本論文共分為六章，十九節，茲分別列述如下：第一章，「導論」。設置四節，分別就研究緣起、研究範圍與限制、研究架構、名詞界定等四個方向進行說明。第二章，「中共體育政策的緣起與沿革」。設置三節，探討中共建政之前的體育推展觀點、中共政權下的體育推展工作、中共體育政策的領導與推展機構。本章設置的目的。在於嘗試以歷史敘述和宏觀角度交互運用，研究中共在體育政策的主要發展方向與演變，同時說明其體育行政組織的架構，俾使對於中共體育政策的開展規劃有所認識。第三章，「中共賦予體育事業的定位與任務」。設置三節，分別就體育和民族體質的提昇、體育的政治性功能（體育與統戰、體育與外交）、體育與「兩個文明建設」等三個方向，探究中共對於體育事業所下達指令和期望，同時也可以暸解體育在中共意識型態架構下所扮演的配合角色為何。第四章，「中共推展體育活動的成效」。設置四節，以群眾體育興辦、體育場管與設施、參與國際體競塞的成就、和亞運會的主辦以及奧運會的申辦等作為研究標的。本章希望探索中共體育政策的實際效應，檢證中共所宣揚的體育推廣成效是否屬實，同時論述體育事業的成就對中共所產生的正面功能意義。第五章，「中共體育政策發展面臨的難題」。設置三節，整體制度的失調、體育人才外流的嚴重、國際視聽對於中共的反制，將是本章所涉略的層面。中共雖然一直宣稱體育政策的成功推行，作是有待改進和苦思無解的課題，卻是林林總總，不勝枚舉。筆者擬於此章中舉述中共體育環境所遭遇的迫切窘況，反證中共推展體育的負面局勢。第六章，「結論」。設置兩節，首先是海峽兩岸體育交流的回顧與展望，其次是針對全文總結，表達筆者認為中共對於體育事業應有的正確認知。

《身外物》為本人以「患病母親的女兒」視角，以影片創作詮釋媽媽初發病至今，我所感知到的家庭改變，以及家人與我共度媽媽生病的心境歷程。 《身外物》以紀錄影像為主，並藉由許多重建場景，以空鏡頭或意境式的影像之重演、動畫虛構方式，傳達有關個人成長記憶裡媽媽生病前／後的畫面，是屬於較具表現形式的個人紀錄片作品。 同時，影片的概念「身外物」，意指媽媽從前美麗的衣服，以及而今臥床狀態所必需的醫療用具；兩者分指向「健康」與「生病成為生命的一部分」的訊息，以兩種身外物象徵的故事敘事，帶出本人與家人陪伴媽媽生病一路走來的歷程。更期能在創作過程中，療癒自己多年面對媽媽生病以來的創傷心情，因此該作品是一則平靜卻也蘊含著對過去逐漸釋懷的影像述說。 / “Mother’s Belongings” is a film about how my family and I have been accompanying my mother with her illness all of the days, which has brought significant changes to our lives. As a daughter, I will depict my psychological journey based on what I perceive before and after my mother encountered the disease ever since my teenage. The film will include two parts: one is based on video records of my daily life, the other is some fictional clips about my past memories. The title “Mother’s Belongings” indicates different belongings (or apparels) of my mother’s “health” and “illness”. I intend to use the symbols of material nature to delineate the story of a daughter and her family facing the illness of her mother.

2013年，台灣本土出現第一個關心身障者「性」的義工團體－手天使，其組織免費提供重度身體障礙者性服務。當身障者「性權」議題逐漸檯面化時，來申請手天使服務的人卻皆為男性，經過手天使的努力，才終於在2016年9月出現第一位女性受服務者。本片記錄三位不同年齡的女性身障者，以及手天使團隊成員們，試圖從個人生命經驗，及社會「性」實踐，交織出女性障礙者在當今社會如何完成生命的渴望。 / In 2013, Hand Angels was founded. It is the first Taiwanese NGO with a focus on sexual rights, providing sexual services for people with severe physical disabilities. However, even amidst increasing awareness of sexual relief as an aspect of human rights for the disabled, all applicants for Hand Angels' services remained male until September 2016, when the organization serviced its first female applicant. Through the personal stories of three women with disability, and through following the work of the Hand Angels team, this documentary paints a picture of the struggles faced by disabled women in today's society, and their efforts to coexist with their physical disabilities and experience all that life has to offer.

