本研究以台灣泛靈化電視新聞為題，探究超自然、非視覺的泛靈化新聞，如何藉由重視影像、感官、並呈現自然界事件的電視新聞媒介再現。 本研究結合人類宗教學之泛靈化理論，並以此為主軸，將人類的宗教儀式行動，應用於媒體行為之中。更進一步，觀察各類超自然新聞，包括算命、靈異等新聞題材，如何在電視媒體中，體現巫術式─情緒化、戲劇性的操控。 研究方法採用內容分析法，統計分析泛靈化新聞之呈現框架，因此對台灣泛靈新聞，做了一次初探性統整。並藉由文本分析，進而對泛靈化電視新聞，做深入的文化解剖。 研究發現：(一)泛靈化新聞透過幻想儀式建構一種慾望與迷思，以天意的塑造、關聯化幻想、宣洩情緒的方式，滿足偷窺的慾望。(二)泛靈化新聞的超真幻想，打破新聞本質。(三)縱欲式幻想，滿足低層次的需求。

本研究擬從經濟社會學和創業研究等觀點，對台灣有線電視系統先驅者所進行的媒介創業行動進行考察，嘗試說明早期有線電視系統業者媒介創業行動的行動邏輯，以及揭露其創業行動邏輯的社會根源。 通過媒介創業行動意涵的討論，並彙整當代創業研究的論述，以及參考場域、資本與慣習等概念，本研究將媒介創業行動的考察，聚焦在媒介創業歷程中文化資本、社會資本與象徵資本等不同類型的創業資本，如何進行交換的問題上。 關於研究方法與研究對象的選擇，本研究以口述傳記研究法來蒐集有線電視系統先驅者的媒介經驗，並以台灣選擇社區共同天線系統業者，作為研究的個案。通過對於研究個案的訪談與傳記資料的重構，以及口述傳記訪談法的應用，本文嘗試重建早期有線電視系統業者之媒介創業經驗的整體形貌。 經由對業者之媒介創業經驗的解析，本研究嘗試揭露早期有線電視系統業者所從事之媒介創業的行動邏輯，並推論出：「技術能動性的作用」、「情感互惠的中介」、「『報』的社會常規的應用」、「自尊與歸屬之創業情感的自我期望」等意義結構，是解釋台灣有線電視系統媒介創業行動的關鍵行動邏輯。 進一步，對於媒介創業行動邏輯的社會根源問題，本研究嘗試扣連台灣在地社會的文化傳統，發現在地社會中所強調「人情主義」、「義氣習性」與「技藝精神」等常民規範性，是驅動媒介創業歷程中「情感互惠」、「回報常規」習性與技術能動性的社會文化根源。 結語，本研究指出，受到創業冒險、自信與樂觀等情感因素所導引的台灣有線電視系統先驅者，他們實為一群具有「即興展演」的行動能力，並以文化常規中的「情義」邏輯，來進行創業行動的「野性」的媒介創業者。而相異於當代主流創業論述強調工具理性、資源有效運用的行動思維，這群「野性」的媒介創業者，他們勇於突破政策管制的困境，巧於利用技術物之功能的能力，是他們之所以能夠通過技術與市場的高度不確定性，以及媒體管制政策的壓力，成功進行媒介創業行動的能動性根源。 最終，扣連到傳播生態發展史的論述，本研究發現，這群帶有野性精神的媒介創業者，不僅具有啟動不同資本之交換行動的能動性，他們所具有的創新與創造性行動的力量，更是馴化新傳播的科技特性，使傳播科技得以轉化為日常生活之媒體的關鍵力量。 / This study aims to investigates media entrepreneurial phenomenon which caused by the rise of new communication technology by the viewpoints of economic sociology and entrepreneurship. Based on the unfolding of the oral biography from the cable television pioneers in Taiwan, this study illustrates the action logics of social exchange about media entrepreneurial activities in Taiwan. Discussed on the contemporary communication phenomenon, entrepreneurship theories and economic sociology theory, this study illustrating the meaning of media entrepreneurship in history, figuring out the overview of media entrepreneurship study, describing the view of ‘media workers as media entrepreneurs’, discussing the meaning and types of ‘media entrepreneurs’, identifying three theoretical dimensions in media entrepreneurial processes, and summarizing the framework of analyzing the media entrepreneurial processes by using the concepts from cultural capitals, social capitals, and symbolic capitals. According to the work of structural analysis of narration, case reconstruction, and concept crystallization, this study finds: ‘the function of technical agency’, ‘the intermediary of entrepreneurial emotion’, ‘the application of Pao from social codes’, and ‘the project of self esteem