行動時代的到來為社群媒體帶來了發展的春天，原生廣告也隨之應運而生，成為備受社群媒體青睞的新興廣告形式。而在中國市場，WeChat與Weibo這兩大社群媒體自2012年起相繼推出了資訊流廣告服務，並不斷試水新的技術和表現形式。兩者的資訊流廣告在運作機制和表現形式上雖有所雷同，但仍各有特點，其中最主要的差異體現在廣告訊息的按讃者和按讃數量上。 因此，本研究以WeChat和Weibo為研究對象，援引推敲可能性模式理論，希望探究消費者在觀看WeChat和Weibo資訊流廣告時，是否會因為廣告訊息按讚者或按讚數量的不同，在品牌態度和購買意願上產生差異。 本研究採用實驗室實驗法，招募60名國立政治大學非傳播相關科系的大陸籍學生進行實驗。研究結果發現WeChat和Weibo的資訊流廣告訊息接收者在品牌態度和購買意願的形塑歷程上確實存在差異：就WeChat而言，廣告訊息可信度更能正向影響消費者的品牌態度和購買意願；就Weibo而言，感知按讃數量更能正向影響消費者的購買意願，但對品牌態度不構成顯著影響。 / Native advertising has emerged both as an exciting new way for digital marketers to engage with the consumer, and as a new source of advertising revenue for social media. In the China market, news feed ad, a major type of native advertising, has been very popular in WeChat and Weibo since 2012. Visually the native advertisement in these two social media seem pretty similar, but they have enough differences to make them different, particularly in the differences of likers and the number of likes on advertisement. Using the Elaboration Likelihood Model (ELM) adopted by Harkins and Petty, this study focus on WeChat and Weibo and try to clarify the differences of consumer’s information processing, brand attitude and purchase intention between these two social media, which has various social tie strength. Adopting an laboratory experimentation, a total of 60 samples, participated in this study during January, 2017. Finding of this study show the differences of brand attitude and purchase intention towards news feed ad when subjects are exposed to WeChat between Weibo. In WeChat, message credibility indicate more significant influence on the brand attitude and purchase intention towards native advertisement rather than perceived number of likes. Oppositely perceived number of likes positively influence on purchase intention towards native advertisement in Weibo.

This study posits that there is a connection between political action online and activism in the real life. In addition, social ties and networks as well as political knowledge and efficacy play an important role in this connection. Causes, an application on Facebook, was selected for analyzed. A mixed method study was conducted, consisting of two stages. In the first stage (quantitative), a survey was utilized to investigate the correlation between activities on Causes and conventional political engagement. A total of 45 responses were gathered using convenience sampling. It was found that there is a strong correlation between action on Causes and conventional political engagement. For example, information retrieval activities are correlated with conventional activism (r=.418, p<.05), and social networking activities are also correlated with conventional activism (r=.661, p<.05). In addition to the survey, intensive interviews (N = 5) were conducted in the second stage (qualitative) to elaborate and clarify the results from the survey as well as to explore new grounds on the significance of ties and networks. Some themes have emerged from the interviews, including motivations for the use of Causes, Causes as an information channel, potential and problems of Causes, online versus offline activism, affiliation and involvement, political knowledge and efficacy as well as ties and networks. Interview findings concluded that the high correlation between online and offline activism is further specified by the interviewees to be an extension of each form of activism, meaning they are complementary rather than identical.

