本研究旨在探討台灣電視產業中，商品為何、商品的特性、商品的生產過程，以及與生產結構間的對應關係。本研究採行批判的傳播政治經濟學視野，對台灣四十餘年來的電視事業進行考察。研究結果指出，電視事業中的商品，首要應為節目本身，而台灣的電視節目的首要消費者，是廣告業主而不是觀眾。同時因為國民黨時期無線三台特殊的經營體制，形塑本地節目製作業的特性：規模小、業務人員為公司主要人力。導致台灣節目的廉價化與廣告化，不論在三台寡占市場時期，或衛星電視頻道百家爭鳴時期，皆是如此。 / My objective is to find out the commodity in TV industry in Taiwan, and figure out the characteristics of the commodity, the production process, and the relationship between the commodity and the production structure. Therefore, I studied the TV production process in Taiwan for 40 years from an critical political-economy perspective. At the end, I figure out that the commodity in TV industry is programmers, and the very first consumer of this commodity is advertisers rather than audiences. Because of the special operate model of three main TV broadcasters protected by KMT, TV program producers are small and poor, and they spend too much time in maintain the relationship with advertisers and TV managers. After all, TV program in Taiwan looks like advertisement and the quality of it is low end. No matter the market is monopolized by the three main broadcasters, or opened for hundred of satellite channels, the circumstance are all the same.

Transmedia Storytelling is an often-discussed buzz word in entertainment circles, but currently there are very few cases of it in Taiwan’s television market. Furthermore, there is very little literature or research done addressing this field in a way that would enable would-be producers to design a transmedia production to meet their targets successfully. The aim of this study was to gather empirical data on how likely consumers of television programs in Taiwan are to interact with transmedia content for their preferred TV programs. This information should prove useful to producers to have a reference of what types of transmedia extensions to put time and money into and which platforms to target for maximum audience engagement. Additionally, any researchers that are interested in audience-side information on transmedia consumption and engagement in Taiwan should find this study of interest. This study employed the use of survey data and to generate some meaningful data about this topic. Now that the data has been gathered and analyzed, a clearer picture of audience engagement with possible transmedia productions in Taiwan has been shown.

民國六十四年「廣播電視法」通過，其中第條規定：「電台對國內廣播播音語言應以 國語為主，方言應逐年減少；其所占比率，由新聞局視實際需要定之。」自此三家電 視台即謹守廣電法規定，方言（閩南語）節目總量從未超過總播出時間的百分之十二 。 民國七十七年起，報章雜誌上出現了方言族群的投書，紛紛呼籲「電視節目增闢方言 時段」、「實施雙語教育」等，一時電視節目中方言節目比率成為爭論的議題。 本研究旨在分析方言節目收視行為，以閩南語語族為例，探討族群認同與族群媒介使 用的關聯，研究問題如下： （一）方言節目觀眾是誰？有那些特質？ （二）族群認同和方言節目收看之間關聯性如何？ （三）方言使用，是認同方言族群的指標，其與方言節目收看之間關聯性如何？ 本研究以本省籍成年人為母體，全省抽樣，進行訪談。大體而言，本研究之主要發現 如下： （一）就人口變項與「方言節目收看頻率」的關聯性而言，閩南語族群中，老年人較 青年及中年看得多；女性較男性看得多；教育程度愈高，看得愈少；專業程度高者和 其人在收看方言節目頻率上有顯著差異。 （二）就方言族群「族群認同」與「方言節目收看頻率」之間關聯性而言，可分兩個 層面來看：在「族群認同」的信仰層面，「方言節目收看頻率」並未受「族群認同」 程度的影響；在「族群認同」的行為層面，以「方言使用」為「族群認同」行為指標 ，則「方言使用」的多寡和「方言節目收看頻率」有關聯。

近年來，國內外流行音樂界興起一股素人明星選秀風潮，透過初步的經驗現象觀察與文獻整理，本研究視實境選秀節目為流行音樂明星形象行銷的電視節目置入活動，並以國內實境選秀節目【超級偶像】作為探討個案，研究目的在於了解實境選秀節目的明星形象行銷策略為何。 文獻回顧包含實境選秀節目興起因素─流行音樂與明星形象產銷環境的改變；實境選秀節目的定義、價值活動與經營策略；以及援引理論的緣起、發展沿革與應用。既有文獻資料顯示，實境選秀節目行銷明星形象之策略相較於傳統唱片公司，更適合以整合行銷傳播（Integrated Marketing Communications）概念為基礎進行分析。因此，本研究分從顧客資料庫、組織溝通、溝通訊息內容與媒介運用等IMC策略制定與執行之重要概念，以多重資料蒐集方法，針對個案【超級偶像】之行銷決策人員進行深度訪談，輔以錄影現場參與觀察與節目內容文本分析，探討研究個案【超級偶像】之明星形象行銷策略為何，並嘗試建構IMC應用於明星形象行銷之模式。 研究發現，【超級偶像】應用電視節目置入概念與跨媒體平台資源，有效整合節目製作部門、行銷單位與潛在市場之意見，進行素人明星之產銷活動，其一系列過程足以建構IMC策略應用於明星形象行銷之具體模式。相較於傳統唱片公司的行銷策略，實境選秀節目之突破在於資料庫概念的實踐，將消費者意見納入明星形象的產銷過程中，並產生意見溝通的循環。此外，明星形象在產製者與消費者共構的基礎上進行，因此，素人明星具有明確的市場定位，贏得消費市場的認同。

