科技影響電視新聞產製流程，種種新科技的發明給電視新聞製作人員帶來了觀念、知識及技術上的衝擊不斷。台灣新聞台競爭激烈，為因應類比技術淘汰後數位技術的發展，民視、東森、大愛、年代、三立及TVBS都朝非線剪輯及無帶化發展，能將一支新聞完成帶同時提供二個以上的頻道使用，減少帶子播出的錯誤率。研究者曾為TVBS資深導播，長期親身參與新聞台數位化過程，記錄了導播知能與觀念的改變與因應方法，本文也期盼透過深度訪談各台新聞導播，探討新聞導播角色的三個面向： 1、 新聞產製流程最後一道關卡的導播，數位衝擊前後的角色與知能。 2、 數位衝擊的過程中在技術及觀念上如何回應。 3、 未來導播們該如何在心理和角色認知上做調整？並提出導播未來養成訓練的建議。 / Technology has impacted the procedure of news production. Various new innovations have also contributed to concepts, knowledge and continuous influence of TV news producing workers. As a result, it has been competitive in Taiwan news field. According to the development of the digital technology after eliminating analogy techniques, non-linear editing and tapeless production are the goals to be achieved for many companies, such as Formosa TV, ETTV, DaAi TV, Era TV, SetNews and TVBS. Offering one piece of edited news to two or more channels to broadcast reduces the mistakes. As a researcher, I had been a senior director in TVBS. Moreover, not only had I participated the digital procedure but also recorded the awareness of a director, the change of any concept and the methods of adjusting and solving the problems, Through the profound interviews with many directors of different TV companies, It is expected that I would like to discuss three aspects of a news director: 1. Being the last inspector of the news producing. the director’s characters and awareness shift after digital impact, 2. How does a director response to the techniques and the concept during the process of digital impact? 3. How do the directors adjust their roles in mind? There are some suggested solutions in the future program for directors-to-be.

無 / Following an exploration of the CBC’s history and role in Canadian society, this study offers an empirical examination of user generated content (UGC) at cbc.ca measuring the comment type, interactive exchange level, address features and national identity relevance of user comments. The entire comment threads of eleven stories from early 2010 are sampled and content analyzed. Results demonstrate that the vast majority of UGC at cbc.ca is not one-way as opposed to two-wayin nature and that – contrary to the CBC’s historic role – the national discussion is divisive as opposed to unifying. Finally, a discussion of how the CBC could improve its interactive functionalityis presented. Suggestions include recommending that the CBC clearly state the intention for interactive functionality, that the government re-formulate the CBC’s mandate and budget, and, most importantly, that the CBC consider a re-design of its interactive functionality.