探究式教學法常被應用於科學學習活動中，有助於學生理解科學本質與推理過程，探究式學習歷程對於掌握影響探究式學習成效因素具有其重要意義，但是教師難以完全掌握學生的探究式學習歷程。因此，若能有目的、精確且真實的紀錄學習者在科學探究學習平台上的學習行為，將能更加全面性的掌控影響探究式學習成效的原因。 本研究以CWISE為輔助學習者進行科學探究學習之平台，並於平台中發展xAPI學習歷程記錄器模組，詳細的紀錄學生之學習歷程，以即時收集學生在科學探究學習過程之學習歷程資料，除了分析影響探究學習成效的個人因素與學習歷程行為外，並搭配序列探勘方法(sequential pattern mining)及序列分析(lag sequential analysis)，探討不同學習成效、探究能力、科學態度學習者之探究學習成效、整體學習時間與探究式模擬實驗學習時間，以及探究學習歷程是否具有顯著轉移與差異。 研究結果顯示：(1)探究能力越高者其探究學習成效越佳；(2)體驗探究模擬實驗活動時間越長，其探究能力與學習成效越佳；(3) 基於序列探勘，高低不同學習成效學習者在探究學習之整體課程瀏覽順序無顯著差異，均是依照課程設計的探究式學習流程順序進行學習；(4)基於序列分析，高學習成效與高探究能力學習者在進行浮力單元模擬實驗後，會再次調整先前設立之假說，而低學習成效與低探究能力學習者，則欠缺此一關鍵的探究學習行為；(5)探究模擬實驗活動有助於提高其探究能力與學習成效。最後，本研究依據研究結果針對探究式課程的課程設計提出建議，並提出未來研究方向。

本片以1979年至1983年間台灣盛行之「社會寫實片」為紀錄題材，片名「台灣黑電影」乃諧仿「台灣新電影」而來，意指「社會寫實片」不論在內容、形式與社會評價上，皆與「台灣新電影」全然相反之黑暗與通俗氣質。 「社會寫實片」的主題包括犯罪、色情與暴力，一直被論者認為是粗製濫造且壞品味的商業類型，本片企圖將「社會寫實片」的內容與其生產當時的政治社會情境連結，舉例說明「社會寫實片」的黑暗影像乃是當時社會集體壓抑與焦慮的轉化。 本創作報告分為四個部分：一、前期企畫：說明本片拍攝動機、內容綱要、形式思考及預期成果；二、拍攝紀錄：包含本片實際攝製期間的工作進行紀錄；三、影片推廣及宣傳：說明本片的推廣方式、映演紀錄、觀眾反應及宣材製作；最後則為導演完成此紀錄片案後的拍攝後記。 / Prevailing in the early 80's in Taiwan, "social realistic movies," also referred to as "black movies," were suffused with crime, sex, and violence. Though box-office hits, black movies are often regarded as distasteful and cheap in film history. Paralleling these movies with political or social events at the time, however, one will find that they were in fact a reflection of the widespread suppression and anger people felt towards the changing environment. As the early 80's was a time when Taiwan underwent economic transformation and the transfer of political powers, the morbid and shocking images in these films seemed to have spoken for the society's collective fear of uncertainties in a tumultuous period. This report devided to four parts: The first part is the motive and the plan of “Taiwan Black Movies” film making. The second part is the making record of the film. Follow the third part contains the screening and promotion of the film. The final part is the director note after the film making plan completed.

