順應智慧型手機及隨身智慧裝置的普及，人人天天滑手機、對美食拍照、分享社群網站，成為儀式般的全民運動，亦是時下最夯的社會景象。本研究主要描繪影像食物戀者，透過拍攝美食上傳分享的行為，在社群媒介下演進的樣貌。 本研究將依據Meyrowitz媒介情境論及布迪厄資本理論，並透過文本分析法，直接以研究對象過去的美食分享文作分析內容，再以深度訪談法結果為依據，並與文本分析的社群內容作比對，瞭解影像食物戀者的行為演進現象觀察。最後以民族誌參與觀察法，實際驗證研究對象在餐廳用餐時的行為動作記錄，並與深度訪談結果作深度觀察交叉分析。 研究發現，影像食物戀者拍照分享的行為可分為兩大階段、六個歷程，包括基礎演進階段的記錄、分享、學習；以及進階階段的炫耀分享、美食意見領袖及形成自媒體。透過社群媒介的展演，影像食物戀者藉由美食圖文故事的包裝，持續依據自身品味資本在社群上傳播，達到提升個人獨特性及品味層次的目的。 關鍵詞：影像食物戀、媒介情境論、自媒體、社群傳播 / Nowadays, corresponding to the widespread of smartphones and mobile devices, the most popular scenes are that people keep on sliding and checking their mobile phones, taking pictures of fine food, and sharing them in social media communities, which has become a viral phenomenon. This research is based on the Medium Theory by Joshua Meyrowitz and Social Capital Theory by Pierre Bourdieu, in order to understand the behavior evolution of “food shooting addicts,” persons who love to take fine food pictures and upload them to social media communities. Its methodologies include content analysis, in-depth interview, and ethnographic participation and observation. The study finds that there are two stages and six phases in the behavior evolution of food shooting addicts. Primary stage includes: record, share and learn. Advanced stage includes: show-off, becoming opinion leaders and “we media” of fine food. Through their presentation in social media, packaged by beautiful fine food pictures and related stories, food shooting addicts build up their taste capital and achieve the goal of raising up their uniqueness and taste. Keywords: Food Shooting Addicts, Medium Theory, We Media, Social Media Communication

大眾媒體時代，傳播科技昂貴，只有少數人有財力經營新聞媒體，充當公眾的新聞代理人。外加「第四權理論」加持，主張新聞自由專屬新聞媒體，自此奠定新聞特權說。但隨著專業新聞公害橫行，反映新聞自由所託非人。 到了網路發達時代，科技崇高的大牆倒下，新興媒體與自媒體湧現，人人都有機會發布新聞，突顯新聞自由的權利歸屬須重新辯證：究竟是普遍人權抑或專業特權？ 本文主張當今時代新聞自由應為普遍人權，基於權利歸屬不同，另提出新聞自由的新內涵：接收正確、充分與即時資訊的自由、免於採訪侵害的自由、享有合宜傳播法制的自由及編採不受干預的自由。提倡新聞人權，不為替代專業特權，而是期許兩造地位對等且共存共榮。不分權利主體，繼往開來的關鍵全以新聞素養為依歸。 網路無所不在，不再讓傳統媒體獨占新聞定義與傳播權，但人心拘泥於傳統記者身分的習慣卻依舊不去，導致新媒體的報導者被迫矮人一截。社會終須順應新聞人權時代，文末提出回應對策。

在自媒體時代下，每個人都可簡單創立一個自媒體，使讀者在旅行的過程中得以參與照片的產製，共同塑造一地的城市意象。本研究將觀察場域設定為以照片為主的社群平台Instagram，研究標的為－上海。藉由Kevin Lynch的城市意象理論、Fakeye & Crompton的原始意象、誘發意象、複合意象理論，探討讀者抵達上海前後的差異與如何藉由照片形成複合意象，進而探討一座城市的意象如何經由照片被形塑以及讀者眼中的城市意象的構成元素與自媒體時代的關係。 研究發現，讀者的原始意象多來自朋友間主觀性的評論。抵達上海前的原始意象多指向繁華、中西合併的國際化都市，抵達後的意象較多元而衝突，特別對於人民的文化素養有所描述。在自媒體時代下，Kevin Lynch的五大要素除邊界外，其他皆仍存在自媒體上，新增人物、食物、建築空間等三大新要素。 從讀者所提供的照片歸納出以人物、標誌物兩種要素佔比最高，根據深度訪談分析讀者上傳照片的原因，如：特別、值得紀念、實現夢想、覺得自己美、心情美好、感到優越。進而從照片中發現，在自媒體時代下「我」的主體性被凸顯，使照片中充分展現自媒體時代的特色。 / In an owned media era, people can create owned media easily. They can always share photos during their travel time and shape urban images together with other readers. With the experiences of the author and consider the suitability of samples, this research will be based on Instagram, a social media platform focusing on photographs, and targeted on Shanghai. With “The Image of the City” of Kevin Lynch, “Original Image”, “Induced Image”, and “Complex Image” of Fakeye & Crompton, this research will be analyzing the difference between interviewees’ image towards Shanghai before and after visiting, and how they shape their urban image through their uploaded photographs. Through the research, the author wish to discuss the relationship between the constitute elements of urban image by different readers and the aspects of owned media era. After the research, the author found out that readers’ original images come from subjective comments of their friends. Most original images include seeing Shanghai as a prosperous, diverse and an international city. Images after visiting start to diverse and conflict, especially on cultural literacy of the people in Shanghai. In own media era, four of the five elements, except for Edges, of Kevin Lynch are still applicable. In addition, the author established another important elements, people, foods, and spaces. The photos provided by readers can be classified into people and landmarks. Through analyzing interviews, the reasons of uploading pictures are mostly things that are special, things or events that are memorable, dreams come true, photogenic, in a good mood and feeling superior. The author concludes that under owned media era, the subjectivity of “I” has been highlighted from the uploaded pictures and that also brings out the aspect of owned media era.

