若以中國傳統「春耕、夏耘、秋收、冬藏」比喻人生的四階段，那中年時期應屬秋收時期，而原本生命架構最趨穩定的中年期，受到社會快速變遷、科技日益月新的影響之下，導致職業生涯轉變，仍可藉由職業生涯轉換的過渡期，重新檢討與修正個體的價值觀與生活態度，再經由實際的轉換行為，選擇適應變遷或者重新建立生命目標尋找出路，建立新的生命架構。 本研究探究一群民國40~55年間出生的《民生報》資深記者，從報業輝煌時期到進入新聞界，至民國97年離開《民生報》之後的適應過程。過往文獻指出由於外在媒體環境的改變，導致記者可能被迫非自願性的離職，產生中年生涯的職業轉換，在這個轉換的過程當中，內在的新聞專業性認知亦隨著時間演變，在個體的職業生涯轉換歷程，是否也會對「新聞專業性」產生不同的價值觀與自我角色認知差異，再者，本研究個體的特殊性在於，其職業為新聞工作者，當面臨中年生涯的職業轉變之時，整體社會脈絡的壓力，使其必須正視網路的力量，無論是選擇接受或者是抗拒，皆不可避免的瞭解，網路確實是不可忽視的媒體，是以，當網際網路提供了資深記者再起的機會之時，資深記者應當如何適應。 研究發現，資深記者面臨職涯選擇時，對所處社會的媒體環境感到失望，他們認為最好的時代已經過去了，目前媒體的商業行為以及不完善的職訓制度，令他們失望，普遍認為媒體惡質是整體環境因素，但並不認為是記者角色本身的錯誤或者技術不足，而是相信是由於當前商人辦報與他們所處文人辦報的出發點已不相同，但都還是認為記者角色具有專業性以及在社會上仍然具有特殊性。 本研究亦發現資深記者在面臨新科技的適應過程中，會改變自己的態度，從傳統的演講式權威傳播，改為與讀者互動的對話式參與傳播，形成新的價值觀，認為記者需彎下腰聆聽讀者的聲音，也將網路當作助力。即使改由網路上寫作，依然認為網路新聞需具備專業，他們認為，雖然網路迫使傳統新聞產業面臨改變，每個人都可以蒐集、發佈資訊時，資深記者們反而認為在此種大量未經篩選的雜亂資訊的網路時代更襯托出新聞的必要性以及專業性， 研究對象提出在資訊過量的網路時代，記者所需具備的專業與能力，首先，科技扮演的只是輔助的功能；對於資深記者來說，網路時代的記者仍需具備基本的新聞產製技巧，新聞教育有存在的必要性；同時記者須更謹慎小心對文章負責，少了編輯台的守門把關，記者本身應注重查證以及錯字，最後認為組織有存在的必要性，越有信譽的新聞組織能提供越公正客觀的新聞，因此，記者雖看似自由，卻要選擇有信譽的組織發布新聞，才能提升新聞的點閱率。

本論文主要在探討台灣的非營利組織(Non-profit Organization, NPO)使用Facebook的情形。根據台灣外交部所建檔的非營利組織名冊，找出其中99個非營利組織的Facebook頁面並加以分析其內容，利用這樣的第一手資料，來了解台灣的NPO如何組織和規劃其Facebook平台，來作為一個傳播媒介。 本論文以1998年Kent與Taylor所提出的五大對話原則理論來分析非營利組織使用社群網站的情形，有三點發現：第一，本論文發現，有些非營利組織網站的分類太過細微，有些又太不具代表性；第二，非營利組織在Facebook上的影響力並不大；第三，本論文發現通常組織本身很少在Facebook上與使用者互動，也就是說，它們鮮少回應或是評論其他使用者的貼文和意見，組織成員並不會直接在Facebook上展開對話和溝通。本論文認為NPO使用Facebook並沒有形成一個共通的模式或規模，而是非常隨機的，沒有一個變數能夠真正具有指標意義地用來評價一個NPO粉絲頁面的品質，這大致上可以勾勒出台灣的NPO使用Facebook的情形。 / This thesis examines the use of Facebook pages by nonprofit organizations (NPOs) in Taiwan. The sample for this study was constructed using the official list of Taiwanese NPOs found on the Internet site Taiwan NGO (www.taiwanngo.tw), held by The Ministry of Foreign Affairs, Republic of China (TAIWAN). A total of 99 NPOs’ Facebook pages were content analyzed, therefore this thesis used primary data. The theory used to analyze the use of the social networking site by the NPOs was the Five Dialogical Principles of the Internet proposed by Kent and Taylor (1998). Firstly, it was found that some categories of NPOs are over-represented while others are under-represented. Secondly, it was found that very little influences the way NPOs communicate on their Facebook pages. Finally, it was discovered that associations seldom interact with their users, they don not respond or comment on users’ posts or comments; associations typically do not talk directly to their fans. A global image of the use of Facebook pages by NPOs in Taiwan is given. Finally, it was found that NPOs used Facebook pages very randomly. None of the variables seem to dictate the quality of the page.

