在數位有線電視的發展中，收視率系統從以往的統計調查方式得以進入到普查計算的方式，因此新收視率系統可以更精細。而在新的收視率收集調查中，有線電視業者有了全體收視戶的詳細收視行為資料，更可以有更多的應用方式。 本研究認為有線電視業者得以運用上述的資訊，再加上數位匯流下的其他用戶屬性的交叉分析後，產生出具有個人化推薦效果的新廣告平台；這樣的新廣告模式可為現有的廣告業者與廣告主所接受而採用。 同時，對於有線電視業者與新收視率系統公司的合作，或是現有有線電視產業中其他角色業者的合作關係改變，本研究也提出了可能性的分析與探討。 / In the development of digital cable television, the ratings system evolves from the statistical based approach into full audience based approach. So the new ratings system can be more precise. Cable system operators will have all subscribers’ detail viewing behavior information in the new rating collection process, thus they can have more applications accordingly. The study suggests that the system operators could combine above information with other user information from their digital convergence business landscape to produce new advertising platform with personalized recommended capability. This new advertising model will be accepted and be used by existing advertising companies and advertisers. Also the study has elaborated about the partnership possibility between system operators and the new ratings system company, as well as the possible relationship change among companies in existing cable industry.

2007年臺灣的電視圈在國內大環境欠佳、廣告市場大減，中視以高規格、高預算，製播【超級星光大道】，沒想到引發種種話題，節目爆紅。同年【超級星光大道】的受歡迎程度超過各類電視節目。使中視得以一整年靠一個節目的營收來維生。 【超級星光大道】亦甚至被媒體標示，「星光現象」成為一種異軍突起的社會文化現象。【超級星光大道】擁有什麼樣的關鍵元素，導致其瞬間爆紅。由於節目品質研究（叫好）與觀眾需求分析（叫座）向來是電視節目產製者最關注的兩大課題。故，本研究首開分析單一類型的節目是如何吸引觀眾的收視之學術性研究。 由節目產製構面的理論概念引伸，從閱聽人角度出發，在加上電視節目產製核心人物之剖析，從多種角度來觀察並分析【超級星光大道】的文本，利用學術研究方法，來回應業界所關切的問題。 本研究借用McQuail（1992）提出三類媒介表現的檢視途徑為設計概念，以Patton（1990）提出的方法（Method）三角測量法，借用多元方法取向蒐集資料，以檢驗研究發現的一致性，為尋求值得信賴的解釋。 對超級星光大道的分析上，利用文本分析，將每集節目內容、流程等進行解構，特別是收視率特別高的內容，找出其爭議點。在經由使用與滿足理論架構，描繪出閱聽眾接收與關切的節目元素。進而與焦點團體或是產製者訪談的資料進行mapping，找出其成功吸引觀眾的元素。 因此，研究結果依其對收視率表現之影響程度，分成三個層次：對收視率提升有顯著效果者有感動、多元、話題、娛樂；對樹立節目品質和口碑者有真實、專業；可能影響收視的負面元素則為操作與公平性。 本研究貢獻為學術面解決收視率無法真實解構文本的疑問，為產製面提供媒體未來複製同類型節目之觀眾輪廓或節目定位及修正節目策略的參考。 關鍵詞：歌唱選秀節目、關鍵元素、三角測量、收視率 / Due the domestic overall economy was poor in Taiwan during 2007, the advertisement market was shrunk largely for TV industry, while China Television Company (CTV) took an contrary way on the production of “One Million Star” with high standard and big budget, and to no one’s guess, the program was red hot to trigger all kinds of topics. In the same year, the degree of popularity from “One Million Star” surpassed all kinds of TV programs, allowing CTV to keep its operation for the whole year solely on this program. “One Million Star” is even tagged by the media, and “Superstar Phenomenon” has become a cultural phenomenon in the society all of a sudden. What the key elements are for “One Million Star” to become extremely popular all of a sudden. Due both program quality research (great quality) and audience demand analysis (great rating) have always been the two major issues concerned the most by the producers of TV programs, the paper will be the first ever to make analysis for academic research on how a single type of programs attract the audiences to watch them. By starting up from the angle of audiences, to develop from the theoretical concepts on the construct of program productions, plus to make analysis on the core people for TV program productions, and from various angles, to observe as well as to make analysis on the scripts of “One Million Star”, using academic research methods, to make response on the questions concerned by people in the industry. The paper borrows the examination route offered by