本文的目的在於說明國家形象和企業聲望的重要性，以及二者對國家競爭力的影響，並且針對如何改善台灣國家品牌計畫以提高它的形象建直一個模型。該模型強調在國家品牌計畫中，社群媒體所扮演的重要角色。由於社群媒體愈趨普及與廣泛使用，社群媒體將形成很大的可能性以凝聚民意。 本文主要分析材料分為兩個部分。其一，透過分析機關團體和群眾所編寫的聲望排名列表的內容，所收集到的原始數據，並且該數據也包括一項透過Facebook分析以觀察品牌貫徹的研究；其二，透過社群媒體與形象形成有關的研究著作、網站與書籍等文獻回顧，所收集的補助數據。 原始數據顯示大眾對於在技術媒體網站上建立產品排名有很大的興趣，而且在這些網站上的排名通常與一般機關團體排名有顯著不同，且以Facebook為材料分析顯示，台灣企業的品牌貫徹與全球最有聲望的企業並未有很大的差別。另外，輔助數據也顯示形象與聲望的重要性，以及社群媒體確有極高的可能對象與聲望生高度影響。 由於數據可見，台灣在技術開發和產品質量方面確有良好的形象，本文進一步指出，台灣應該集中這些功能，二非僅是推廣旅遊景點，方能改善國家形象的諸多方面。作為這項研究的結果，本文對於台灣以及和台灣具有相似特徵的其他國家，提出一個較能妥善貫徹國家品牌的模型。該模型強調國家與企業之間合作的必要性，進以改善雙方的形象與聲望。此外，該模型也指出，利用社群媒體提供的工具將有效地達成品牌貫徹。 / The purpose of this paper is to illustrate the importance of national image and corporate reputation and the interrelating power of the two on national competitiveness. In addition I hope to develop a model for the improvement of Taiwan’s nation branding project. The model points to the relevance of Social Media channels in nation branding projects. As a consequence of its increasing popularity and extensive usage, Social Media offers great opportunities for the reformation of public opinion. Data has been collected through a comprehensive literature review of research papers, websites and books on the two major subtopics: Social Media and image construction. Besides, analyses of reputation ranking lists prepared by organizations and the public were conducted. In addition, the paper also includes research through Facebook to examine branding practices. The research demonstrated the relevance of image/reputation, moreover the wide-ranging possibilities inherent in Social Media for exertion of influence. The data also showed that there is a broad public interest in product rankings of Tech Media Websites and that the top companies of those are usually distinct from the favorites of the official listings. The Facebook research did not show relevant differences between nation branding practices of the Taiwanese and the most reputable companies worldwide. The data showed that Taiwan has a good reputation in terms of technological development and product quality. This paper states that Taiwan should concentrate on these features instead of the promotion of tourist attractions, as a spillover effect will eventually lead to improvements in all aspects of national image. Based on the results of the study, this paper includes a nation-branding model for Taiwan and for other nations with similar characteristics to Taiwan. The model emphasizes the necessity of collaboration between the state and the corporate sphere in order to improve the image of both. Additionally, the model illustrates that an effective nation-branding project needs to exploit the tools provided by Social Media.

近年來社群平台(Social Media)的興起，提供了人與人之間簡便且快速互相交換各式各樣內容的機會。社群多媒體(Social Multimedia)指的就是使用者在社群平台上所互相交換的多媒體內容，相較於單純的多媒體內容而言，社群多媒體多了寶貴的大量社群平台使用者之間分享互動的記錄，以及社群平台使用者在社群網絡(Social Network)中的各項資訊。如此一來為多媒體內容提供了更多面向的資料，讓社群多媒體比起單純的多媒體內容有更多的應用的可能。 微網誌(Microblog)是個可以讓使用者自由的即時分享文字訊息的平台，有著許多使用者的當下的心情、眼前所看到聽到的事或與朋友對話等。而微網誌平台相較於其它單純用來分享多媒體內容的社群平台(例如YouTube或Flickr)而言，在微網誌平台上的多媒體內容有明顯的分享傳遞現象。而本研究的目標，就是要利用些多媒體內容在微網誌平台上的分享傳遞的特性與資料，針對群多媒體內容進行熱門預測。 隨著時間的前進，若以單一同樣的規則來進行熱門預測，將可能造成預測準確率的下降；再者，即使是在同樣的時間點，不同的多媒體內容會有各自隨著時間在熱門上的變化趨勢，還是會有需要不同的規則來進行熱門預測的可能性，也就是所謂的局部概念飄移現象。在此我們將熱門預測問題轉為資料探勘(Data Mining)中的分類(Classification)問題，並同時將局部概念飄移現象納入考慮，提出一個針對微網誌平台上多媒體內容的熱門預測方法。實驗結果顯示，有考慮局部概念飄移的熱門預測方法，在準確率的表現上明顯的優於GCD方法(平均有4%的提升)與Baseline方法(平均有10%的提升)，代表我們的熱門預測方法更適合微網誌平台上的多媒體內容，也代表的確有概念飄移與局部概念飄移的現象存在。 / In recent years, the rise of social media offers an easy and fast way for information exchange. Social multimedia refers to the multimedia content that users share on the social media. Different from traditional multimedia, social multimedia contains both the multimedia and user behavior information on social media. Microblog is one type of social media. Compared to other social media such as YouTube and Flickr, microblogs provide a more friendly environment for users to propagate social multimedia. The goal of this thesis is to make use of the characteristics and information of propagation on microblogs for popularity prediction of social multimedia. The popularity prediction method based on concept drift mining is proposed. In particular, the local concept drift mechanism is employed to capture the local characteristics of social multimedia. By taking the local concept drift into consideration, the task of popularity prediction is transformed into the ensemble classification problem. Experiments on social multimedia collected from plurk show that the proposed approach performs well.