and belonging ’ are the core meaning structures about the action logics of Taiwan Cable Television pioneers. About the problems on social origins of the media entrepreneurial process in Taiwan Cable Television pioneers, this study also finds: ‘the ontology of emotion’, ‘the rules of cultural Yi-Chi disposition’, and ‘the spirit of craftsmanship’ are the social origins from local culture in Taiwan. In conclusion, this study points out that these pioneers afford the improvisation for the potential of communication technology, and they can domesticate the wildness of new media technology. Further, they can perform the innovation and creative power to encounter the technology-market uncertainty, and overcome the regulation from government. Finally, this study name there pioneers in Taiwan Cable Television as the ‘Savage in media entrepreneur’, they possess the strong entrepreneurial agency, and they can build the new media ecology for future.

本研究以影像倫理作為觀察角度，探討電視新聞動畫化所帶來的真實「再現」與新聞倫理的爭議。本研究採深度訪談法，訪問業與學界共十三人，研究發現，動畫的重建/再現過程，反映感官主義，當新聞報導超越了事實，有可能傷害新聞的專業倫理原則，進而造成資訊淺薄化的發展；再者，虛擬的再現，未必呈現資訊原貌，一則新聞的大量訊息，經過新聞工作者的判斷、篩選，通常只留下具有故事性或衝突性的重點來產製成動畫影像；最後，多層次守門的干擾，影響新聞真實性，在文字轉化為圖影像的過程中，難免會受到編輯室社會控制與新聞價值內化、新聞工作者之間的溝通落差與資訊查證之影響，使得真實性流失成為必然的副作用。 / This study examined that some controversy concerning ethic of images exists in the animated news on television, discussing the relationship changing between representation of truth and journalism ethics during the production process. Through empirical in-depth interviews with journalists and scholars of thirteen, we came to explore the ethical effect of animated news on traditional news production and standards. It reveals that the reconstruction of animated news reflects sensationalism. When news reports are not based on facts, they are likely to harm the profession principles of journalism ethics and they will result in the process of information trivialization. In addition, virtual representations may not present the original information, messages are chosen and judged by journalists from a piece of news with story or conflicting points to make animated images. Finally, because multilevel gatekeeping interference affects the authenticity of news, it will inevitably be influenced by several factors, such as social control in the newsroom, newsworthy internalization, communication gaps between journalists as well as verification of information, during the process of transforming a message from written to animated form. The loss of authenticity is an inevitably side effect.