社交媒體在最近的社會運動中扮演了非常重要的角色，例如阿拉伯 之春、西班牙的Indignants 抗議運動，以及在北美的佔領華爾街運動， 皆凸顯出數位社交媒體的特殊地位與它對促進社會運動的貢獻。而 此篇碩士論文主要探討社交媒體在台灣的「太陽花運動」中所擔任 的角色。文中主張了社交媒體與「新媒體」已經是這個運動的延伸 與成功的重要因素。除了台灣年輕人常用的Facebook、Line 等社交 媒體之外，另一個使用社交媒體的重要因子是抗議者對台灣傳統媒 體的不信任。一般公民也可以透過「新媒體」成為抗議活動的一部 分，發揮和主流媒體相同的影響力。這些「新媒體」會為台灣更清 晰的民主鋪路，並同時提高年輕公民更多的政治意識。本論文的研 究包含來自Facebook 與PTT 還有「新媒體」的資料，此外，此論文 亦透過與太陽花學運參與者的採訪，評估他們在運動時使用社交媒 體的狀況。 / Social media plays a crucial role in recent social movements. The Arab Spring, the Indignants protest in Spain and the Occupy Wall Street movement in North America highlighted the special role of digital social media networks and its contribution to the facilitation of protest movements. This master thesis examines the role of the social media in the “Sunflower Student Movement” in Taiwan. It argues that social media and the “new media” have been a crucial factor to the prolongation and success of this movement. Besides the high penetration rate of social media, such as Facebook and LINE, among young Taiwanese, another important factor for protestors to use social media was the mistrust in the traditional Taiwanese media. Through the “new media” ordinary citizens could become a part of the protest and exert the same influence as the mainstream media. The “new media” may pave the way for a more transparent democracy in Taiwan and raise more political awareness among the young citizens. The research of this thesis includes information collected from Facebook and PTT as well as the “new media”. Additionally, interviews among participants of the Sunflower Student Movement were conducted to assess their use of social media during the movement.

災難事件發生時，災難資訊的分析和傳遞需具有即時性，才能讓資訊運用達到防災與救災的目的。網路基礎設施普及後，災難資訊的提供者加入廣大的網路公眾媒體，單獨透過搜尋引擎檢索無法即時的反應災難目前狀態；而像災難應變中心這類傳統頻道的災難通報管道有限，經常無法負荷突然爆發的資訊。這些因災難爆發的瞬間巨量資料，已無法完全使用人力蒐集、過濾與處理，需要發展新的工具能夠快速的自動化分類新媒體頻道資訊，提供救災防災體系應變或政府決策時參考。 本研究收集莫拉克颱風八八水災期間五個頻道資料，經過文字處理與專家分類後，由頻率分布、分類結構組成與詞彙共現網絡，觀察不同頻道資料集之性質的異同。在未考慮詞性與文法的狀況下，使用向量空間模型訓練OAO-SVM分類器模型，評估自動化分類方式的績效。 根據分析結果我們發現災難發生後，網路上的資訊隨著時序存在著階段性的期程，能夠由各個頻道瞭解災難的進程。透過詞彙共現網絡，瞭解救難專家書寫相較於俗民書寫使用的詞彙少重複且異質性較高。使用OAO-SVM訓練分類器結果，救難專家書寫的頻道分類績效優於俗民書寫。分類器交叉比較後，對於同性質頻道的內容具有較好的分類績效。透過合併相同屬性資料集訓練，我們發現當訓練資料的品質夠好時，分類器能夠有不錯的分類績效。品質不夠時，可以經由增加訓練資料的數量來提升分類的績效。本研究的歸納，以及所發展出來的分類方式與資訊探索技術，未來可以用於開發更有效率且精確的社群感知器。 / When disaster events occur, information diffusion and transmission need to be in real-time in order to exploit the information in disaster prevention and recovery. With the establishment of network infrastructure, mass media also joins the role of information providers of disaster events on the internet. However retrieved information through search engines often cannot reflect the status of a progressing disaster. Traditional channels such as disaster reaction centers also have difficulty handling the inpour of disaster information, and which is usually beyond the ability of human processing. Thus there is a need to develop new tools to quickly automate classification of information from new media, to provide reliable information to disaster reaction centers, and assist policy decision-making. In this study, we use the data during typhoon Morakot collected from five different channels. After word processing and content classification by experts, we observe the difference between these datasets by the frequency distribution, classification structures and word co-occurrence network. We use the vector space model to train the OAO-SVM classification model without considering speech and grammar, and evaluate the performance of automated classification. From the results, we found that the chronology of internet data can identify a number of stages throughout the progression of disasters, allowing us to oversee the development of the disaster through each channel. Through word relation in word co-occurrence network, experts use fewer repeating words and high heterogeneity than amateur writing channels. The training results of classifier from the OAO-SVM model indicate that channels maintained by experts perform better than amateur writing. The cross compare classifier has better performance for channels with the same properties. When we merge the same property channel dataset to train classifier, we found that when the training data quality is good enough, the classifier can have a good performance. If the data quality is not enough, you can increase amount of training data to improve classification performance. As a contribution of this research, we believe the techniques developed and results of the analysis can be used to design more efficient and accurate social sensors in the future.