本研究探討台灣新創手提包時尚品牌如何成功打進國際市場，創造世界級的知名度並打造全球品牌的進程。藉由個案研究方式，觀察JumpFromPaper與Ciao Ciao Banana如何運用時尚界中創意翻玩的灰色地帶，品牌的商標又提供了品牌怎樣的保護，以及著作權如何提供品牌的創新合理的智慧財產保護。 本研究使用賓州大學行銷學者Jonah Berger的感染力要素，分析個案使用之社群媒體操作口耳行銷之方式，豐富其品牌內涵；藉由網路社群的影響力，將品牌行銷於全世界。兩位青年創業家成功創造出讓歐美時尚消費者也喜愛的流行手提包品牌。品牌行銷的過程中，兩個案均針對社群行銷以Promotion Manager角度操作網路媒體的力量打造後進品牌，不失為台灣發展全球品牌的有效方法。個案研究之品牌皆有效運用網路口碑行銷的方式，藉由感染力要素中的社交價值、曝光要素，運用時尚界知名的部落客的社群影響力，為品牌增添時尚的元素，爭取傳統時尚媒體如《Vogue》雜誌的背書，創造後進品牌與流行時尚的連結；也藉由這些時尚界的意見領袖的使用，創造大眾消費者模仿名人、想要擁有該產品的欲望，創造出市場需求。兩個案在使用社群媒體行銷的過程中，其行銷內容均符合感染力要素中的情緒、與故事要素：行銷內容與時事結合、具有故事性，讓消費者感到有趣，主動傳播品牌的行銷內容；此外，創造全球品牌的過程中，如何讓消費者有意識的聯想到品牌，品牌行銷的過程中，使用了觸發物要素，如普普藝術、平面漫畫，使得消費者在特定情境下有機會聯想到該品牌；並且行銷內容不只宣傳品牌、也提供消費者其他方面的便利性，如Ciao Ciao Banana提供實體店周邊的美食地圖，提供品牌消費者造訪實體店時的休閒提案。 JumpFromPaper和Ciao Ciao Banana在全球時尚界獲得矚目後，智慧財產權之商標議題在歐美與中國等世界各重要市場陸續成為品牌必須處理的課題，為了預防品牌經營開拓新市場時，陷入智財訴訟之泥淖，品牌需審慎思考並於佈局新市場的過程中，需要妥善規劃運用智慧財產權保護品牌權益。 / The purpose of the study focused on how the Taiwanese young entrepreneurs started the new fashion brand to a new market and the trademarks strategies. With interview to the brand founder and visit to the channels around Taiwan and California, it revealed the marketing and entry strategy into a new market. The results indicated that the new brand should integrate the resources in marketing and intellectual property with completely market entry strategies. Global marketing and channel development strategies should be well planned in order to build up a whole new brand and registered the necessary trademarks in the market. Still, online marketing with social media channels was a new trend. It is an effective and possible way for Taiwanese company to build up a global brand. The study findings may serve as a guide for further research on branding and trademark strategies in the global market as well as a feasible model for other new Taiwanese brands.