全球的電視新聞文化現今都已偏好聳動的主題及令人目眩神移、訴諸感官刺激的綜藝化製作方式。台灣的電視新聞綜藝化自壹週刊、蘋果日報在台出刊後更加明顯氾濫，這種辛辣聳動的刊物成為各家電視新聞台的重要新聞來源。此外，過多的24小時新聞台為了搶收視率亦在視聽覺吸引及口語報導方式上無所不用其極的“吸睛”。值得一探的是，觀眾對於這種綜藝化播報方式的觀感究竟如何，而此種播報方式對於其電視新聞可信度又是否會有影響。 本文從不同變項探討現今台灣電視新聞綜藝化手法對大學生評估新聞可信度的影響及觀感。除人口變項外，亦討論媒介使用習慣、媒體素養與電視新聞可信度評價的關係。研究結果發現，一般來說，媒體素養越高的受測者對台灣電視新聞可信度評價越低，也較不喜歡看綜藝化手法製作的電視新聞。此外，本文除討論現今常使用的綜藝化手法所引發的新聞可信度評價影響，亦發現大多數綜藝化手法應用於硬性新聞較應用於軟性新聞播報中引發較低的新聞可信度評價。 / The phenomenon of infotainment tendency in TV news broadcasting has been rising globally. Taiwan is no exception since last decade, especially a turning point that Apple Daily first published in Taiwan. This sensationalism- oriented publication has become an essential reference for TV news producers and resulted in a revolution of TV news in Taiwan, which from content to format presentation have become relatively infotainment- oriented. The excessive 24-hour news channels is another cause of the infotainment phenomenon in Taiwan, which results in a vicious viewing rate competition. In order to draw audience’s attention, each channel tries hard to be “eye- catching” to please audience instead of providing substantive information. This study investigated the effect of the current prosperous infotainment tendencies in news broadcasting in Taiwan on college audience’s evaluation and perception of TV news credibility through different variables. In addition to demographic investigation, this study also conducted research on the correlation between audience’s media literacy level, media use habit and TV news credibility evaluation. It is found that respondents with more media understanding are more sensitive and critical to the infotainment issue in TV news. Moreover, the results showed that the infotainment applications used in hard news generally lead to lower TV news credibility than used in soft news. The findings of this study contribute reference to the news discipline for TV news producers in Taiwan.

本研究是以產業分析結合情境分析法找出台灣液晶電視產業的過去、現在影響發展的因素和未來的可能的情境及策略層面，以供關心台灣液晶電視產業發展的同業參考。在完成產業的情境分析之後，本研究也將以個案:奇美新視代為例分析其可能的因應策略。 本研究對產業因素及產業情境分析主要是從產業環境、產業結構、廠商行為三個面向結合相關財務的資料佐證本加上五力分析的結果，作為情境分析法的影響因素來源。 而後是以對應產業情境分析法，將其分析結果，結合競爭優勢和相關產業策略以及白地策略產生相關台灣液晶電視產業的相關情境下之可能策略並對應個案奇美新視代的因應策略。 而根據情境分析的結果，立即應進行的是產業內競爭力的提升，透過垂直整合和水平購併使台灣液晶電視產業相關業者區域內競爭力提升。 就長期而言，要培養具國際視野和最新技術的國際頂尖學者，也要針對產業和新技術的政策擬定針對性市場技術開發策略，以利後續產業國際化和國際品牌的配合與銜接。 / This research applies Industrial and Scenario Analyses to figure out the factors that are affected from the history and current states to generate the future developments of Taiwan’s LCD TV industry. It also acts as a reference to companies who concern about the developments of this industry. Besides, after the Scenario Analysis of Taiwan’s LCD TV industry, this research will take the company, CHIMEI Nexgen, as an example to analyze its possible responding strategies to this industry. The research starts with the analysis of 「Structure-Conduct-Performance, SCP」 and the related financial information. Moreover, it uses five forces as the factors of Scenario Analysis. Afterwards, it corresponds with the industrial analysis to use the result and competitive advantage, related industrial strategies and White Space Strategy. According to the results of scenario analysis, what CHIMEI Nexgen should do is to uplift its competitiveness in Taiwan’s LCD TV industry through vertical and horizontal integrations of the value chain. As a long run, it is important to develop international top scholars with the global vision and state-of–art technologies for Taiwan’s LCD TV industry. Moreover, for industrial and high-technology policies, Taiwan’s LCD TV industry should map out the expending technical developing strategies that focus on international market in order to correspond to its follow-up products and international brand.

