, uses of practitioners’ experiences, learning from global advertisements, and team work. And based on those practitioners’ perspectives, along with the writer’s personal experience, an eight-lesson program for university advertising creative curriculum was designed: 1. To See an Ad. 2. Creative Brief. 3. Cunsumer Insight. 4. Advertising Concept. 5. Finding the Creative Concept. 6. Some Tools to Create an Ad. 7. Creative Executions. 8. How to Evaluate Creative.

廣告創意究竟要怎麼研究呢？本文欲藉由分析廣告的語言文字層面，得到創意背後的運作機制。 過去關於「廣告創意」的研究多從表象著手，只討論廣告的相關要件，例如：要多蒐集市場資訊、注意消費者的反應與效果…等，這些外圍的要件都沒有直指核心問題，就是「廣告創意的運作機制為何？」這也是本研究想要問的第一個問題。第二個問題是，「廣告創意的運作機制如何將創意特質顯現在廣告文本上」我們認為，廣告文本上必然有創意機制的痕跡可循，我們將這個外顯創意的痕跡鎖定在「語言文字」，想要藉由語言文字的分析來發現創告的創意機制。 為了發展廣告創意的理論架構，研究者採用Boden的「概念空間」（1994）的觀念，說明創意的內心運作過程。「概念空間」是創作者學習到領域知識、或經歷過的創作過程，所得到的創作基礎。這個「概念空間」也同時提供了個人創作的材料，同時引導並限制了創意的產生，因為概念空間包含了領域的專業知識，所以引導了個人的創作，也提示了個人各種可能的創作形式。 本研究認為創作者組合概念空間的各種形式，就可能展現了創意。我們據此從廣告的語言文字層面出發，發展出五個概念空間的創意機制，分別為：概念轉移、概念合併、概念斷裂、概念擴張、概念衝突。

每當承辦知名企業間因廣告行銷而發生不公平競爭的法律爭議時，作者最反覆思考的問題不外是：究竟一則比較廣告在什麼程度以內，與其他競爭對手間的產品比較以及資訊揭露，對消費者來說是最有利，而且對競爭者來說是最公平的？換句話說，就是使用「比較廣告」這樣的爭議性行銷方法，在什麼樣的限度內，是比較可以恰如其分地，一方面完成它原本行銷應達成的目的，帶給消費者充分且必要的消費資訊，另一方面也顧及了競爭法下的公平尺度，沒有用超過目的之手法損及競爭者；接著的問題是，現行國內的公平交易法規是不是已恰如其分地扮演了這樣一個尺度呢？ 　　基於以上目的，本研究分別從行銷管理、公平交易及主要國家競爭法立法例的觀點，廣泛探討相關文獻，切入檢視過去與比較廣告有關的研究，發現過去文獻對比較廣告展現創意的「不安全領域」和「安全領域」之探討，確實不足。故本文採用質性研究中的個案法及文件分析，藉由觀察公平會自1992年至2007年間的相關案例，選出指標案例共十二則，希望對透過實際個案之處分書或不處分書的解析，探討我國公平會對比較廣告違法性的認定標準，進一步釐清不法比較廣告與創意比較廣告的分際。 　　藉由觀察公平會對該十二個指標案例作成決定時所示的見解，本研究發現公平會對於其持以處分或不處分比較廣告的準則，已衍然成形。首先，如果一個比較廣告有「真實性原則」、「客觀性原則」或「資訊充分揭露原則」三原則中，任一原則的違反，導致成為一個不真實、不客觀或資訊未充分揭露（或兼具其中二者或三者）的比較廣告時，即已經存在「不法元素」，可能構成違法，此形成本研究之命題一。其次，公平會也明白宣示了比較廣告內容或方式的「安全區域」，本研究將此一發現名為公平會的「愈抽象愈安全原則」，並且認為此處即為比較廣告應該盡情展現創意之所在，此形成本研究之命題二。作者並盼望繼起的有志之士，往後能嘗試大膽建立各種假設，小心驗證本研究已經建立的兩項命題，以檢視其周延性和正確性，俾供企業未來在行銷上運用比較廣告時，能大膽展現創意，但又不致於違法的參考，同時亦對公平會及業者分別提出建議。 / Every time when Author undertakes unfair competition disputes between well-known enterprises arisen out of advertising and marketing, the question the Author will ponder over and over is: with respect to the comparative advertising, in terms of product comparison and information disclosure with other rivals, to which extent the comparative advertising will be the most beneficial advertising to the consumers and the most impartial advertising to the rivals. In other words, to which extent can “comparative advertising” be used appropriately, on one hand complete goals the original marketing was intended to achieve, bring sufficient and necessary consumption information to the consumers, on the other hand take into account of fairness criterion under competition law without application of technique beyond its original purpose which would cause damage to the rivals. Then the next question is: whether the existing Fair Trade Law has adequately set forth said criterion? Based on the above goals, from respective viewpoints in marketing management, fair trade and legislation precedent of competition laws of major countries, the author, through extensive probing into past documentary records and reviews of past researches related to comparative advertising, realized that researches on “unsafe territory” and “safe territory” to show creativity of comparative advertising in past documentary records are not sufficient. Therefore, the author has adopted case method and document analysis used in qualitative research. From among the relevant cases handled by the Fair Trade Commission between 1992 and 2007, the author has chosen twelve distinctive cases, aiming to probe into criterion for determination of violation of comparative advertising by Fair Trade Commission of the ROC, and further verification of the differences between unlawful comparative advertising and creative comparative advertising through study and analysis of disposition or non-disposition decision of each individual case. Upon review of administrative interpretations rendered by the Fair Trade Commission towards said twelve distinctive cases, the author realized that rules governing disposition of comparative advertising by the Fair Trade Commission has taken shape. First of all, when a comparative advertising breaches either the “principle of truthfulness”, the “principle of objectiveness” or the “principle of information disclosure”, the comparative advertising will become an unreal, non-objective or non-disclosed comparative advertising (or both or all), some “illegal elements” have occurred, which may constitute violation of law, this forms the first proposition of this thesis. Secondly, the Fair Trade Commission has clearly announced “safety areas” of content or manner of the comparative advertising, the author names this discovery as “more abstract more safe principle”, and believe this is the area where comparative advertising shall exert its best effort to show its creativity, which forms the second proposition of this thesis. The author expects that future researchers will be able to create hypotheses, examine and verify two propositions this thesis have already built up, in order to investigate its thoroughness and correctness, so that enterprises could bravely demonstrate its creativity when applying comparative advertising for the marketing.