行動電視產業為無線電視產業、電信產業、內容產業、行動裝置製造產業等多方匯流共同合作下的結果。不同產業間合作前，可能產生不同業者在新產業中扮演的角色與定位、產業價值鏈/價值網之成形等問題。本研究研究目的在於了解國際間行動電視規範政策與管制議題，對於該國行動電視產業營運所產生的影響，以文獻分析方式選定日本、韓國、義大利與美國等行動電視市場較為成熟之國家分析其規範架構與營運模式之關係。並比較台灣、香港、新加坡政府提出之行動電視意見諮詢文件探討行動電視規範議題之制訂方向與業者回應。輔以深度訪談方法訪問我國主管機關與產業界對於行動電視業務開放之意見。最後依據台灣通訊傳播產業規範環境，由結構管制與內容管制兩方面討論行動電視產業規範架構之相關議題與未來可能之釋照方式，並提出其對應之營運模式發展建議。 針對上述研究問題，本研究主要結論如下： 1. 國際間行動電視執照類型包含：以營運平臺執照發放多頻電視平臺（MUX）執照，其執照內涵可包含頻率使用許可執照以及營運平臺經營許可執照；依傳輸服務經營內涵不同，分別發放「頻率執照」與「營運平臺執照」，前者發給廣播傳輸網路業者，僅能經營基礎傳輸業務；後者則為負責整合內容服務之營運平臺執照；而內容規範所需之執照，分為兩種規範方式：以傳統廣電法進行內容規範，或是參考歐盟視聽媒體服務，對於線性頻道節目採用較嚴格的廣電法管制，而非線性的隨選節目內容以低度管制進行規範。 2. 國際間行動電視營運模式發展同時會受到釋照方式不同所影響，釋照方式包含：審議、審議加競價、多回合競價方式。若以審議方式發給特定業者，行動電視營運模式將由特定業者主導，但需遵守較多義務規範；若以審議加競價方式釋照，可能將由廣電業者與電信業者共同經營行動電視服務。或是完全以競價方式拍賣頻率執照，其執照使用方式則最具彈性。 3. 在目前法律架構下，本研究建議行動電視適合以電信法開放，對於外資限制頻率租賃有較寬鬆規定。並鼓勵鼓勵廣電業者與電信業者合資組成團隊取得頻率執照，廣電業者擁有廣播傳輸網路以及內容產製能力，而電信業者同時擁有基礎網路以及與設備製造商議價之優勢，並且擁有龐大基本顧客群。並且建議行動電視市場發展初期，行動電視服務宜以其他電信服務搭售或以綑綁服務方式提供，以增加消費者使用黏度，並擴大市場規模，普及終端收視裝置市場。內容規範方面則建議採低度管制方式，頻道式節目內容以廣電法規進行管理，其他節目則按一般法律進行管理。 / Mobile TV is a newly converged service of television broadcasts, telecommunication services, and information technologies. Challenges arise from regulating the rapidly transformed technologies and proposing a suitable business model into a converging industry. The study aimed to examine different regulatory frameworks established in advanced mobile TV markets, and to categorize business models of mobile TV developed in those markets by reviewing government documentations, industrial research reports and conferences papers. In addition, the study interviewed key persons, including regulators, mobile TV trial team members and specialists, in mobile TV industries. Furthermore the study had made a comparison analysis of different mobile TV regulatory framework proposed by governments of Taiwan, Hong Kong, and Singapore. The study concluded that the mobile TV regulatory framework was architected by different regulatory approaches, including institutions which affect the content production, and institutions which had power on regulating stakeholders of media and telecom companies. The horizontal regulatory framework which included network layer, platform layer and content layer was mostly adopted by European countries in the converged age while regulating the newly risen mobile TV industry. The multiplex license could be treated as a network license and a platform operation license, and in other cases, the multiplex license was just the network license for the network operator. Some regulators extended existing digital terrestrial TV rules to mobile TV. As for the content regulation, regulators were taking light touch in regulating content, and adopting the Audiovisual Media Services Directive (AVMS) proposed by EU. AVMS had reduced the regulatory burdens for all audiovisual media services, and also modernized the rules on television advertising and product placement. The study suggested that the mobile TV in Taiwan was suitable to be regulated by Telecommunication Law, since Telecommunication Law had less restriction on the structure of stakeholders and foreign investments. Broadcasters and Telecommunication operators were suggested to joint as a new company to operate mobile TV service, since broadcasters, who were talented in content production, had broadcast network to transmit services to users; telecommunication operators, who were good at pricing, could use their advantages to set up bundling service to attract user in the nascent market.

本研究的主要目的，在探討一般人對電視犯罪新聞的認知與態度，是否存在第三人效果（third-person effect），以及第三人效果是否會導致人們支持限制電視犯罪新聞。Davison在1983年提出的第三人效果假說指出，人們會傾向認為，媒介訊息對自己的影響比較小，對他人的影響比較大。當媒介訊息使人們產生第三人效果認知時，人們會採取對應行動，為了保護他人不受訊息的負面影響而支持限制媒介。本研究以問卷調查法，訪問大台北地區969位大學生，結果發現受訪大學生傾向認為，電視犯罪新聞對自己的負面影響比較小，對他人的負面影響比較大。其次，受訪大學生人認為電視犯罪新聞對他人的負面影響愈大，愈傾向支持限制電視犯罪新聞。 本研究較特別之處，是探討犯罪受害恐懼感（fear of crime）、第三人效果與支持限制電視犯罪新聞的關係。本研究發現，受訪大學生的犯罪受害恐懼感愈高，愈傾向認為電視犯罪新聞對他人有較大的負面影響，也愈支持限制電視犯罪新聞。 本研究是國內第一個以「電視犯罪新聞」為主題的第三人效果研究，除了再度驗証了第三人效果理論，也對未來的相關研究提出了具體的建議和方向。