本論文旨在分析在我國公視建構過程中(1990~2013年)的報紙相關評論與報導。從1915年開始，台灣就有許多透過媒體改革來爭取發言權的運動。然而，直到1990年，公民社會才出現了以產權為目標的媒改運動，亦即1990年代起的公視運動。因此，我們認為公視運動可被視為公民爭取「公共領域」的重要歷程，值得進行深入分析。 其次，本文主張公視這種「公共領域」的建構過程，應以公共對話為基礎。經文獻檢閱，我們認為公媒體與公共領域有以下關聯。以制度面而言，Habermas的晚近公共領域概念強調國家必須透過立法過程來保障溝通行動，這正和公媒體的制度契合。以公共論述判準而言，Habermas的「合理政治意志形成過程」與「理性溝通」則可用來檢視，關於公視制度的討論是否符合公共性。 此外，本文選報紙評論進行分析，不是為了比較各報論述的差異，而是報紙長時間地記載各報社、社運團體成員、學者專家與社會大眾對公視議題的論述，這可讓我們檢視及反思不同階段公視運動的論述目標與特徵。另一方面，我們也檢閱了公視相關的立法院、監察院公報等資料，藉此釐清政府、媒體與公民社會三者的關係。 本研究有以下三點發現。第一，政府政策意圖是引導公視論述的關鍵因素。只有當政府對公視採取較正面態度，公民社會才有機會對公視進行深度的討論。第二，公視議題的主要論述者是報社人員與學院知識份子，其中學知對於公視向來採取支持立場。相對而言，只有在公視處於不利局面時，各報才會較積極地對公視表達支持。第三，當報社與學知對公視議題進行討論，報社較支持「商業化」與「數位化」，學知則較重視「公共理念」。 / This paper aims to analyze newspaper commentary and reports published during the Taiwan Public Television Movement between 1990 and 2013. Since 1915, Taiwan has had a lot of media reform movements that fought for freedom of speech. But there were no media reform movements with the aim of dealing with media ownership until the Taiwan Public Television Movement happened in 1990.We believe that the public television movement was a very important process that structured" public sphere “in Taiwan and is worth an in-depth analysis. As a public sphere, Taiwan Broadcasting System (TBS) should be constructed on the public dialogue. After reviewing the literature, we think that the public media and the public sphere have the following correlations. In terms of institutional designs, Habermas emphasized recently that the state needs to protect the communicative action through the legislative process. We think this is similar to the idea of public television. With regard to public dialogues, Habermas' concepts of “a process model of rational political will-formation” and "rational communication ideal " can be applied to analyze the discourse of Taiwan Public Television. In addition, we analyzed newspaper commentaries, not to compare the differences of representation between newspapers, but to document different kinds of discussions of public television by media, social movement organizations, scholars and the public over a long period of time. Whereby, we can examine and reflect on the discourse goals and characteristics of the Taiwan Public Television movement in different stages. We also reviewed the official gazettes of the Legislative Yuan and the Control Yuan in order to clarify the relationship between the government, the media and civil society. In this paper, we provide readers with three findings. First, the intent of government policy was a key factor in leading the discourse of public television. Only when the government adopted more positive attitudes towards the TBS did civil society have chances for more in-depth discussions. Second, the discussions of TBS were mainly made by newspaper staffs and college intellectuals. Furthermore, college intellectuals had always taken a stand that supported public television. In contrast, only when TBS was in an unfavorable situation did newspaper staffs become more active in offering support. Third, whenever newspaper staffs and college intellectuals participated in the public discussion, the former tended to support the "commercialized" and "digitized" TBS, but the latter were inclined to favor “the ideal of public sphere” of TBS.

