台灣已經進入投資理財的時代，大眾對於投資理財的興趣與參與度也漸形升高，由於財經雜誌的專業性質對於有意藉投資來理財的讀者影響頗鉅，財經媒體作為金融資訊發聲的重要管道之一，在報導的確實性與議題的設定上應該要負起極大的責任；財經雜誌記者對於財經議題的消息來源掌握與專業態度，反映在議題的呈現上也關乎一般大眾在投資理財的方向，和雜誌本身的可信度，其重要性非同小可。 此外，財經雜誌銷售率仍佔所有雜誌銷售量的十分之一以上，一旦專業性雜誌屈服於市場導向新聞的壓力時，將會直接影響記者的專業表現，無論是在議題設定、採訪報導與採訪人物選擇上，與傳統對專業新聞的認知都將造成極大衝突，衝擊新聞倫理。 本文研究以深度訪問的方式，首度訪問到目前台灣財經雜誌市場在書店及便利商店銷售量排行榜的前十名財經雜誌資深記者，透過他們在財經雜誌第一線的採訪經驗，深入了解財經雜誌在新聞產製過程中，對置入性行銷報導的處理態度與編輯室原則，以及財經雜誌記者接觸置入性行銷報導的程度。 本文研究發現，置入性行銷確實已經成為許多財經雜誌在追求廣告營收上重要的收入管道，同時也發現置入性行銷報導對財經雜誌記者在專業表現上確實產生諸多影響，這些影響所導致的結果不僅是記者對新聞工作的意義產生懷疑，也影響到財經雜誌在新聞報導上的公信力；同時也進一步呈現置入性行銷報導如何改變了目前財經雜誌的新聞產製生態。 　　大部分的新聞記者對於新聞工作還是充滿了憧憬與對新聞的理想，但是大部分的記者也表達對新聞工作的失望，認為財經雜誌有愈來愈商業化的傾向，所以離職或是換跑道的意願都頗高。本文研究建議，財經雜誌作為投資大眾在理財上的參考之一，應該更為謹慎維持新聞報導中立與價值，重新再思考新聞置入性行銷報導對新聞專業與記者可能造成的長遠影響，同時正視資深記者的價值與加強記者的新聞專業素養。 關鍵詞：財經雜誌、新聞置入性行銷、財經雜誌記者、專業自主權、專業表現 、新聞倫理

本研究描繪目前台灣電視新聞界一個普遍存在、但不能說的秘密，即業配新聞的存在和產製、相關活動。研究者新聞本科出身，跨入業配新聞製作的專題組，面對置入性行銷對新聞採編的衝擊，也曾經內心衝突與質疑，「業配新聞」算新聞嗎？「業配新聞」是假新聞嗎？ 「業配新聞」報導的對象，多因為沒新聞點、名氣小、特色不足或是沒有報導價值，因此無法被納入一般新聞採編程序，卻非憑空捏造或虛構不實的報導。「業配新聞」經過包裝，仍要編製成突顯商品特性與優點所產製的新聞內容，所以受訪業配記者多認為，業配新聞雖然具有商業目的，但不是無中生有、以虛報實的假新聞。而電視新聞以簡明方式播報新聞的特性，加上視覺的優勢，適合作為業配訊息的傳達。另外業配記者也認為業配新聞充斥，主要是組織和主管的要求，業配新聞基於真實，對社會無害，也包含重要訊息，仍然能為觀眾服務。 本研究認為在當下結構的困境中，個人的主體性雖然蘊含重大的突破能量，也有施展空間。就受訪者經驗來看，個人以專業及善盡查證職責，據理力爭新聞的正確性，仍有機會為自己開拓一些迴旋空間。而媒體組織在廣告主的強勢要求下，也並非只能一味讓步，讓對方予取予求，主事者若能在新聞的專業基礎上轉換思維，也可能化被動為主動展現相對積極的作為。 研究發現，廣告主和記者都清楚業配新聞不但影響編輯台的新聞自主，影響新聞公信力，也影響工作者自我的專業認同，雖然廣告主認為業配新聞和他們是共生共存，這類新聞確實有宣傳效果，有廣告主也認為他們對新聞可信度確實受到影響，「因為新聞經過包裝了」。然而，公眾一旦察覺某些新聞背後有「金錢利益」操控，不但媒體將失去公信力，媒體工作者也失去自我專業尊嚴，其結果更是短多長空。 / Product placement in TV programs has become increasingly common in the two decades in Taiwan. Although it arouses huge controversies over media credibility and marketing values, up to date, there have been very limited empirical studies focusing on how journalists handling product placement messages, particularly in television news programs in which product placements were usually forbidden in use. Instead of using content that directly promotes the brand, product or service through traditional marketing tactics, product placement journalism focuses on building stories and other informational content that highlights value from a different point of view. The current study examined a unique program genre in Taiwan’s TV news programs, in which product placements are still in use. Based on in-depth interviewing, this study canl shed some light on how we define the boundaries of news and marketing information. Product placements are proven to be quite effective in television news programs. However, the effectiveness is built right on the cost of news credibility and integrity, which is ironically distinguishing product placement and advertising and is believed to be the magic power of product placement in news. Although companies that build trust with the content they produce can maintain their presence as reliable media sources for their audiences. The origins of the ethical problems and their implication for product placement research are explored.

