創新於本世紀中為各大企業爭相研發或追求的珍貴資產，但此珍貴資產之所以致能領先市場、使企業居於永續的市場領導地位則是各個產業所致力研究的範疇。如何能達到永續的市場領導而居於市場不敗之優勢 ? 是須要透過具有符合市場劇變的創新?而其創新又須要具有如何的特性或是與時代性相關的演化性 ? 另，市場劇變的因素是否又與使用者以及代表新科技的載體有著密不可分的關係 ? 本研究將以一個現今仍居領導地位的網站實例來分析其致勝的原因，並且以質性研究的方法進行層層的頗析，揭開網路服務的神秘面紗。 網路服務的世界，豐富且多樣化，因此本研究將創新的研究範圍聚焦於新聞自製性內容的｢話題新聞」為主軸，透過｢話題新聞」的守門人:話題製作人，並且對應於創新三大構面：內容、載體與商業模式，進而探討其不斷創新是須要具有調適性的特質。而若以創新理論的精神為內涵，又同時須結合網路之｢使用者為大」的雙重考量下，研究則以Henry教授的開放式創新與von Hipple教授的使用者創新，並為核心理論的依據。至此，本篇研究的架構清晰易見。 經由親身參與的田野調查與近期的資料蒐集，本研究將透過網路服務的特性與使用者溝通的互動方式，整理後發現其特殊的共創過程與調適性的特質。研究中更將揭露自製性內容的共創對於載體的影響，並且對應於資訊傳播模式的演化，爾後延伸至商業模式的多所變化。最終，希望透過本研究能提供台灣傳統新聞媒體及企業界創新的具體參考，不僅在理論面向得以印證及延伸，更於實務面提供操作的執行方向。 關鍵字：使用者創新，開放式創新：內容、載體與商業模式，調適性，新聞製 作，資訊傳播，經濟活動，話題新聞，製作人，行動研究，質性研 究。 / Innovation is the precious asset in this century for all the companies to seek, study or develop as it is the way to win or sustain the leading position where the enterprises are eager to reach. However, how to continue the innovation so as to retain the leadership? Or which attributes or evolutions the innovation should have to react to the market change? How the factors of market transformation correlate with the users and high-tech (electronics) devices? This study will use a global leading website as a sample and explore the elements of its success through the qualitative research method. The internet contains the diversified services. Thus the research selects the news reproduction as the main study subject. By observing the daily operation of the “Topic News” gatekeepers, Topic News producers, and analyzing three dimensions of innovation: contents, devices and business models, the study figures out the fact that the constant innovation should possess the characteristic of Adaptability. Furthermore, considering both the essence of Innovation theories and the internet user behavior, the study cites Open Innovation by Prof. Henry and User Innovation by Prof. von Hipple as the core theories to support the whole research. By participating in the field investigation and collecting the recent data, the study discovers the particular procedure of co-producing contents as well as the characteristic of Adaptability through researching on the internet service and its communication and interaction with the users. The study further reveals the impact which the reproduced content makes on the devices themselves, evolution of the information dissemination and even the types of the business models. The ultimate objective of the study is not only to prove the truth of the theories but also to contribute several suggestions and references towards the traditional news media and the enterprise innovation on the execution and operation directions. Key words : User Innovation, Open Innovation, Content, Devices and Business model, Adaptive, News re-production, Dissemination of information, Economic Activity, Topic News, Topic News Producer, Action Research, Qualitative Research.

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.