過去，感知物件的互動方式大多發展於大型互動桌上，其技術主要是採用影像辨識來進行互動偵測，隨著平板的普及，我們希望能將大型互動桌的實體互動體驗帶到平板世界，然而現今平板使用之電容式觸控技術有別於大型互動桌之影像偵測技術，無法直接應用影像式的物件辨識方法，因此設計出一套結合平板電腦與感知物件的開發工具，目的是要讓互動設計的開發者能夠快速開發感知物件的互動模式。 而電容式實體互動物件設計較為複雜，對於互動設計的開發者而言，要去製作、開發這些互動物件不論是在電路或是實體物件都是有一定的難度，並不是所有的開發者都擁有相關的背景或是資源。而為了讓原型製作更加的簡單在軟體上我們設計了一套SDK，在硬體上結合了樂高積木和導電的膠帶，不僅製作快速、成本低，在組裝上也能擁有一致的規格以減少誤差的發生。藉由其底座組合方式的差異也就代表著不同的感知物件。因此開發者只需套用我們所設計的SDK就可以將原有的作品加上實體互動物件的互動模式。 / The Tangible User Interface (TUI) has been widely adopted on interactive tabletops by using optical sensing techniques and fiducial markers. With the huge growth of smartphone and tablet market, we hope to expand the tangible interaction experience to the off-the-shelf touch devices. However, most touch devices use capacitive sensing techniques that can only detect human fingers. We create a tangible hardware toolkit base on capacitive touch devices so developers can use it to build tangible interactions in a fast way. We put conductive adhesive tape on LEGO blocks to form an identifiable footprint. The footprint could be attached onto a tangible object. And the pattern of the footprint could be easily arranged to represent different identities. We also provide a flash SDK that can be quickly integrated into a developer’s project and then enable tangible interactions. We expect our hardware toolkit and software SDK can benefit more developers to create tangible UI applications on the capacitive touch devices.

本論文企圖透過製作人的目光，建構偶像劇產製之理論與實務，是以本研究蒐羅了資深製作人的偶像劇產製經驗，包含前製、錄製、後製、映演發行及宣傳四階段，試圖勾勒出製作人如何挑選「對的人」，做了哪些「對的事情」，以供影視產業的新血與工作者參考；同時，本研究也希望理解偶像劇製作人共同的願景與擔憂，以供廣電決策者作為擘劃政策之依據。 　　為遂行研究，本論文採取深度訪談中的「半結構式訪談法」，邀集台灣17位重要偶像劇製作人，他們不僅擁有成立個人工作室或製作公司之經驗，也在編劇、綜藝節目、戲劇演員等影視工作崗位上逐漸成長。 　　本研究發現，偶像劇製作人在前製、錄製、後製、映演發行及宣傳四階段皆參與甚深，尤其是決定偶像劇成敗的前製階段，更是製作人最為苦心戮力的時刻；產製過程中，製作人必須來回穿梭，就導演手法、演員表現、劇本可實際操作性三者之間，求得平衡、達成共識；這卻也顯示製作人身陷的矛盾：必須盡可能讓導演揮灑，卻又不能放任導演求快而不講究細節、耗費製作成本。 　　當製作人擁有代表作，形成個人品牌後，伴隨而來的是更多製作機會，無論是委製、與電視台共同投資，或是與中國大陸電視台、影視公司、新媒體合作，製作人與其製作的偶像劇成為深具價值的投資標的，吸引各方資金挹注；然則口碑與收視率維持不易，若是抄襲國外，或是自我抄襲，品牌恐毀於一旦。 　　值得注意的是，製作人產製偶像劇時，政府補助已成為一大金脈，當電視節目收視率不斷下滑，偶像劇製作預算沒有調升的空間，缺乏資金挹注下，大陸影視公司開始向台灣偶像劇製作人招手，希望引進台灣的產製模式，台灣偶像劇製作人挾著品牌光環，不僅將戲劇銷往大陸，更陷入「根留台灣」抑或是「錢進大陸」的掙扎。 / This thesis attempts to construct a theory and practice behind the production of trendy drama through the perspective of producers. As such, the thesis amasses senior producers’ experiences of producing trendy dramas, including their four-stage experiences from pre-production, production, post-production, to distribution and promotion. I try to contour how producers pick “the right people” and make “the right decisions”, which can serve as a future reference for newcomers and workers in the audiovisual industry. Furthermore, I also study the visions and worries that trendy drama producers share in common, and it is my wish that this understanding can shed light on future policy making by decision makers in broadcasting and television government agencies. I use semi-structured interview approach in interviewing 17 important trendy drama producers. All these producers have experiences in either starting their own studios or production companies; in addition, they all make progress step by step in their professions, be it writing scripts, involving in entertainment shows, acting, or other audiovisual professions. In my research, I find that trendy drama producers involve deeply in all four stages of production, which includes pre-production, production, post-production, and distribution and promotion. Particularly, producers put the most effort and their labor during the pre-production stage, as the outcome of this stage determines the overall success of trendy dramas. During productions, we see producers always seeking to balance director’s styles, performance of actors, and practicality of scripts; it is their job to settle disputes between different people to reach consensus. Yet, this reveals a dilemma producers face: directors should be given as much freedom in their creation, but they cannot be unrestrained because it can lead to paying careless attention to details and focus solely on speed, or it can cause the production cost to skyrocket. As soon as producers produce their signature works and establish their own personal brands, more production job opportunities follow. Producers become producers in other projects, are invited to jointly invest with television companies, or are invited to collaborate with television channels in China, audiovisual companies, and new media. Producers and the trendy dramas they produce become valuable investment options that attract capital. However, staying up to audience’s expectations and maintaining ratings prove to be difficult. Nothing can do more harm to their brands than plagiarizing works from abroad or from themselves. Lastly, it is worthy to mention that government subsidies are now big contributors to producers’ budget in making trendy dramas. When subsidies cannot grow due to dramas’ plunging rating, China enters the fray, luring these trendy drama producers with an aim in mind to import Taiwanese production model in trendy dramas. While producers can sell their products to Chinese audience rather easily thanks to shining brands they own, they often struggle to decide whether to stay in Taiwan or seek better pay in China.