《睜開左眼》真實紀錄了國內四位電視台記者太短又太長，太急又太慢的職業生命。都說記者是無冕王，其實他們像乞丐般一整天蹲在特偵組前面，只為乞求一個不到5秒鐘的約談畫面；或者配合業主拍攝美美的業配新聞。對於一個擔任15年把最精華的人生歲月都給了新聞工作的電視新聞攝影記者來說，究竟「什麼樣的事物是生命當中最重要的註腳」？ 長久以來，觀眾所看到的電視新聞都經過了不只一道的壓縮與過濾，事件真實的樣貌當然是難以窺視。不過在這部紀錄片當中，我們清楚看到了目前商業電視台無法避免的「業配新聞」究竟如何產製？而這些站在第一線見證歷史的攝影記者們又是怎麼面對？ 如果我們把電視媒介生態當成一幅拼圖，那麼「電視新聞攝影記者」與「新聞產製過程」無疑的是兩片重要的拼圖，而紀錄片《睜開左眼》就剛好適時的把這兩片拼圖擺到他應有的位置上。 / The documentary named “Eye on the Left” is literally telling a true story about four TV news cameramen whose life careers in Taiwan were too short, too long, too harsh and too slow. We always said the reporters are the King without Crown, but the truth is, they are little more than a group of beggars sitting in front of the Special Investigation Division all day long, begging for an opportunity to capture the certain person interview by the prosecutor for finding their individual counseling which the content of length is only less than 5 seconds. Thing can be worse that reporters were forced to make a series of nice-looking paid news in order to fulfill the commercial buyers' demand sometimes. As a professional reporter who have been dedicated his prime 15 years to TV news reporting and videos taking, he might ask himself, “what is the most significant thing during my career?” For a long time, the TV news which offer to audiences daily is manipulated by not only but several human interferences and condensed selectively, the truth behind the scene is very hard to reveal to the public. However, in this documentary, we can understand apparently the fact about how the commercial TV company produce the “paid news” which they are just cannot say no to the buyers. And how these TV news cameramen witness and face the historical scenes they encounter in the front line. If we consider that the TV media as an uncompleted jigsaw puzzle, the “TV news cameraman” and the “Process of News Reporting” are undoubtedly the last two essential pieces to assemble together. “Eye on the left”, just put all of them back to their right positions in the best time.

台灣的電視頻道競爭激烈，各台為求生存，逐漸往商業化靠攏，在節目中混入產品訊息，讓閱聽人無法分辨是節目抑或廣告，產生了「節目廣告化」或「廣告節目化」問題，此類節目常被稱為「資訊型節目」，但「資訊型節目」內容具有強烈推銷意圖，已經不能單純將之視為「資訊」提供，故本研究以將時段拋售給業者以及內容具廣告意圖的節目，以「全時段廣告性節目」指稱。 本研究採用質化研究方法，分為兩部份。一為瞭解此種類型的節目表現操作手法，以文本分析方式解構結構類型以及置入手法，再歸類節目內容設計功能訴求。其次為探討該類節目產製過程以及有關單位的審查情況，以深度訪談的方式，訪談全時段性節目製作單位、電視頻道業者以及主管機關相關人士，並彙整出該類節目在實際媒體產業中運作和與主管單位互動的輪廓。 研究結果發現如下： 1、全時段廣告性節目具有特定的電視節目類型和結構型態，常使用「起承轉合」的敘述模式，將產品資訊置入節目中訴求。 2、全時段廣告性節目常使用相同的功能設計，以「與他人或社群分享經驗」、「滿足好奇心或得知資訊」、「體會同理心」、「尋找仿效人物」以及「強化對於奇蹟的信念」等方式滿足閱聽人使用媒體之需求。 3、研究對象之節目均可能涉及「節目與廣告未明顯區分」、「需明示意圖」、「廣告播放時間限制」、「違背消費性專輯製作原則」、「違背節目廣告化與廣告節目化認定原則」以及「違背中華民國電視道德規範和電視節目製作範例」之規定，相關法律管制程序與審查制度均值得進一步探討。 / In order to cover the cost, media gives up their public duty and surrenders to commercialism. However, the limited media market still cannot support all media in Taiwan. TV productions therefore combine the programs and the commercials, making TV programs mixed with the message of products. The audiences no longer identify the commercials from TV programs. The kind of TV program is so-called “infomercial” or “Program-length infomercial.” The program-length infomercials are increasing recently. The contents are usually adapted the program formats and contain the intentions of promotion. With the normal length of TV programs, program-length infomercials involve both features of programs and commercials. This study aims of analyzing the program-length infomercials. It focuses mainly on its regular models of presentation and the related regulations. The research method adopts qualitative methodology to portrait the possible surroundings in the industry. The study starts with analyzing the text of infomercials. Then, the researcher classifies the gratifications designed for the audiences inside the program. In the end, by contrasting the regulations and the censorship with the results of in-depth interviewing, this study discusses the defect inside the system. In conclusion, the program-length infomercials hold certain models of presentation. They also involve in several gratifications. The provision of information is the chief factor among those designed gratifications. The results show that programs are mainly against the regulation of being distinguishable from advertisement to maintain the completeness. Therefore, the commercialization of TV programs is the common problem nowadays. This study suggests that the consistent identification of the program-length infomercials will avoid the controversy between advertisers and regulators. Certain deregulations of advertisement or additional regulations for infomercials will also ease the tensions. Besides, improving the efficiency of censorship will encourage the advertisers to apply the legal qualification. Last but not the least, developing the literacy of infomercial will be the most effective method for the audience to avoid the possible disputes.