本研究為探討數位化後台灣廣播電台的節目產製模式與流程之改變，依據生產流程管理與廣播節目產製理論觀點，析論廣播節目邁向數位化產製模式之可能性，並依據分析所得描繪可能之模式與流程。 透過對台灣廣播產業的現況分析，指出目前台灣廣播電台的節目產製模式大多偏向「需求導向」產製模式的描述；少數電台則是比較偏向「創意導向」產製模式。雖然自動播出系統已經普遍使用，但只是簡化了播出作業。在節目數位化產製程度上，仍在建立資料庫階段，還未扭轉過去的製播經驗，對於進入數位化產製抱持傳統的心態，減低了邁入數位化的可能性。 因此，研究建議首先廣播電台繼續豐富資料庫的資源，還要提升資料庫的功能性。其次，結合聯播網的產製經驗，擴大資料庫網絡，與其它傳播媒介合作，形成一個「需求與資料庫導向」的產製模式，作為達到數位化產製模式與流程的基礎。 / This research aims to understand the digitizing influence the production model & process for broadcast program. Based on the viewpoint of production management theory and the broadcast programming theory, analyze the current broadcast program production model & process and evaluate the possibility of digitization. According to the result, describe the possible digitalized production model & process for broadcast program. By the current situation analysis of Taiwan broadcast industry, point out their production model is mostly inclined to “effect-to-cause” model, and few are inclined to “cause-to-effect” model. Although the “Radio Computing Service” is generally used, but only simplified the program broadcasting stage. On broadcast program production’s digitization level, Taiwan radio stations are still in establishment database stage, but also retain the traditional production experience. This result showed that reduces the advance possibility of the digitization. Therefore, the research suggests the broadcasting continue enrich the database resource; also enhance the functions of database for strategy-planning. Then, by combining the experience of radio network, expand the database network and cooperate with other mass media. The broadcast production will shift to the "effect-database" model which is the relative concept of digitalized production model.

Carroll和Davis（1993）主張電台節目應採產銷一體的觀念，因此提出『節目策略即市場行銷(Programming as Marketing)』的意理；他們認為節目製播應採行市場導向(Marketing-Oriented)的原則，也就是把觀眾視為電視媒體經營之基礎，強調要瞭解自己的觀眾；因為掌握觀眾即是掌握市場、掌握利基，是電視台經營管理之要務。 近年來，收視調查對於商業電視媒體的營運，扮演著舉足輕重的角色。目前電視台運用的面向，大致可以分為『節目規劃』及『廣告業務銷售』，第一部份運用在於，電視台可透過收視調查資料的分析解讀，作為瞭解市場趨勢、收視觀眾輪廓形貌與擬定節目策略的參考依據；第二部份則是藉由收視率數據的提供，作為評量節目表現的依據，並進一步讓電視台與廣告代理商在評估廣告效益時能有所參考。 有鑑於台灣大部分電視台對於收視調查資料的運用，多數侷限於節目播後的評估工具，且對於相關內涵未能正確掌握和有效利用，本研究擬以電視台為研究主體，企圖將系統理論的觀念導入電視台，結合閱聽眾研究、收視率調查、節目規劃策略等相關文獻理論，並參考國內電視台在收視調查資料之使用現況，建構一套符合系統思維的收視調查資料分析與運用模式，使電視台得以善用收視調查相關資料，進而累積核心競爭能力。提供電視台從業人員擬定策略的有效參考工具，以有效發揮收視調查的效益。