時尚產業快速蓬勃發展，讓其生產鏈共同製造出的環境污染，已讓我們不得不正視其嚴重性，涵括了全球大量使用農藥的棉花田、面料染色需要大量的水資源、第三世界的血汗工廠、以及大量生產的廉價服飾，人們的慾望不斷被挑起，低廉的價格讓人們得以毫不節制地不斷購買服飾，穿不到的服飾變成在第三世界被掩埋的垃圾，這些對環境的傷害和浪費的資源，已遠超過我們可以回收的資源了。時尚產業已成為繼石油之後，位居環境汙染的No.2的幫兇。當一切的美意不再，時尚產業開始省思甚麼才是真正的美好?時尚產業所創造的社會價值是甚麼? 現行「從搖籃到墳墓」(cardle-to-grave)的產品設計不僅在環境上造成傷害，也缺乏經濟效益，因此在許多方面，尋求永續性的替代方案， 發展出創新的再利用方法所帶來的利益， 將比大部分人所能想像的還要多。 本研究主要的目的在於了解並釐清通過回收再造的循環經濟理念，時尚產業的企業以創造社會價值為前提，以商業手法獲取合理利潤得以持續經營的商業模式創新。因此，在研究問題上首先將先釐清循環經濟的本質與面貌，接著探討時尚產業對環境之衝擊和影響以及永續時尚的定義和商品結構。同時，藉由國內外最新的循環經濟的商業模式創新分析，與研究者對於時尚產業運作方式的資料收集，深入剖析永續時尚如何結合消費市場變化與社會的脈絡二者合而為一的過程，以提供國內時尚產業了解國際永續時尚營銷市場的脈動與需求，以提昇開發全球永續時尚產品的能力。 並藉由研究結果提供國內時尚產業對永續時尚資訊運用上，與歐美時尚產業同步運作的速度，並統整永續時尚產業鏈的機制與系統，以期台灣時尚產業、製造業成為發展永續時尚的亞太區重心。通過研究的探討，研究者以永續時尚為核心，提出創新商業模式。以平台概念串接消費者和供應商使其為橋梁，將永續時尚資訊收集途徑系統化，並能使其資訊透明化和有提供有效環保數據，並銷售得到消費者信賴的對地球友善之商品選項，期待成為有利於雙方的商業模式。 / Due to rapid developments in the fashion industry, the transformed production chain has created high environmental impacts. There are various sources in the production processes that casued destructions to the world, for example: the use of pesticides in cotton fields, fabric dyeing consuming great amount of water resources, the use of the third world Sweatshops, and a mixture of strategies of mass-produced cheap clothing. Consumers’ desires are constantly being provoked by those low-price and fast fashion while clothes were thrown to the third world to be buried. The pace of waste generation is far more faster than the speed of material recycling. It’s time to think about values verse demages created by the fashion industry. The primary goal of this study is to understand and clarify the concept of circular economy that promotes greater resource productivity. The aim is to reduce waste and avoid pollution by promoting a sustainable fashion design model on a crowdsourcing platform. Sustainable fashion is a part of the growing design philosophy and trend of sustainability, it is to create an eco-system which can be supported indefinitely in terms of human impact on the environment and social responsibility. The system can be seen as an alternative trend against fast fashion. For these purposes, this study will clarify the relationship of circular economy and fashion industry though the primary focus has remained on improving the impacts of productive processing and material provenance. Meanwhile, the study will examine business cases of circular economy to enhance the development of sustainable fashion platform. The findings are useful for Taiwan fashion industry to strengthen their design and development of sustainable fashion to lead Asia Pacific center. The study explored the influence of sustainable fashion on aspects of design, production, marketing, and innovative business model. The proposed platform provides information and goods of sustainable fashion and builds a channel which connects suppliers and consumers.