廣告的目的，是用來與「目標消費者」進行訊息溝通與傳達，而不是自我藝術美感的創作與表達。廣告的內容，是將「廣告訊息」，藉由編碼，正確的傳遞給目標消費者（閱聽人）。而有說服力的廣告，就會是可以幫助銷售的好廣告。在消費者對於廣告解讀的論述中，出現了許多影響訊息說服與溝通的閱聽人的心理意識，包括了消費者的特質、生活型態、價值觀，文化、社會認同、社會地位、群體同儕、品味、成就、以及夢想等。越能以這些因素，引起閱聽人共鳴，就能夠越容易完成訊息傳遞的目的。 而這些心理意識，就是「內團體意識」中，區分內、外團體的歸因要素。有了情感上的歸屬，訊息傳遞就可以比較容易。電視廣告在「內團體意識」的包裝下，消費者（想要）及（接受）的心理因素不斷的被提到，被群體「認同」的需求，一再的被滿足，期望一再的被塑造。隨著「內團體意識」的表現，在經歷了認知、情感、行為三個階段後，溝通目的才開始清楚的完成。 　　為瞭解「內團體意識」如何建構電視廣告訊息？有何表現上的可歸納的操作指標，本研究以內容分析法，選擇自1980年～現今2009年之間，具有「內團體意識」表現方式的電視廣告影片110支，以年代別及FCB模式商品分類別兩種方式，進行包括表達元素、表達形式、背景歸因、社會歸因、文化歸因、生活風格歸因、個體歸因等相關要素的表現分析與研究。 研究整理後發現，「內團體意識」在電視廣告訊息的表現中，以「情感認同」為核心，藉由「滿足需求」、「消費描述」及「建構想像」做為基本創意概念。另外，電視廣告片中大多必要且慣用「內團體意識」，甚至在許多的電視廣告中，會有一個或多個內團體意識的歸因元素同時存在。部份內團體意識，只是創意與橋段的表現，與原本要訴求對象的「團體意識」並不會衝突。最後也發現，似乎越是特殊的商品或勞務，就越需要使用「內團體意識」，來做為電視廣告中重要溝通核心。 關鍵字：內團體意識、廣告表現、團體認同、廣告訴求、團體偏私、核心概念、訊息解讀、情感認同、歸因要素、背景歸因、社會歸因、文化歸因、生活型態、個體歸因、廣告創意、訊息策略、說服理論。 / The intention of advertisement is to provide a message to the targeted consumer and communicate rather than a presentation of individual expression and creativity. The core meaning of an advertisement is to transfer a key message embedded with advertising means successfully to its target receiver; furthermore, an outstanding advertisement will be able to fulfill the intention of marketing and sales. An exposition regarding consumer advertisement decoding denoted numerous variables that potentially alter the protocol of message receiver and his way of interpreting a message. This includes an individual consumer’s characteristic, lifestyle, value, culture, social acceptance, social status, social circle, taste, accomplishment, and vision. Messages embedded with such variables tend to create sympathy between the message and the receiver; as a result, creates a psychological bonding in which grows more powerful whenever a new variable reaches its echo with the receiver. Such psychological behaviors are the essential attributes differentiating the in-group consciousness from out-group consciousness of an individual. With a sentimental bonding, messages can be transmitted more accurately and efficiently. Television advertisement exercise constant implicit of this in-group conscious behavior, by repeating intimation of “desire” and “acceptance” to the receiver, continuous fulfillment of ones the necessitate aspiration, and constant creation of expectation. As the realization of the in-group consciousness continues, the purpose of communication is only fully accomplished after an individual have gone through acknowledgement, emotion, and into action. To understand how in-group consciousness establishes and executes television ad messages and its protocols. This research suggested using content analysis; by selecting 110 Television ad clips that possesses in-group consciousness implementation in between 1980 to 2009 and analyze them in two ways–era differentiation and product type under FCB protocol. This study focused on observing and analyzing the performance of variables such as expressing element, expressing form, background, social, cultural, lifestyle, individual attributes, and other related elements. 　　After the compilation of results, this research suggests that most television ads exercise in-group consciousness intentionally to create a common attribute among its listeners. By establishing sensational acceptance as the core criteria, advertisements then elaborates on other attributes such as satisfying needs, consuming behavior, and image establishment to create the basic concept of creativity. Furthermore, this research shows that a large number of advertisements exercise one or more in-group consciousness attribute within them. Some of the in-group consciousness exercised in ads is portrayed simply due to creative and plotting needs and doesn’t actually create a conflict with the central in-group consciously. This research also found that the more unique or special a product or service is, the more dependant its advertisement will be on in-group consciousness. Keywords: in-group consciousness, advertisement performance, group acceptance, advertisement requirements, group favoritism, core concept, message interpretation, emotional acceptance, attributes factor, background attribute, social attribute, cultural attribute, lifestyle, individual attribute, advertisement creativity, message tactic, persuading theory.