本研究探討「電視政論性談話節目」的第三人效果。第三人效果假說指出，人們會傾向認為，媒介訊息對自己的影響較小，對他人的影響較大。當媒介訊息產生第三人效果認知時，會使人們採取對應行動，為保護自己或他人不受訊息的負面影響而支持限制媒介，因此本研究的主要目的，在探討一般人對電視政論性談話節目的認知與態度，是否存在第三人效果（third-person effect），以及第三人效果是否會導致人們支持限制電視政論性談話節目。 　　本研究除了探討電視政論性談話節目是否會產生第三人效果外；並採用人口變項、電視政論性談話節目的社會需要性、政治注意及政治自我能等變項，來預測電視政論性談話節目的第三人效果認知，同時也進一步採用第三人效果認知來預測人們是否支持對電視政論性談話節目進行限制。 　　本研究的資料來自中央研究院2008 年台灣地區社會變遷調查計畫第五期第四次大眾傳播組的數據，這項研究共有1980 份有效問卷。資料分析顯示，電視政論性談話節目對台灣民眾會產生第三人效果，受訪民眾普遍認為電視政論性談話節目對於一般民眾產生的負面影響，大於對自己的負面影響。 　　其次，在電視政論性談話節目的社會需要性方面，受訪者認為社會越不需要電視政論性談話節目，第三人效果認知差距越大。對於政治的注意程度方面，研究結果發現，受訪者對政治注意程度較高，越傾向認為對自己和其他人的負面影響較大。同時，受訪者認為電視政論性談話節目的負面影響越大，也就越傾向支持對電視政論性談話節目進行限制；電視政論性談話節目「對自己的負面影響」、「對其他人的負面的影響」和第三人效果認知差距三變項，均是預測支持政府限制電視政論性談話節目的顯著變項。 / The research is about “third person effect” of political call-in program. The“third-person effect” hypothesis states that mass media have geater effect on others than on himself or herself. When “third person effect” occurs, people tend to protectthemselves or others from being influenced negatively by media, which lead them to favor the restriction of media. Therefore, the purpose of the research is to analyze the　existence of “third- person effect” among general pereception and attitude toward　television political call-in program and whether “third preson effect” would lead people to favor political call-in program. In addition to the analysis of third person effect of political call-in program, demographic variable, desirability of TV political call-in program, political attentionand external political self-efficacy are all adopted to predict the third person effect of political call-in program. In the mean while, the result of third person effect is used topredict whether people favor the restriction of political call-in program. The data of research comes from Academia Sinica, project of the Taiwan Social Change Survey, 2008 issue fifth, fourth time, section of mass communication. This research includes 1980 valid samples. The result of data analysis indicates that TV political call-in programs have effects on interviewees generally believe that TV political program have greater negative effects on others than on themselves. In addition, as to the desirability of TV political call-in program, interviewees think that less desirability of TV political call-in program lead to greater gap of the perception toward third person effect. As for the political attention, the result indicates that the higher political attention of interviewee, the high tendency for people to think greater third person effect on others and themselves. Mean while, interviewees think that the greater negative influence of political call-in program, there is higher tendency for them to favor the restriction of political call-in program. The influence of political call-in program on oneself, the others and third-person perception, the three significant variables are all favorable to the restriction of TV political call-in program.

談到族群形象，每個人都抱持對該特定族群的既有框架，也就是刻板印象。Walter Lippmann(1922)在《輿論》中認為刻板印象之所以產生，在於人類認知過程有限，以及受到人們的文化所界定，僅能對真實世界做部分挑選，而形成不完整與不精確的圖像，而這些刻板印象往往是受到不輕易改變的信念所支持。 媒體被認為是反映真實(reality)世界符號的工具，於是有媒體再現；而掌握媒體者，在再現的過程中扮演主導與過濾的角色。身為閱聽眾，從他人的框架看世界，限縮自己對各種事物發展的可能性，當然也可能會產生偏差。 本研究即透過內容分析了解由客家委員會委託八大電視台製播之《感動石客》中所呈現的客家形象，其中形象的探究分為傳統文化、族群特質、族群關係與當代生活四個部分；以及探討於宣導節目中如何置入、呈現文化。 研究發現《感動石客》大量使用當代、創新的表現方式改變舊有客家印象，例如新科技與新音樂形式；也持續強化既有的客家族群正面文化特質，如硬頸、勤儉、不忘本等。此外，也以紀錄片方式執行政府宣導影片，故事化客家族群，並持續落實族群融合。 對製播電視公司的建議是：主題分類更明確，「小題大作」聚焦報導，呈現深度以突顯特色。並透過「說故事」增加閱聽眾黏著度，更可以幫助老題材切入新角度。 對未來客家文化置入節目的建議，除了風情文化外，更可結合行政管理層頂客家相關政策宣導，以及增加非客籍受訪者以多元呈現客家文化所向披靡的之成效。