製作紀錄片是一件非常有趣的事，不論是題材、環境、人事物都令人好奇的想要去接近，更重要的是透過觀察與紀錄，還可以培養觀點的養成與建立。進入拍攝現場讓人有探索的趣味、知識的整合、與被攝者產生互動、重複觀看後的創想，這都關係到紀錄片未來可能呈現的內容，紀錄片的拍攝是一點一滴累積而成，紀錄片的品質跟紀錄片工作者以什麼樣的態度有絕對的關係，如何在互動的過程中讓對方感覺舒服，又能以什麼樣的尊重方式讓對方接受，進而在交融的氣氛中，被攝者無視於鏡頭的存在，讓整個拍攝的過程是在愉悅的氣氛與默契下進行。回首想想不只歷經美感創作的歷程，當中的對話才是久久揮之不去的心情故事，無形中也累積不少心靈上的資產。源於此，創作在未來之路又多了一項選擇，來到政大不僅學習到紀錄片的研究理論與方法，還順利完成第一部紀錄片創作，實感慶幸。 期間有人會問為什麼會想要拍攝森巴文化與原住民音樂這個議題？ 目的又為何？ 對於異文化的題材向來就很有興趣，剛好又跟興趣音樂有關，所以就定下了這個題目。由於異文化在全球化的推波助瀾下，在我們日常周遭經常可見，特別像台灣這個族群多元的地方，異文化的探討就顯得非常重要，所謂「文化不是沒有用，而是因為它太有用而難以使其物盡其用」(林志忠譯，2002；Terry Eagleton,2000)。文化看似簡單，其實它的內容是多元複雜的，試問為什麼還會有那麼多的人相繼地投入文化工作，種種現象無非說明文化的問題絕非三言兩語道盡，基於上述方知文化是無止境的，文化的工作永不嫌晚，就怕不做。 身為一位紀錄片的工作者應有的反思及其深刻的體認為何？ 由於透過紀錄片的拍攝，可以經由多方的對話，更深層的理解人文的重要，無非也證成了文化的多樣與獨特性，尊重是化解差異最好的良方，唯有持續的親近文化才有可能在這塊領域著力，也才能在文化的工作上略盡綿薄之力，進而使得上力。 / The Rhythm of Samba Drums in Taiwanese Aboriginal Music Documentaries, regardless of the theme or setting, can awaken their audience’s curiosity, but more importantly, this form of observation and documentation can question and investigate established viewpoints. Within the documentary filming process, the attitude of its director directly affects the films quality. How the subject’s respect is gained, how they are made to feel at ease in front of the camera, their chemistry with the director all are factors in the film’s outcome. As a result, the documentary is not only an aesthetic creation but can be considered as a dialogue between the director and the subject. The topic of Samba culture and Taiwanese aboriginal music was chosen to explore the theme of “foreign culture” within Taiwan’s multi-ethnic society. Due to the globalization, exposure to global cultures has created a new appreciation of the role culture in daily life, which can be best stated as “Culture is not useless. Its being far too useful causes it not to be used to its best practice”. Culture is not simplistic, but multi-faceted influencing all aspects of life. Thus, culture has no definable boundaries. This study considers foreign elements within the specific context of traditional music. Documentaries not only observe but also depict a multi-party dialogue taking place resulting in a greater understanding of different cultural traditions. Adopting the topic of Samba culture and Taiwanese aboriginal music, this documentary aims to demonstrate positive means to create the intimate relationship needed for a documentary’s filming process.

「藝術不是一面鏡子，而是一把槌子。」引領英國紀錄片運動發展的John Grierson曾作出如此嘹亮的宣稱。足見紀錄片作為一種藝術傳達的形式，得以建構社會議題，敲擊現實，撼動主流意識，揭發社會問題的根源。因此本研究將強調紀錄片作為政治行動的可能性。 紀錄片是紀錄片工作者用自己的觀點和詮釋基模所組織起來的真實世界，因此紀錄片工作者乃是紀錄片文本框架的主控者。而環境議題紀錄片則強調藉由影像語言的中介，再現具有爭議性或討論價值的環境議題，且能在主流媒體所塑造的優勢框架之外，產製新的媒體框架以提供觀者新的觀點與另類的視野。 環境議題紀錄片究竟引用了哪些證據？如何凸顯其論證的可信度？能否引發共鳴？為進一步檢視環境議題紀錄片的敘事策略，本研究將援引「集體行動框架」作為分析架構，由問題建構、歸因、處理方針、共鳴程度與動員潛力等面向剖析紀錄片如何再現環境議題，評估紀錄片是否具有觀念倡導、說服觀者採取社會行動的能量。除此，本研究亦將耙梳相關文獻資料，建構台灣環境議題紀錄片類型發展的歷史梗概，期能有助於釐清此類型紀錄片產出的社會脈絡。 本研究由以環境議題三大主要子議題 ── 環境公害、生態保育、反核運動 ──為主題的紀錄片中，各篩選出一部近年來具代表性的環境議題紀錄片作為分析文本，包括《奇蹟背後》、《獼猴列傳》、《貢寮，你好嗎？》。研究發現，上述紀錄片除了提出處理方針之方式有別之外，皆以「環境正義框架」作為主導框架、並深入探究環境議題的結構性因素，以召喚觀者共鳴與動員的可能。 / “Art is not a mirror, but a hammer,” claimed John Grierson, who exerted pivotal influence on British documentary film movement. It is believed that documentary as one of the art forms is able to construct social issues, and explore further the causes of those problems. This study is going to focus on the possibility of documentary as political action. This study will adopt “collective action frame” as analyzing structure, to analyze how documentaries represent environmental issues, evaluate its effectiveness in related ideas, and mobilize the viewer to take up social actions. Behind the Miracle (2002), Biographies of the Macaques (2004), and How Are You, GongLiao? (2004) are the three environmental documentaries that the author chooses to examine. There are four findings in this study: 1.Environmental justice frames are adopted as master frames 2.Structural elements of environmental issues become the major investigating points 3.Proposals of management policy vary 4.The directors endeavor to call for the resonance and mobilization of the audience