鑒於寬頻網路是電子商務發展基石，各國無不積極規劃寬頻網路基礎建設，藉由技術昇級與整合，建構安全可靠的電子商務服務環境，吸引更多企業與消費者參與使用電子商務。ING Barings在2000年研究報告中指出，台灣未來寬頻網路服務市場營收可望在2004年達到773.3億之多，預計寬頻網路服務市場將隨著國際頻寬成本不斷降低而成長。 在行政院NII小組推動「三年三百萬人」寬頻上網目標後，根據資策會資訊情報中心統計，目前我國網際網路使用人口已經達到六百萬人，寬頻網路使用人口則已超過四十萬人。眾多市場競爭者中，有線電視業者由於擁有最後一哩及內容優勢，有助於發展整合性服務，成為進入市場優勢之一。 基於上述原因，本文研究目的旨在探討： （一）國外寬頻網路主要發展國家之市場現況。 （二）國內寬頻網路服務市場之發展現況。 （三）有線電視寬頻網路事業針對寬頻網路市場之整體佈局。 （四）有線電視寬頻網路事業在消費者資料庫上之運作現實。 （五）有線電視寬頻網路事業在企業關係利益人上之運作現實。 （六）有線電視寬頻網路事業在組織架構與傳播策略上之運作現實。 （七）有線電視寬頻網路事業在溝通執行要素上之運作現實。 透過文獻探討及深度訪談等方法，本文針對國外寬頻網路市場整體環境，以及國內兩大有線電視寬頻網路服務業者—東森國際網路與和信超媒體進行研究探討，得到下列結論： （一）政策及價格因素為影響各國寬頻網路服務市場能否迅速普及的關鍵因素。 （二）有線電視寬頻網路服務業者主要的威脅來自ADSL的競爭，以及HFC雙向網路佈建完成度的不足。 （三）母集團由上而下的推動，有助於國內有線電視寬頻網路事業的佈局。 （四）國內有線電視寬頻網路事業尚無行銷傳播專有消費者資料庫的規劃，而消費者資料庫蒐集方式與內容過於單向。 （五）國內有線電視寬頻網路事業依其市場利益點發展M & A策略，並視時間與事業定位轉換其企業關係利益人溝通策略。 （六）整合行銷跨功能管理過程及內部整合行銷系統，有助於國內有線電視寬頻網路事業進行傳播策略的整合。 （七）國內有線電視寬頻網路事業在傳播工具整合上具有良好成效，有助於品牌提昇與企業關係利益人的互動。 本研究並做出下列建議： （一）市場上，國內有線電視寬頻網路服務業者應該： 1.加速地方系統台的通路整合。 2.擴張綜合平台理念，提供綑綁式服務。 3.轉移並區分消費者市場。 （二）而就整合行銷觀點，國內有線電視寬頻網路服務業者應該： 1.改變公司行銷傳播的體制及優先順序。 2.建立新品牌接觸點與關係型的消費者資料庫內容。 3.儘快建立公司內部整合行銷系統。

本研究主要目的在探討台灣電視台（含無線及有線）的經營管理者，在現今高度競爭的商業環境下，如何在新聞專業與市場導向兩股力量的拉扯下選取主播？會特別著重主播的哪些表現？本研究以半結構式訪談法，訪問國內十位電視台（含無線及有線）經營者及新聞部最高主管，了解這群重要的經營管理者如何看待電視新聞主播的「專業角色」。同時，決策主管對主播角色的認知和該電視台選擇、培訓及評估主播表現的關聯性為何，不同電視台有何異同之處。 研究主要發現如下： （一）決策主管選擇主播專業條件上，個人條件和播報技巧重於新聞專業。決策主管最重視主播「呈現新聞的能力」。 （二）市場因素挑戰新聞專業：主管評量主播受收視率和廣告收入影響，但影響程度不一。 （三）管理因素上，配合公司政策重於主播自主性，明星主播比起一般主播擁有較高的自主性。 （四）實務界主管考量、評選主播的思維可分為兩種模式，一種完全以市場因素為依歸，另一種強調商業與新聞專業兼具的雙元價值。 （五）決策主管對於主播為「明星主播」或「主播明星化」的認知不同，支援體系也不盡相同。