多元文化是目前社會的主流價值，事實上，每個文化都有其優勢，在不同時代都可以有貢獻。但族群文化常在傳播過程中出現矛盾與爭議，本研究試圖從文化傳播的觀點，找出製作族群電視台節目時，應掌握的原則和精神，並以原住民電視台為例，探討不同文化間如何有效的溝通。 本論文主要是以漢文化和原民文化為主，並透過社會學、人類學和文化傳播等文獻探討進行理論上的對話；同時，也探討原民文化重要的核心價值與內涵，期盼在文化傳播時能達到最佳效果。本研究採社會科學中的質性研究法，以深度訪談與焦點團體進行資料蒐集、分析與討論。 研究發現，在文化傳播歷程中族群電視台會遭遇下列幾種困難：閱聽人期待不同、文化節目製作團隊素質要高、族語和文字保留不易、文化衝突降低傳播效果、族群捍衛文化產生防衛心；但透過幽默、靠近、善用刻板印象、建立顧問團隊和政府刻意的協助，能突破困難，讓不同文化有良性溝通；除此之外，本研究也發現，族群文化反而可以為主流文化的瓶頸找一條出路，例如原住民文化中對大自然的尊重、部落意識、樂舞教導、和自然幽默的性格，與目前的全球思維等議題有密切關聯。 最後本研究提出三點建議：建議政府籌備第二台原住民電視台、主動培訓原住民傳播人才、學術界的文化學者應積極投入族群文化節目之製作團隊。筆者相信，如此必能提升文化傳播的效益，也能使多元文化的普世價值得到彰顯。 / Multi-culture is the mainstream in nowadays. Actually, each culture has its own advantages. There are conflicts and disputes of tribal culture in the communication process. This research aims the principles and the spirits of producing tribal television programs in the point of interculture communication. Taiwan Indigenous Television is taken as the example to discuss how to communicate effectively among different cultures. This research focuses on the Han culture and aboriginal culture and studies the theory through the documents of sociology, anthropology and interculture communication. At the same time, it also studies the core values and intensions of aboriginal culture. This research, gathering, analyzing, and discussing the data by deeply-interview and focus groups interview, takes the qualitative methods of sociology. The research finds out that tribal television stations may encounter the following problems: the different expect from audience, the quality of tribal television program producing team, the keep of the provin- cial speech and words, the ineffective communication results due to conflicts between different cultures, and the defend of indigenous people for their own culture. However, the problems would be solved by the help of humor, touching, breaking stereotypes, building consulting team, and the assistance from the government. The study also finds that tribal cultures may provide the solution for mainstream culture which is under the limits by itself. The advantages of aboriginal culture are the respect of the environment, tribal recognition, the teaching of music and dance, and the humor. They all are closely related to the global issues. There are three suggestions in the research. First, the government should plan to establish the second indigenous television station. Second, We should actively train indigenous media experts. Third, the scholars in the culture academic circle should eagerly involve producing tribal television programs. It is convinced that by doing so, the culture communication would be more effective, and the society would emphasize on multi-culture value much more.

No description available.