「無語良師」是一群已往生者用身體教育醫學院學生的故事。這群慈濟大學醫學院的遺體捐贈者，在生前即自願將遺體作為醫學院學生解剖課程之用，為了能夠完成捐贈，大多數的老師於生命最後都放棄積極性的治療。而學生們不僅要造訪捐者家人，為其立傳，每次課程前也必須向遺體敬禮問訊，並於期末課程結束後，縫合遺體為其穿衣、送靈。其解剖課程兼具醫學與人文，為現代醫學教育中少有之課程模式，這群捐贈者在慈濟大學即稱為「無語良師」或「大體老師」。 2005年筆者應工作之需製作其紀錄片，在記錄過程中，蒐集各方資料並持續進行拍攝，在素材漸豐之際，數位敘事產製內容之產製概念方興未艾，特別是以網站的形式或互動式DVD，發揮其非線性敘事之特色並強化使用者之互動性，此為內容產製者提供一個不同於以往線性傳播之新的溝通平台。 數位內容具有「數值化的再現」（numerical representation）、「模組化」（modularity）、「自動化」（automation）、「變異性╱液態化」（variability / liquidity）與「轉碼化」（transcoding）（Manovich，2001）之特性，並以其「非線性」與「節點」等之敘事模式創造互動與多元對話的可能。本研究將爬梳數位互動敘事之原理，並以「無語良師」紀錄片之素材作為原料，以實驗性質，嘗試將原線性敘事之故事轉化為數位互動內容作品。 / The Silent Mentor” tells the stories of the body donators who contributed their cadavers to teach the medical students the way to respect and cherish human body. The body donators of the Medical School of Tzu Chi University signed the will to give up any progressive treatment so that they may donate the bodies to the students to carry out surgery practices. Before the students practice dissection they are urged to visit donator’s family and write the life stories of donators, so that students may come to know that they are not dissecting a cadaver but an altruistic spirit and a giving soul. Students bow to the silent mentor every time before practicing dissection. At the end of the practices, students will stitch the body of silent mentor inch to inch, to insure that the body has been reinstated. Aftermath, students put clothes on silent mentors and participate their memorial ceremonies to express their deep gratitude and farewell to silent mentors. The program of dissection that combines both medical knowledge and humanity has been the paradigm of modern medical education. The body donators thus, named as “The Silent Mentor”. At the time I am producing a documentary on this extraordinary story for Da Ai TV Station, I extensively gather relative data and conduct interviews on this subject. Before I go for editing, the digital narration increasingly becomes an alternative trend of new media technology. It is especially true that the Internet interactive format and interactive DVD have developed the nonlinear narrative advantage and thus, provide an accessible platform for the viewers to mutually interact with the content providers. Digital content accommodates the characteristics of numerical representation, modularity, automation, variability / liquidity, and transcoding, furthermore, via the nonlinear and plots, it provides the accessibility of multiple and interactive dialogues. My research will aim to delve and develop the principles and techniques of digital interactive narration. Then the documentary of “The Silent Mentor” will be my illustration, from which, I am going to experimentally develop a model describing how would the traditional linear narrative element, which “The Silent Mentor” should be carried, transform into nonlinear digital interactive narrative model.