本研究主要為探討討論三種酒類之啤酒(Beer)、烈酒(Liquor)、及紅酒(Wine)的電視廣告中，所呈現的舞蹈及其意義，以質化研究方法之符號學的理論取向，解析舞蹈的符號（舞蹈的建構背景、種類、及特徵）；轉借自舞蹈的符號（服裝、服裝的顏色）；其他廣告因素的符號（舞者、廣告文字）；非語言傳播的符號；及媒介鏡頭語言的相關符號，依據符號具與符號義的概念，及明示義與隱含義的符號分析，便以品牌的角度，討論舞蹈應用於三種酒類的電視廣告，所要傳遞的訊息與意涵，並揣摩酒商設計出其舞蹈呈現在他們的廣告，來代表與宣傳產品的目的。 研究發現，藉由舞蹈、舞者、服裝及其顏色，搭配舞者（代言人）的肢體動作、廣告的文字、及鏡頭的一些符號，呈現於酒類廣告，可獲得企業的核心價值、根基、競爭能力等概念；品牌的形象及目標市場；產品的品味、品質、原產地等訊息。此外，不同酒類廣告，傳遞、強調不同的訊息，因此酒商在其廣告中，也設計出不同的舞蹈性質。啤酒類的廣告中，強調年輕的主題，所以啤酒廣告再現了年輕性質的舞蹈風格；烈酒廣告著重有事業成就且有社會地位的成熟男性，因此烈酒類也呈現了屬於正式、成熟性的舞蹈風格；水果酒類的廣告，多以女性為主，因此酒商所引用的舞蹈，也屬於女性演出的舞蹈性質。 / This research discussed dancing construction and its meaning implied on beer, liquor, and wine, example of three different alcohol drinks which can be seen on TV advertisements. By using qualitative research methodology and semiotic theoretical approach, this research tried to analyze five different elements of dancing representation in alcohol drinks TV commercial. These elements are: the resemblance of dance symbols (such as background, type, and its characteristics), factor that contributes to dancing (such as costumes and its colors), advertising elements (such as dancers/endorsers, and texts), non-verbal communication, and visual (camera) language. This analysis was based on the concepts of signifier/signified and connotation/denotation. Alongside with branding point of view, this study was designed to find out the message and the meaning beyond a particular dance assigned to those advertisements. The research was also tried to identify the reasons why the firms choose to exercise a certain dance in their TV commercial as product representative and moreover to advertise it. The research found that through dance representation, the firms attempt to send the message about company core values, foundation, and its competitiveness, as well as the hint to its brand image and target market. The dancing that represented in the advertisements was also showing the taste, quality, and origin of its particular product. Moreover, as different type of alcohol drinks encompassed various type of messages, therefore the variety of dance generous and style were used also different. For example beer TV commercials were prominences young as a theme, thus the dance style applied within was also appertain youngster dance style. On the other hand, Liquor TV advertisements were more focus on a mature male who has carrier achievements and social statuses hence the dance style used on its advertising was far more formal and mature. Finally, wine TV advertisements were more predominantly for female rank, therefore the dance cited by the wine company was also belong to the nature of female dance performances.

基於保障少數族群傳播權益的理念下，全球第一家客家電視台於2003年七月一日成立後，經一年半的歷程中，有需要了解到底哪樣的人在收看客家電視？本研究旨在利用收視率的分析，勾勒客家電視台核心觀眾輪廓並探其變化。 本研究的主要目的 （一）依據特定人口學變項,勾勒客家電視台核心觀眾的基本輪廓。 （二）分析客家電視台核心觀眾在六季、週間、假日收視行為變化。 （三）以戲劇、綜藝、新聞類核心節目中，針對觀眾收視行為分析。 研究結果發現 1.客家電視台在整體收視以及六季收視變化，呈現出一樣的核心觀眾輪廓：「男性50歲以上」，「小學或以下」、「退休或無業」、「桃竹苗地區」、「常說客語族群」。 2.客家電視台週間假日收視情形，男性收視略優於女性收視率，女性在週間晚間八點到十點間收視率為一天之最，週間假日以50歲以上為主要收視群，其次為35-49歲的觀眾。 3.週間假日觀眾教育程度幾乎落在小學以下有較高的收視率，其次是國/初中，「工作狀況」來區分觀眾收視率情形，以無業退休較居高，家庭主婦其次。 4. 週間假日觀眾收視差異：假日時段整體收視表現較週間高，平均假日收視率是週間兩倍。收視波段在週間呈現多段的收視高峰，而在假日則是明顯以早、中、晚三波段的收視高峰呈現。 5. 週間假日觀眾收視差異：假日早上高峰時段，皆較週間往後推移一個小時，週間晚間收視高峰可以持續到晚上11點，而假日收視高峰在9點以後急速下降。 6.在核心節目觀眾的性別輪廓，戲劇類的「油桐花之戀」節目，較受女性觀眾青睞，綜藝類「鬧熱打擂台」、新聞類節目「非常短評」的收視觀眾性別，男性高於女性收視率。 7.在核心節目觀眾的年齡輪廓，戲劇類的「油桐花之戀」有年輕化趨勢，35-49歲女性人口收視率具可塑性。綜藝節目「鬧熱打擂台」、新聞類節目「非常短評」觀眾的年齡落在50歲以上男性女性為主要觀眾。 8.在核心節目觀眾的教育程度，新聞類節目「非常短評」以大專以上人口收視為多，綜藝類「鬧熱打擂台」、戲劇節目「油桐花之戀」的觀眾以小學以下和國初中為主要收視群。 / In compliance with the ideal as to safeguard the broadcasting rights for the ethnic minorities in Taiwan, a Hakka TV station, the first of its kind in the world, was founded on July 1, 2003. Since its inception one and a half year ago, however, people know little about the majority of its audience and whether its programs have met the requirements of Hakka community. This study has, through analysis of rating and reception quality, come up with a profile of Hakka TV station’s core audience as well as its audience flow. Upon comparison with that of the target audience, the data has provided Hakka TV station a vaulable reference tool for improvement in its future program productions. This study has managed to : 1.Work out a profile of the core audience of Hakka TV station. 2.Define how the profile of core audience of Hakka TV station changes with viewing time (segments of the day, seasons of the year, etc.) Discussions on the difference between them and audience flow have also been held. 3.Analyze the profile of core audience of the most popular programs in each season. Explore their difference as well as audience flow. Analysis was done through discussion on varied theories, documents and academic works , supplemented by data and information gathered from Hakka TV station itself. The secondary analysis was based on rating surveys by some broadcaster groups and on reception quality surveys conducted by market survey companies in their hometowns. These survey shows that the core audience of Hakka TV station during the 1-1/2 year period following its establishment had a profile as follows: male over 50 years of age (54%); with primary educational level or lower (49%); retired or unemployed (36%); living in the counties of Taoyuan, Xinzhu and Miaoli (46%); ethnic group speaking Hakka dialect frequently (44%). The definition of audience ’ speaking Hakka dialect frequently’ can be interpreted as that Hakka dialect has been their mother tongue. In a sense, dialect the audience use is considered the most important contributory factor to the core audience of Hakka TV station.