公眾外交在世界各地逐漸受到重視，本文試圖藉由研究以色列這個強敵環伺下的國家對其盟國美國的公眾外交政策，觀察這兩個同盟國家之間的軟實力外交關係。 本文從以色列對美國公眾外交的歷史實踐中證明，美國對以色列友好的原因除了硬實力外，公眾外交等軟實力因素也有重要影響力。其次，本文認為影響以色列對美國之外交策略的內外要素主要包含衝突、宗教、民主和政府態度等要素。最後，本文介紹納坦雅胡（Benjamin Netanyahu）政府時期，以色列對美國的兩大公共外交利基：「新媒體」和「族裔外交」，分別以「點對點外交」及「美國以色列公眾事務委員會」（the American Israel Public Affairs Committee, AIPAC）的機會與阻礙作為主軸。 / Public Diplomacy’s value is gradually increasing around the world. This thesis focuses on Israel and its Public Diplomacy policy toward its ally, the United States of America, in order to observe the soft power diplomatic relationship between the two. This thesis proves that besides Hard Power, Soft Power is also a crucial factor that improves the relations between Israel and the U.S. Also, this thesis states that “conflicts,” “religion,” “democracy,” and “the attitude of domestic leaderships” are the main factors that influence Israel’s diplomatic strategy toward the U.S. Finally, by describing “the Peer-to Peer Diplomacy,” and “the American Israel Public Affairs Committee (AIPAC),” this thesis introduces the two main “Niches” in Israel’s Public Diplomacy Policy towards the U.S.: “New Media,” and “Diaspora Diplomacy.”