近年來隨著智慧型手機的興起，人們開始利用智慧型手機處理日常生活事務及社群娛樂。無形中，已逐漸的改變日常行為模式。因此，許多學者也開始進行人們使用智慧型手機狀況的研究。 若透過傳統問卷等方式蒐集分析使用記錄，受訪者可能因訪問員的外在因素而影響問卷有效性。為解決此問題，很多研究開始在智慧型手機中安裝應用程式，蒐集使用記錄，藉以分析使用行為。然現今此類應用程式，都是為特定的研究進行開發，缺乏了彈性的考量。因此，本論文設計一個是用於安卓智慧型手機的可客製化行為感測記錄器，提供研究學者依各自需需求產生實驗項目規格檔，由受測者下載至手機，透過我們的行為感測記錄器，記錄平時手機操作行為之相關記錄，並於指定之時機下將記錄上傳供研究學者統計分析，以符合個別實驗之要求。 本研究重點在於如何定義彈性且多樣化的實驗設定檔，並考量載記錄感測過程中，電力大量消耗和受測者隱私資保護的議題，提出因應的解決方法。我們設計與執行幾個實驗來驗證此行為感測記錄器，初步看來，此記錄器可以滿足我們的主要需求，但結果也導引出一些需改進的設計議題。 / In recent years, with the rise of smart phones, the public began to take advantage of smart phones in daily life and social engagements. Virtually, smart phones have gradually changed people's behavior patterns so that researchers are eager to understand the how people use smartphones in their daily life. In this thesis, we present a configurable activity logger for Android smartphones for recording a smartphone’s sensor data and the user’s operations. Instead of one Android App for each researcher’s experiment, our approach is to devise a general logger App that can be customized to collect different data items according to the needs of various researchers. Specifically, our logger App accepts experiment configuration files in which researchers specify what data items to collect and at what frequency, and then conduct the logging task accordingly for each experiment. In other words, our logger works like an interpreter on such experiment configure files. Besides customizability of logging items, our logger concerns the saving of electricity and the preservation of user privacy. Firstly, we have applied various power saving tips published in the literature to the design of our logger. Secondly, we have refrained from collecting any contents that may reveal the user’s identify or that may invade user’s privacy. To evaluate our logger, we have designed and implemented a few data collection experiments. The preliminary results show that our logger can fulfill most of the requirements we set up, though thy also reveal some improvements we need to work on in the future.

本片紀錄一位在青年歌仔戲演員－陳囿任（CHEN YU-JEN）對表演藝術的熱愛與堅持。陳囿任出生於台灣歌仔戲起源地－宜蘭縣員山鄉，並就讀於台灣唯一以正規教育培養歌仔戲人才之科系－國立台灣戲曲專科學校歌仔戲科（現國立台灣戲曲學院），目前為該學院歌仔戲學系一年級學生。 全片呈現陳囿任夢想成為全方位表演者的故事，並記錄其訓練的艱辛過程。同時，本片介紹其成長之家庭環境、學校生活，並兼及其生活與歌仔戲劇外的藝術演出。全片共長六十分鐘，以DVCAM規格拍攝完成。 本片隨附之創作報告解釋本片之創作背景、過程與心得；依照「創作」、「製作」、「映演」三個面向，詳細記錄本片創作之緣起、攝製過程，參酌之相關理論、導演省思、以及試演之意見與回應等。 / This documentary and director’s report present the enthusiasm on performing arts of a young actor, Chen Yu-Jen. Chen was born in Yuan Shan Village, Yi Lan County – the origin of Taiwanese opera, and who has been studying Taiwanese Opera in a traditional opera school for ten years. This documentary shows the dream of Chen to become a performer with omnibearing development, and the tough process of his training. It also tells the story of his family, school life and his performance activities other than the Taiwanese opera. The documentary is 60 minutes in length, and is recorded in DVCAM format. The director’s report demonstrates the production background of the documentary, records the details and process of the production and screening, and reveals the director’s interpretation and self-examination to the film.