網路社群媒體平台可能是數位發行的年代中至目前為止最具有威力的媒體平台。整合Facebook、部落格、微網誌、影音社群、SNS（Social Networking Service ），即時通訊等的網路社群媒體平台，可與真實資料的他人免費、不受時空限制的合作、共同參與、分享彼此資源資訊，使得訊息發送、情感聯繫不但更加緊密並快速營造如朋友社群般的關係影響力，再加上無線網路環境和數位化載具的快速進展，智慧型手機IPAD等滿足了大家的多元即時性，網路社群媒體平台串聯出的威力和影響力，已成為傳統媒體之外的另一個發聲利器，其威力甚至有時要比傳統媒體還要強烈，影響還要深遠！ 本研究旨在探討網路社群媒體平台之於表演藝術團體的價值，表演藝術團體如何運用網路社群媒體平台來進行營運，以及其關鍵的成功因素等議題，盼能引起大眾及表演藝術團體對網路社群媒體平台的了解與重視。研究選擇國內已經在網路社群媒體平台上活躍使用的表演藝術團體個案進行深度訪談及觀察探究，並輔以國外表演藝術團體網絡上的實地觀察和研究，以及次級文獻資料的蒐集佐證，進行分析探討。 本研究將「網路社群媒體平台」的角色定位為「表演藝術團體營運推展的有力夥伴，以體驗經濟形式共同創建表演藝術團體的營運產值」，研究問題及研究發現如下： 研究問題一：網路社群媒體平台之於表演藝術團體之價值為何？ 對應結論一：其價值有二點，包括： 一、網路社群媒體平台與表演藝術團體是虛擬的A型團隊合作關係。 二、網路社群媒體平台是表演藝術團體另一個微型的線上舞台，也是體驗經濟的延伸實踐。 研究問題二：網路社群媒體平台如何幫助表演藝術團體營運？ 對應結論二：其營運協助有五點，包括： 一、網路社群媒體平台讓表演藝術團體有更多的自主性及主導權來宣傳其創作作品，如同自己開了一家不用成本的二十四小時專屬媒體頻道。 二、網路社群媒體平台可協助表演藝術團體擴展精準觀眾群，並讓彼此之間關係互動更即時熱絡和緊密。 三、網路社群媒體平台可以協助本土的表演藝術團體更容易國際知曉增加國外粉絲。 四、網路社群媒體平台的免費及低學習門檻特性，讓非營利組織的表演藝術團體節省了大部分網路軟硬體設備及網路專業訓練的成本，甚至行銷宣傳經費。 五、網路社群媒體平台已成功協助表演藝術團體販售周邊商品，票券和募款。 研究問題三：表演藝術團體運用網路社群媒體平台營運的關鍵成功因素？ 對應結論三：關鍵成功因素，包括： 一、表演藝術團體運用五感體驗及說故事的力量鼓動並掌握群眾的互動和黏著度。 二、創意、主題策畫、知識涵度並以觀眾服務角度勤發布的真誠內容仍是吸引群眾擴充增加、協同、分享並每日追隨的重要因素。 三、明星偶像效應勢不可擋，表演藝術團體中靈魂級人物的訊息和親自上陣互動仍是令群眾瘋狂黏著並串聯分享的主因。 四、表演藝術團體對社群網路媒體平台的媒體特性、功能及操作技巧的了解以及主事者的全力支持是其推展營運最重要成功關鍵。 / In the digital publishing era, the media platforms of social networking websites have probably been the most powerful figure by far. By integrating the social networking websites of Facebook, blogs, microblogs, video-sharing websites, SNS (Social Networking Service), people can join and share resources and information and get from people their substantial cooperation that is free and unlimited by time and space.The delivery of messages can be speedier, and relation closer; moreover, the effect as that produced within a community of friends can thus be developed.Due to the highly advanced WiFi and digital devices, smartphones and tablet computers meet the need for diversity and instantaneity.The power and influence gained by integrating media platforms of social networking websites has become efficiently instrumental for one to be heard, and its force can reach far greater and deeper than the traditional media! The research aims at exploring issues concerning what the value media platforms of social networking websites can have on performing arts groups, how to run the groups through those platforms, and the key factors of success, in order to draw the attention from and increase the understanding of the public. The subjects chosen in this study are performing arts groups that have been active in media platforms of social networking websites in Taiwan. In-depth interview and observation will be used in exploring each case. Foreign performing arts groups will also be observed at the scene and studied; besides, the documentation of secondary materials will be collected, analyzed and discussed. Topic 1 What is the value of media platforms of social networking websites to performing arts groups? Conclusion 1 There are two valuable facts: 1.The relation between media platforms of social networking websites and performing arts groups belongs to virtual "Type A" cooperation. 2.Media platforms of social networking websites function as an alternative micro "online stage" of performing arts groups, and that is also the realization of the extension of experience economy. Topic 2 In what ways can media platforms of social networking websites help operate performing arts groups? Conclusion 2 There are five ways: 1.Media platforms of social networking websites allow greater independence and control for performing arts groups in promoting their works, as if they own a channel exclusive for themselves, broadcasting non-stop and without cost. 2.Media platforms of social networking websites can help broaden the targeted audience, and make the interaction between them closer. 3.Media platforms of social networking websites can help local performing arts groups increase their visibility overseas and thus the number of foreign fans. 4.The free-of-charge feature and highly accessibility of media platforms of social networking websites allows the non-profit performing arts groups to save much of the cost of hardware, software and training, even the promotion. 