本論文將研究在2013年習近平主席上任不到幾個月以來，並在中國共產黨不斷承諾要改善國家法治的情況下，中國為何在國家電視台上開始播出犯罪嫌疑人的電視認罪。這些電視認罪的播出引起了來自海外的廣泛譴責，從某種程度上在國內也受到了批評，因為電視認罪的播出被視為國家非法壓迫人的手段，並被認為是在重演當年毛澤東時代不公正的批判鬥爭行為。本論文是第一項對這種新侵權行為的系統研究，並試圖填補該研究領域的空白。本作者通過採訪在電視上曾經認罪過的人發現許多電視認罪是有“表演”色彩，往往犯罪嫌疑人被迫“背台詞”、穿著特定的服裝、在攝像頭面前“演戲”等。這表明國家在利用電視認罪來達到某種特定的目的。作者對90個2013年至2016年之間播出的電視認罪進行了分析並發現認罪者當局故意讓嫌疑人感到恥辱來強調他們有罪，使用嫌疑人認罪時所使用的話來牽連他人或貶低他人，以支持中共的這種行為並對於來自國外批評的聲音做出回應。本論文借用François Bourricaud （1987年）對合法性的概念作為一種活躍的合法化進程以表明中國新的電視認罪行為不只是簡單的進行壓迫的工具，而更多是一種強制性推動共產黨合法性的戲劇表演。 / This study asks why China started broadcasting confessions of suspects on national television in 2013, just months after the accession of President Xi Jinping, and despite the Chinese Communist Party’s (CCP’s) repeated promises to improve the country’s rule of law. The broadcasts have triggered widespread condemnation overseas, and to a lesser extent at home, for being illegal, another example of state repression, and resembling the unjust public struggle sessions of the Mao era. This thesis attempts to fill a gap in scholarship and provide the first systematic study of this new and understudied human rights violation. Interviews conducted with those who had confessed on television revealed that many are “show” confessions, where the suspect is made to memorise “lines,” get in “costume,” and “act” in front of the camera, indicating that they are “produced” for a specific purpose. In addition, an analysis of 90 confessions aired between 2013 and 2016 revealed that deliberate efforts were made to shame the confessor, emphasize their guilt, and use the words of their confession to incriminate and denigrate others, promote support for the CCP and its actions and respond to outside criticism. Borrowing François Bourricaud’s (1987) concept of legitimacy as a dynamic process of legitimation, China’s new televised confessions can be seen as much more than simply another tool of repression, rather they are acts of forced theatre aimed at furthering CCP legitimacy.

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