電視產業80年經歷多次創新，從硬體，載體加上視聽播送內容，以及非市場因素的政府介入，交互影養，我們看到內容與平台的創新演變與轉折。如今，資訊科技以新技術破壞式創新，融合多媒體匯流服務，”閱聽眾”收視習慣因而變成了”用戶”。兩方互跨領域與內容，紛紛以「新媒體」之姿跑馬圈地。 『世界是平的』作者，佛克林David Verklin提到，我們生活在一個競爭無止境的世界，代表創新抉擇亦將無止境。電視媒體過去從無線到有線以致數位，一直以持續性創新前進新戰場。如今，競爭對手不只是電視同業，資訊科技異業的攪局與破壞創新，定義出數位時代傳播服務的「新媒體」，將撼動電視媒體霸主地位。潮流所趨，電視媒體「轉型」已勢在必行，如何再次創新以加速就位，是一場嚴峻的挑戰。面對內部組織能力與外部新興科技的專業，都有創新的兩難。本文透過個案研究方式，應用古典與現代學派學者不同的創新論述，分析電視媒體轉型新媒體必備的創新元素與能力，彙整出創新抉擇的思考依循，提醒電視媒體企業經營者應有的創新習慣及演練，避免消失。 研究發現，電視媒體與資訊科技「新媒體」產業因”閱聽眾”與”用戶”概念，創新思維差異很大，以致採取不同價值主張。電視媒體認為資訊科技為輔助角色，直接平移新聞與節目即可。而由資訊科技業或電信網通業者所打造的「新媒體」，則定位在提供用戶最大「量」與「速度」的多媒體匯流服務，並轉載與其他平台一樣的資訊內容即可。事實上，兩者都已在同一個數位競技場，如果內容同質性過高，實難建立”閱聽眾”與”用戶”的忠誠度，更甭說獲利與否。結果顯示，新媒體服務必須滿足“閱聽眾”與“用戶”的概念，才能實踐創新，而創新的抉擇，必須回歸自身資源優勢與資訊科技業互補，共生共榮，才是「新媒體」正軌發展之道。 / TV-Media has been developed for more than 80 years with many transition。Not only technology、carrier but also regulation pushed TV Media heading to a new service。Apply those turnings to the theory of innovation，showed how TV media deal with unexpected future and their innovation phase。In this comprehensive with all kinds of possibility internet world，the new tech of media convergence emerged the「New Media」service，TV towards IT service，IT towards TV content service, which changed viewer’s behavior of seeing and hearing behavior, they became a user，that makes both side wants to be a Player。 As the book of 「The world is flat」writer “Thomas Friedman” says：”We are living in a never-ending competition world which means that takes innovation action is a way to survive”. Via Wireless、Satellite，then deliver the seeing & hearing content through cable to users，TV-media’s competitors are beyond the same trade，and more competitors will be the IT(information technology) business for it can converge all kinds of content and deliver it to TV/PC/Mobile，which defines itself as a「New Media」service。Transforming the way to see and hear with IT heavily involved，TV Media viewer has become a faithful user to the 「New Media」。Does it mean that 「New Media」might shake up TV-Media’s long lasting standing ? To a traditional TV-Media , tackling this innovation step is kind of a dilemma，for it’s current organization that seems not allow them to do so , and without IT-experts support hardly can make any step on what New Media needs。This research has applied Mr. Clayton Christensen’s point of innovation (Harvard Business Professor) to elaborate what were TV-Media’s innovation elements?how to empower those elements ? and some reminder has been figured out to help TV-Media to make the right innovation determination to avoid to be eliminated in media market 。 Accomplished this research , we discover that innovation orientation of TV-Media and IT-Based Media (New Media) are quite different.TV-Media took IT as a supplementary，thus，moving TV program as a New Media content. The IT-Base Media buy the same content to serve user as competitors do,focusing on quantity and speed。Actually both TV and IT , they are toward each other’s territory and battle in the same arena shows that content will be a critical issue。No matter viewer or user,they will not take the same service with repeat content。 Changing to a New Media era ,user behavior will different from sitting in sofa’s watching TV viewers , the content should be distinguished from long duration content。As a PC or mobile phone user , they dominate what content to watch。If the content attract thems or make it as a necessary information for themelves，they must to satisfy user with an innovation determination to consolidate both TV and IT Media’s advantage is necessary to take。 Because innovation will be the only way to breakthrough barrier，and a right way to turn TV-Media itself as a 「New Media」to a sustainable development。

媒體網路科技的發展以及數位技術的解放，讓個人媒體開始出現。這些草根媒體不論在型態或是內容產製上都與過去的大眾媒體有很大的差異。2000年韓國出現了強調人人都是記者的公民新聞媒體《Ohmynews》，短短幾年成為韓國前10大影響力的新聞媒體，也讓公民新聞開始受重視。在察覺公民新聞的發展趨勢以及擴大台灣公共電視影響力的需求下，2007年4月30日PeoPo公民新聞平台正式成立運作，它是第一個強調以影音為主的公民新聞媒體，也是強調人人皆可參與的開放新聞平台。 一年的運作下來，PeoPo公民新聞平台不論在公民記者人數的成長或是新聞數量的增加都有了相當的成績，並且舉辦過多場活動展現了草根媒體的影響力。透過PeoPo公民新聞平台，更多人有了公共參與以及關心社區事物的機會，也看到了不同地區、年齡、背景的民眾參與公民報導的實踐。 本研究將透過實際參與PeoPo新聞平台發展一年觀察的田野筆記，呈現PeoPo公民新聞平台發展的軌跡；並且透過量化的問卷以及質性的深度訪談，了解PeoPo公民新聞平台在公眾參與以及多元報導上的表現。

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.