McQuail(1992) on the presentation of three types of media as the design concept, and using Triangulation method offered by Patton (1990), to collect data with diverse methods for examining the consistency in the research findings, in order to seek for reliable explanations. For the analysis on “One Million Star”, by using scripts for analysis, to take down on matters such as program contents and process flows from each running show, and to find out any disputable points, especially on those contents with extremely high rating. Through the construct of uses and gratification theory, to illustrate the program elements that are received and concerned by the audiences. Next, to work on mapping with the data made from focus groups or interviews of program producers, in order to find out what are the successful elements to attract audiences. Accordingly, on the basis of effects to rating performances, the study results are divided into three categories: for those with significant effects on the increase of rating, they are to include sensation, diversity, topics, and entertainment; for those able to establish program quality and word-of-mouth, they are to include authenticity, and professionalism; for those possibly with negative effects on rating, they are to include operating and fairness. The contribution of the paper is to solve the question from academic aspect that rating is not able to truly break down scripts, and as reference of audience outline or program positioning and program strategy revisions for duplicating similar programs by the providing media from production aspect in the future. Keyword: Singing Contest Program, Key Elements, Triangulation, Rating

基於保障少數族群傳播權益的理念下，全球第一家客家電視台於2003年七月一日成立後，經一年半的歷程中，有需要了解到底哪樣的人在收看客家電視？本研究旨在利用收視率的分析，勾勒客家電視台核心觀眾輪廓並探其變化。 本研究的主要目的 （一）依據特定人口學變項,勾勒客家電視台核心觀眾的基本輪廓。 （二）分析客家電視台核心觀眾在六季、週間、假日收視行為變化。 （三）以戲劇、綜藝、新聞類核心節目中，針對觀眾收視行為分析。 研究結果發現 1.客家電視台在整體收視以及六季收視變化，呈現出一樣的核心觀眾輪廓：「男性50歲以上」，「小學或以下」、「退休或無業」、「桃竹苗地區」、「常說客語族群」。 2.客家電視台週間假日收視情形，男性收視略優於女性收視率，女性在週間晚間八點到十點間收視率為一天之最，週間假日以50歲以上為主要收視群，其次為35-49歲的觀眾。 3.週間假日觀眾教育程度幾乎落在小學以下有較高的收視率，其次是國/初中，「工作狀況」來區分觀眾收視率情形，以無業退休較居高，家庭主婦其次。 4. 週間假日觀眾收視差異：假日時段整體收視表現較週間高，平均假日收視率是週間兩倍。收視波段在週間呈現多段的收視高峰，而在假日則是明顯以早、中、晚三波段的收視高峰呈現。 5. 週間假日觀眾收視差異：假日早上高峰時段，皆較週間往後推移一個小時，週間晚間收視高峰可以持續到晚上11點，而假日收視高峰在9點以後急速下降。 6.在核心節目觀眾的性別輪廓，戲劇類的「油桐花之戀」節目，較受女性觀眾青睞，綜藝類「鬧熱打擂台」、新聞類節目「非常短評」的收視觀眾性別，男性高於女性收視率。 7.在核心節目觀眾的年齡輪廓，戲劇類的「油桐花之戀」有年輕化趨勢，35-49歲女性人口收視率具可塑性。綜藝節目「鬧熱打擂台」、新聞類節目「非常短評」觀眾的年齡落在50歲以上男性女性為主要觀眾。 8.在核心節目觀眾的教育程度，新聞類節目「非常短評」以大專以上人口收視為多，綜藝類「鬧熱打擂台」、戲劇節目「油桐花之戀」的觀眾以小學以下和國初中為主要收視群。 / In compliance with the ideal as to safeguard the broadcasting rights for the ethnic minorities in Taiwan, a Hakka TV station, the first of its kind in the world, was founded on July 1, 2003. Since its inception one and a half year ago, however, people know little about the majority of its audience and whether its programs have met the requirements of Hakka community. This study has, through analysis of rating and reception quality, come up with a profile of Hakka TV station’s core audience as well as its audience flow. Upon comparison with that of the target audience, the data has provided Hakka TV station a vaulable reference tool for improvement in its future program productions. This study has managed to : 1.Work out a profile of the core audience of Hakka TV station. 