以往，插畫家很難有機會得以嶄露頭角，然而近年，不少素人插畫家成立了 臉書粉絲團，並透過Line Creators Market等平台逐漸打開知名度，一個原本默默無聞的原創角色可能突然在幾個月間迅速竄紅。社群媒體給了插畫家一個新的舞台，而這些從網路發跡的插畫家藉由角色創作，不僅創造了粉絲、累積了知名度，並逐步開創周邊經濟效益，將台灣角色經濟帶入新的世代。 自媒體的出現，改變了圖文創作者既有商業模式的發展樣貌，當我們回頭 審視，會不由自主地想問：這一切究竟是如何發生的？社群媒體管道對這些內容創作者產生了什麼影響及變化？其變現方式為何？現在的盈利模式能否持續？有鑑於此，本研究試圖從「商業模式」的觀點，藉由Osterwalder&Pigneur提出之商業模式圖（Business Model Canvas）架構，將研究對象設定為「經營自媒體擁有粉絲資產，藉由圖像內容創作朝向IP化（Intellectual Property）發展並具備變現能力之『FB世代』網路插畫家。」並從以下三大方向進行探問：（1）網路插畫家如何選擇社群媒體平台？其在社群平台的經營策略為何？對於收益流又會產生甚麼樣的影響？如何串聯線上及線下通路整合操作？（2）網路插畫家主要之商業模式為何？通路管道與其他商業模式九宮格元素如何互相配套？（3）網路插畫家有哪些未來發展計畫？又有哪些發展契機與挑戰？ 本研究透過多個案研究法，綜合深度訪談法和參與觀察法進行資料蒐集和分析，以探討 FB 世代網路插畫家之通路管道經營變現策略及商業模式架構。研究 結果發現：（1）網路插畫家依據經營型態比重，可歸納為「FB內容創作型網路插畫家」、「Line貼圖創作型網路插畫家」及「品牌授權化網路插畫家」等三種經營型態；（2）網路插畫家崛起於Facebook或Line 貼圖之線上單一通路平台，以粉絲為經營核心，形塑著從線上到線下、B2C到B2B的變現收益管道；（3）其價值主張為能引起粉絲共鳴的梗，並在大數據時代藉由分眾化行銷經營著顧客關係；（4）自媒體時代實現接近零成本的網路創業夢想，當進入商業化發展階段需進行最適化關鍵資源與關鍵合作夥伴合作評估。 / In the past years, illustrators had little opportunity to be seen. But in recent years, more and more illustrators joined the competition and posted their artworks on Facebook Fan Pages, or became well known through the Line Creators Market, an original character may suddenly turn famous in just a few months. Social media provides a new stage to the illustrators. With the creation of new characters, they gain more fans, build up their fame, gradually bring up the sales for the related products, and bring the Taiwan character merchandising into the new generation. The emergence of we media changed the development of business model for graphic creators. When we look back, we cannot help but ask "How did all these happen? What impact and change do social media channels have on these graphic creators? How did they liquidize it? Will the current profit model continue?" In view of this, this study attempts to research from the view of "business model", along with Osterwalder&Pigneur's Business Model Canvas structure, and sets the research object as the illustrators of "FB generation" who operate we media with the asset of fans, make graphic designs that turn into IP (Intellectual Property) and have cashability". The following three main questions will be brought up: (1) How do illustrators choose their social media platform? What is the business strategy for their social media platform? What is the impact on the revenue stream? How do illustrators integrate online and offline channel operations? (2) What is the main business model for internet illustrators? How do the Business Model Canvas elements of the channel pipelines and other business models match each other? (3) What are the future development plans for internet illustrators? What are the development opportunities and challenges? In this study, the data collection and analysis are carried out by means of multiple case studies, comprehensive and deep interviews, and participant observation to explore the channel management strategy and business model structure of FB generation illustrators. The results show that: (1) The internet illustrators can be grouped as "FB content creation illustrators", "Line sticker creation illustrators" and "brand authorized illustrators" according to the proportion of business type; (2) Internet illustrators emerge from a single online platform, such as Facebook or Line, and use the fans as the business core to shape the liquidizing channels from online to offline and B2C to B2B;(3) The value of the idea is the punchline that resonates with the fans and to operate customer relationship by segment marketing in this big data era;(4) We media makes the dream of starting a business at almost zero cost come true. But when it enters the commercializing development stage, it needs to evaluate the optimization of the key resources and the key partners.