5.Media platforms of social networking websites have successfully assisted performing arts groups to sell merchandise and tickets, and to raise funds. Topic 3 What are the KSF (Key Success Factors) in the employment of media platforms of social networking websites by performing arts groups? Conclusion 3 The KSF are: 1.The force created by performing arts groups using sensory experience to tell stories can encourage and control the interaction and attachment of the audience. 2.Creativity, theme planning, knowledge imparted, and the sincere and diligent posting of messages that are service-based, audience-centered, still serve essentially to attract the public that may increase in number and be willing to cooperate and share with each other day after day. 3.Stars are invincible! The messages and presence of, and the interaction with the key figures of performing arts groups can make the audience crazy and thus get closer to share. 4.The understanding of the characteristics, functions, operating skills of media platforms of social networking websites by performing arts groups, plus the full support from the person in charge, is the crucial factors of success.

韓國的文化工業發展興盛，「韓流」以韓劇的出口為開端，近年來隨著韓國流行音樂 (K-Pop) 不斷向海外擴張，韓流不僅影響亞洲各國，在歐美各國也掀起一股潮流，而社群媒體可說是這股風潮的重要推手。藉著社群媒體，K-Pop觸及了更廣大的聽眾群，歌迷也可藉著社群媒體直接表達對於偶像的喜愛及忠誠。 隨著網路及新科技發展，音樂本身對於消費者將越來越便宜，實體唱片的銷量註定會持續下降；在這情況下，消費者在演唱會以及非音樂性衍生商品的消費，對音樂產業的重要性上升。因此了解願意付費觀賞演唱會以及購買衍生商品的樂迷，對音樂產業日趨重要。 檢視過去對於迷社群的研究，多從社會學及心理學的角度出發，缺乏從商學的角度切入的觀點，本研究旨在瞭解在數位音樂時代，社群媒體以及利用社群媒體串聯的迷社群，對於迷群音樂消費的影響。本研究以韓國偶像團體Super Junior的迷群為研究對象，以深度訪談方式，訪談11位Super Junior迷，了解迷的社群媒體使用習慣，以及社群媒體上的互動跟迷的音樂消費之間的關聯性。 經過深度訪談及資料分析，本研究得出以下三點結論：(1) 透過社群媒體集結的迷群，相較傳統的迷社群，雖然信任關係發展較慢，但社群媒體的人際關係發展與真實生活較貼近，在社群媒體的上的互動，對社群內部成員有較高的影響力；(2) 社群媒體對於迷群而言具有多重的功能：與Super Junior成員直接互動的工具、獲取最新資訊的管道、擴散有時效性訊息的媒介、和其他迷互動的媒介。在音樂消費的過程中，社群媒體除了是消費資訊來源地，也是買家跟賣家的媒合地，迷對於來自於社群內部的消費資訊有較高的信任感，因此雖然社群媒體上的迷群互動不會直接將使用者變成消費者，卻可以促成消費的完成，對於音樂消費有重要影響；(3) 社群媒體在音樂產業中扮演三個角色：音樂消費與擴散的媒介、音樂相關資訊的集中地、促成產業內各角色 (迷、歌手、唱片公司) 之間的交換 (exchange)。 / Korea’s cultural industry has enjoyed rapid growth due to the rise of “Korean wave (hallyu)”, which is led by Korean drama since 1990s. Korean wave has conquered Asia, but now with the rise of K-Pop, Korean wave reaches a wider audience in the West. Social media plays a crucial role for Hallyu’s success in the global level. Social networking media make K-Pop brands easier to reach global audience, and those fans use these media tools to proclaim their devotion and to promote K-Pop to their friends. This research categorizes music products into musical product, including records and live concert, and non-musical associated product, including concert paraphernalia. New digital technologies have transformed the ways of music consumption which results in decline in sales of musical products. However, fans tend to engage with a variety of products related to their interests, and their consumption on live concerts and non-musical associated product is getting important for music industry. Existing research on fan culture mainly comes from sociology or psychology viewpoint. This research discusses fan music consumption from management perspective and tries to explore the role social media plays to influence music consumption. This research uses the most popular K-Pop group, “Super Junior,” as a case. Through interviewing 11 Super Junior fans, this research examines how fans use social media to communicate and interacts with other fans in the fan community. Through in-depth interviews and data analysis, there are three main findings concluded by this research. First, compared to traditional virtual fan community, in terms of virtual fan community, it takes longer to develop the trust relationship on social media. However, the way fans communicate on social media is closer to the real life. As a result, interactions on social media influence members much greatly. Second, social media is a multi-function tool for fans, which allows them to directly communicate with Super Junior members, to quickly receive the latest information from other countries, to quickly spread timeliness information, and to communicate with other fans. Therefore, social media and fan community do contribute to fulfillment of music consumption. Last, social media plays three roles in music industry: the platform of media of music consumption and diffusion, a place where all music-related information are collected, a contributor to exchange between different players (fans, singers, music companies) in the music industry.