在知識經濟時代，知識成為傳統土地、勞力、資金之外的另一項生產元素。其次，媒體社會形成，符號的力量和價值提高，有時甚至超越真實。最後，市場導向的資本主義經營方式，使得媒體走向絕對的商業化：以上三點讓包括媒體在內的各行各業出現轉變。身為知識／資訊工作者的記者，其工作性質讓賦予他公眾知識份子的角色，讓他除了在所屬的媒體上生產訊息換取薪資之外，還能夠佔用社會中其他發言管道，將他自己變成具有使用、交換價值的商品。本文亦以台灣電視新聞性談話節目中的記者來賓為例，體現記者運用他本身的附加價值，使得自身成為可被消費的商品。 本文回顧了記者的發展史，歸納出記者在商業化媒體下的變化。然後本文整理知識經濟、知識政治、知識社會的相關文獻，加上符號學的分析，重新討論傳播商品化理論，提出記者（過度）商品化的模式。為了驗證此一模式的有效性，本文分析談話節目的來賓身份和出息次數、談話節目的內容言說及訪談閱聽人，一方面指出上節目記者的商業屬性，另一方面從閱聽人角度點出記者特殊社會地位權力。綜合理論分析和實際觀察資料，本文提出記者商品化的論述，也期待未來能有更多相關的研究。 / In an era of knowledge economy, knowledge, aside from land, labor and money, has become another productive element. Moreover, with the establishment of media society, the power and value of signs sometimes even surpass those of the reality. Finally, market-driven capitalism transforms the media into commercial-oriented companies. The above three phenomena change all walks of life. As an information worker, reporters are granted the role of public intellectual. They not only earn money by producing reports for its newspaper, they also make use of their use and exchange value by presenting themselves on other media channels. The dissertation takes the reporter guests in Taiwan’s TV news talk shows as example. Reporters make themselves commodities by the surplus value they carry. This dissertation reviews reporters’ history and the changes that industry has gone through. The dissertation then deals with theories such as knowledge economy, knowledge politics, knowledge society and semiology in order to re-discuss the commodity theory in communication studies. The result is a model of reporter’s “(hyper-) commodification.” The dissertation applies theories to analyze the background of talk show’s guests, and the discourse on the show. Interviews of the audience were conducted to further discuss the social power of reporters. The above analysis and theories finally give birth to a theory of the “hyper-commodification of reporter.”

本研究主旨有三：(一)整理現有股市財經節目的營運方式、節目內容並瞭解財經節目主持人及其口語傳播技巧。(二)從股市財經節目觀眾收視行為來觀察，以節目收視率及收視觀眾輪廓(audience profile)為基礎，觀察股市財經觀眾其日常生活中收看股市財經節目的相關行為。(三)結合對財經節目與觀眾收視行為的觀察與研究，找出股市財經節目的關鍵要素並提出建議。 本研究以文本分析、深度訪談、二手資料整理等研究方法進行，分析整理後，發現股市財經節目觀眾的收視動機非常明確，為主動閱聽人，收看節目係屬工具性行為，主要目的係希望投資獲利。因此，節目設計應先考量以下兩點：(1)股市財經節目的觀眾特性：男女比例相當、年齡層較高、學歷較高、居住北部地區較多、家庭所得較高、對資訊需求差異大、對節目是否應教育功能意見分歧。(2)股市特性：資訊瞬變、影響股市漲跌因素甚多、需專家解說。 而股市財經節目雖與其他節目有明確區隔，唯同類型的電視投顧節目或股市貼盤節目本身並無差異化，造成電視投顧節目以消耗投顧老師的方式進行經營，四個股市貼盤節目僅有二個尚稱成功，本研究建議節目產製單位應以更深層、更能吸引觀眾的相關投資資訊來提升閱聽眾對節目的忠誠度，而同類型節目之間則應以觀眾對資訊偏好的需求、對節目教育功能的不同的認知來進行差異化。 / This analysis will 1) examine the current format for Stock Market Analysis Television Programs, the program content, the program hosts types, and the host speaking styles. 2) Examine program viewer behavior, based on viewer ratings, audience profile, and the role that these programs play in the daily lives of its viewers. 3) Ascertain the key elements of these programs and provide recommendations based on conclusions reached through cumulative analysis of such television programs and the behavior of their viewers. Based on text analysis, in-depth interviews, and second-hand data, viewers appear to have clear utilitarian motivations for watching these television programs, they are active listeners, and their primary objective is to profit on their stock market investments. Program design should take into consideration the following elements: 1) Viewer Demographics: even proportion of male and female viewers, higher age-bracket, highly educated, living primarily in Northern Taiwan, high household incomes, strong demand for new information, split on whether such programs provide educational value. 2) The Nature of the Domestic Stock Market: information changes quickly, factors affecting the rise and fall of stock prices are many, professional market insight and analysis is needed. Stock Market Analysis Television Programs, which are quite different from other television programs, fall into one of two main types: Investment Consulting Company-produced Analysis Programs, Real-time Market Data and Analysis Programs, with very little variation between competing programs in each category. The former generally relies on a string of new program hosts in an attempt to maintain viewer interest. There are currently only four of the latter type of program currently running with only two of them showing even mild success. This report will recommend that producers of such programs should offer more in-depth content so as to better attract and maintain viewers. Competing programs should also distinguish themselves from one another by offering different types of data and analysis content, and different levels of educational content in their programs.