2.Define how the profile of core audience of Hakka TV station changes with viewing time (segments of the day, seasons of the year, etc.) Discussions on the difference between them and audience flow have also been held. 3.Analyze the profile of core audience of the most popular programs in each season. Explore their difference as well as audience flow. Analysis was done through discussion on varied theories, documents and academic works , supplemented by data and information gathered from Hakka TV station itself. The secondary analysis was based on rating surveys by some broadcaster groups and on reception quality surveys conducted by market survey companies in their hometowns. These survey shows that the core audience of Hakka TV station during the 1-1/2 year period following its establishment had a profile as follows: male over 50 years of age (54%); with primary educational level or lower (49%); retired or unemployed (36%); living in the counties of Taoyuan, Xinzhu and Miaoli (46%); ethnic group speaking Hakka dialect frequently (44%). The definition of audience ’ speaking Hakka dialect frequently’ can be interpreted as that Hakka dialect has been their mother tongue. In a sense, dialect the audience use is considered the most important contributory factor to the core audience of Hakka TV station.

目前，台灣地區的電視台對於電視收視率資料的使用，似乎較強調業務導向的數據解讀。然而，在節目收視表現的使用上，常由所有觀眾角度所詮釋的節目收視率，一來與廣告代理商實際執行廣告活動的「目標群設定」邏輯不符，沒法說明節目觀眾的全貌，二來也無法描繪觀眾收視行為的細節問題。因此，本研究試圖從收視率（TV Rating）的電視節目之節目編排的運用觀點出發，以剖析收視率在節目編排與應用的意涵。 本研究以六台「綜合性電視台」（民視、台視、中視、華視、三立台灣台與TVBS）之週間黃金時段為研究主題，透過數據分析與深訪資料，討探各台在節目編排策略的考量因素與電視收視調查資料（TV Audience Measurement，TAM）的實際使用情形。研究發現，電視收視調查資料著實可反映出電視產業中大多數的「外部因素」與部分的「內部因素」狀況，經營者可藉以瞭解電視收視市場，是電視收視市場的投射。研究建議，電視台可加強台內同仁在數據使用與解讀之人員訓練，並著重電視收視調查資料於節目編排之使用，使「業務」與「節目」兩數據使用面向並重。 此外，研究中以「電視收視調查」一辭替代「收視率調查」。因研究者認為「電視收視調查」是指「針對電視收視市場的調查研究」，是一種研究調查的方式；而「收視率」是電視收視調查研究中所呈現的一類「數據」，無法說明此研究調查的真正意涵；因此，在研究中對於此調查研究的名稱，都以「電視收視調查」論述之。 / In Taiwan, most of TV Channels prefer the analysis of the business-orientated information about the application of TV Rating. In program-orientated information, the program rating of total audience does not consist with the target setting of the advertising agency. In addition, this approach can neither draw out the audience’s profile nor describe the viewing behavior in detail. Therefore, the research tries to analyze the significance of TV Rating in programming and application. The research samples the prime time of weekday of six TV channels (FTV, TTV, CTV, CTS, Sanli and TVBS) as the research subject to probe into the critical factors are in the programming and the application of TV Audience Measurement (TAM) of each channel. From the research result, it is proved that TAM projects almost all the outside factors and parts of the inside factors about each TV channel. Moreover, the management team also can understand the situation of TV market through TAM. With this research, I suggest that the management team of TV channel should plan to enhance the training for the employee’s ability to use data. And they should put the business-oriented and the program-oriented in balance through emphasizing the application of TV Audience Measurement. Besides, the research will replace “TV Rating” with “TV Audience Measurement”. The writer regards the research of TV Audience Measurement as a research method of TV marketplace and “TV Rating” is just a kind of figure, part of survey result of TV Audience Measurement and cannot explain the real meaning behind the number. Hence, we proclaim the survey to the TV marketplace as TV Audience Measurement in this research.