Web 2.0的時代來臨，「人」成為網路世界的主角，網際網路世界的雙向人際互動受到重視，近年來，越來越多社群網站出現在我們的生活當中，成為現代人溝通連絡的主要管道之一，其中又以2004年創立的Facebook使用率最高，目前已累積約8億的使用者，成為會員數成長最快的社群網站。由於大量的用戶及快速的消息傳播速度，企業開始透過在Facebook設立粉絲專頁來行銷宣傳，與顧客建立關係，而博物館雖屬非營利組織，但為了與日漸多樣化的休閒機構競爭，行銷成為經營重點，因此亦紛紛跟隨潮流架設起專屬的Facebook粉絲專頁，希望能藉此進行網路社群媒體行銷。 本研究藉由個案研究法，線上觀察世界四大博物館─紐約大都會藝術博物館、羅浮宮博物館、大英博物館、國立故宮博物院的Facebook粉絲專頁經營模式，分析比較各個博物館的粉絲專頁內容，評估其是否符合過去文獻所整理的Facebook成功經營要素，並採用粉絲數及談論率做為衡量指標評估營運績效。研究結果發現各博物館發文內容多與博物館展覽和館藏文物相關，且喜歡採用文字搭配圖片方式發文；以營運績效而言，紐約大都會藝術博物館Facebook粉絲數量最多，但國立故宮博物院粉絲專頁的討論率最高，與粉絲互動較佳；同時，本研究亦發現四大博物館目前Facebook粉絲專頁的粉絲雖持續增加中，不過談論率相當低，顯示在經營績效並不佳，仍有許多改善空間，因此提出實務建議以供未來博物館營運Facebook粉絲專頁時參考。 / In the era of Web 2.0, the interaction among people in the Internet world becomes important. In recent years, there are more social network websites emerging in our life. This trend gradually changes our ways of communication. Among these social network sites, Facebook, with approximately 800 billion users now, grows the fast and is the most popular websites. Because of the large number of Facebook’s users and its quick speed of spreading information, many corporations have set up their own fan pages to do marketing and build relationship with customers. Non-profit organizations are no exception. Museums, in order to compete with the other recreational facilities, also establish fan pages on Facebook to promote themselves. This study chooses four world famous museums--Metropolitan Museum of Art in New York, British Museum, Musée du Louvre, and National Palace Museum to do case study. By observing and analyzing the contents of each museum’s fan page, and evaluating its performance through the number of fans and the ratio of “people talking about this,” the study assesses whether these four museums’ operation of Facebook is successful or not. The result shows the main contents of these museums’ Facebook fan pages are about exhibitions and most of information is released with words and pictures. As for the operation performance, Metropolitan Museum of Art in New York has the most fans, but National Palace Museum has the highest ratio of people talking about this, which means it has better interaction with fans. However, according to the result, the performance of Facebook of every museum is not satisfactory and there are lots of spaces to improve. Therefore, researcher gives some practical advice in the end of the study as future operational reference.

網路使用者對社群網站的依賴日漸加深，同時，使用者卻在不同社群服務供應商之間不斷轉換，綜觀過去研究，多著眼於服務供應商與使用者的關係，有鑑於此，本研究欲探討影響社群網站消長的主要因素，進而修正既有轉換行為模式，發展社群網站轉換行為模式。本研究收集667份有效問卷，以鎖定效應(包括轉換態度、主觀規範、轉換成本、過去轉換行為、多方尋找傾向)、品質、易用度、個人化、網站形象、滿意度、涉入度、使用頻率、互動頻率為自變項，轉換意圖為中介變項，轉換行為為應變項，研究結果發現鎖定效應能有效預測社群網站轉換意圖與轉換行為，轉換意圖正向影響轉換行為，進一步發現個人化、網站形象、涉入度、網站使用頻率會直接影響轉換行為，並根據社群網站的特性，將轉換成本重新分類，以供未來社群相關研究參考。 / This research was done to study the switching behaviors of social networking sites users. Data was obtained via an empirical survey of 667 social networking sites users. The findings of this study indicate that mooring effects(including attitudes toward switching, subjective norms, switching costs, and variety-seeking tendencies) appears to have a stronger influence both on user’s switching intentions and switching behaviors, and a positive relationship between switching intentions and switching behaviors. Furthermore, the personalization, website image, involvement and frequency of use have direct influence on switching behaviors. According to the characteristics of social networking sites, this study classifies the categories of switching costs for further research.

敘利亞內戰的難民攝影直指當代戰爭的關鍵問題，也凸顯社群媒體使用者如何直面這些影像及採取後續行動。因此，本研究聚焦難民影像中的人道關懷有何轉變，以及社群使用者觀看戰爭影像時，如何理解戰爭影像中的人道意義，以及與社群他人共同觀看時有何倫理問題。 　　以庫爾迪影像為分析始點，指出庫爾迪影像及後文本展現社群人道主義，也隱含不同漠視庫爾迪的視線，包括國際政治的角力、宗教信仰的根本問題，更重要的是主流媒體與社群媒體觀者的旁觀問題。 　　再者，從《聖殤》的構圖傳統到現代戰爭影像，人道主義並非持守一套不變的道德倫理。儘管西方人道主義已深植於紀實戰爭影像的視覺論述，但是因指涉對象不同，人道主義的意義也隨之變動。難民影像除了悲憫與哀悼的人道傳統外，還展現出掙扎、焦慮、變動不安等意義，更隨著不同觀者而有所差異。 　　本文也藉由分析戰爭中的自拍以討論在社群媒體觀看的倫理問題。難民自拍連結社群他人，也跳脫主流新聞媒體的再現，展現難民的非戲劇性日常。而社群觀者便於使用社群媒體的視覺行動機制，實踐線上人道主義。然而，線上視覺人道行動也可能再次消費戰爭悲劇，與實際人道行動的意義相異。最後，觀者不僅漫遊於社群世界，尋找自我觀看的視角，更在與社群他人的互動中反覆確認、變換觀看的位置，以此理解戰爭事件與自身的關係，再採取線上視覺行動。 / The images of Syrian refugees point out key questions about modern war, also high-light how users on social media see the images and practice visual activism.　Therefore, this article aims to analyze what the transformation of humanitarian images is, how to understand the humanitarian meaning when users see the images, and what the ethics of seeing is. First of all, the image of Alan Kurdi and post-text show the social humanitarianism and connote lines of vision of ignorance and, including the struggle of international political, religion conflict, and the indifferent of mainstream media and social media. 　　Second, from Pietas to images of modern war, the meaning of humanitarianism is not always the same. Despite the western humanitarianism being rooted in the visual discourse of documentary war images, the meaning of humanitarianism has also changed with different referents. Besides compassion and mourn, struggle, anxiety, variation and instability are included in the images of refugees. 　　Third, this study discusses the ethics of seeing via analyzing selfies in war. Refugees take advantage of selfies to link others on social media and get rid of representation of mainstream media to present the nondramatic everyday life of fleeing. Furthermore, spectators on social media take the visual action to practice online humanitarianism, although it may consume the tragedy again. 　　Conclusively, seeing is not only wandering in social media world and seeking the angles of self-seeing but confirming and changing the position of seeing among the interaction with others time and again. By seeing, people can understand the relationship between war and self, and then take visual action.