本文對台灣2010-2015.6期間的女性內衣電視廣告進行符號學研究，探討其中的符號與敘事規則，女性及其身體的符號意義、以及符號結構如何建構內衣的消費迷思。研究認為，廣告多元地講述了女性在男女關係、公共關係、朋友關係和個人關係中所體驗的情緒和情感，呈現較為豐富的女性角色和個性，很多文本亦表現出對傳統陰柔特質和男性權威的挑戰，藉由女性個人風格和獨立意識的展現，內衣廣告積極透過文本的搭建闡釋女性自主。研究文本將身體謀劃運作為自我認同的過程，女性因為身體資本而獲得肯定和賦權， 但同時也不斷重複著女體標準的階級化霸權，符號擇用透露了新舊結構的拉扯中，父權體制、資本主義商業邏輯與女性消費者進行著女性主體性的協商。內衣之為符號，被塑造成與外界發生關連的媒介（medium），同時是許多正面積極意義的載體（vehicle），內衣電視廣告繼續深化內衣的性感迷思、美麗迷思，還敘述了自信自主的迷思、自我意識的迷思，個性化迷思，滿足女性對主體性的想像，對生活夢想的期望。 / This is a semiological study of lingerie TV commercials in Taiwan from 2010 to June 2015, which explores the symbolic structure and narrative rules, symbolic significance of women and their bodies, and how lingerie myth constructs. Research suggests that ads show the various emotions and feelings females experiencing in different relationship, including male-female relationship, friendship, public relations and self-relation, while females appearing in relatively rich characters and personalities. Many ads present the challenge to traditional femininity and masculine authority. Though demonstrating the personal style and sense of independence, lingerie ads attempt to bulid a positive interpretation of female autonomy. Self-identity is shaped during practising one`s body plan, as a result, women get recognition and empowerment because of the physical capital in these ads. However, we can see the repetition of the body standard, which constructs hegemony of body. Overall, the research finds the wrestling between the old and the new social and cultural structure, in other words, a negotiation of expressing subjectivity among patriarchy, capitalist business and women customers in lingerie TVC. In terms of its symbolic value, lingerie is portrayed as a medium to connect females with the external world, and a vehicle carrying lots of positive implication. Furthermore, these ads deepen sexuality myth and beauty myth of lingerie, at the same time, add the myth of self confidence, independency and personality to it, meeting women's imagination of subjectivity and expectations for life.

台灣電視購物產業蓬勃發展，加上「數位匯流」趨勢，主要電視購物業者 紛紛整合電視、網路、手機等通路，使台灣電視購物規模不斷擴大，消費者有何 需求、對於電視購物頻道行銷手法有何感受，乃值得深究的課題。 本研究採用深度訪談法的半結構式訪談，以立意抽樣方式，訪談10 位居住 在大台北地區的電視購物消費者，旨在探討其需求，以及其對於電視購物頻道行 銷手法的感受。 研究發現： 一、受到電視購物便利性吸引，購買日常生活用品、旅遊產品的人很多。 二、儘管消費者常在電視購物消費，但會到實體通路購買物品。 三、由於無法親自看到商品，電視購物消費者感到知覺風險。 四、電視購物消費者喜歡的主持人特質是誠懇、有信用。 五、電視購物消費者對特定頻道較無忠誠度。 六、電視購物消費者在下單時，偏好專人接聽服務。 七、電視購物消費者雖然肯定電視購物便利性與商品便宜價格，但是仍對 品質有疑慮。 八、電視購物消費者認為未來電視購物將繼續蓬勃發展，是時勢所趨。 本研究根據研究結果，提出研究建議如下： 一、政府監督，落實鑑賞制度 二、付款安全，推第三方支付 三、積極管理，盼主持人自制 四、服務取勝，勿用噱頭行銷 五、養忠誠度，可用集點紅利 六、專人接聽，供客製化服務 七、提供試用，通路虛實整合 八、數位匯流，整合不同系統 九、賺親友財，引入推薦制度 十、強化物流，退貨化繁為簡 / The TV shopping industry has been thriving these years. With the trend of digital convergence, major TV shopping enterprises are dedicated to integrating different channels, including TV, the Internet and mobile phones and broaden the size of the industry. What customers need and how they feel about the marketing strategies of the TV shopping channels are issues worthy to research. Adopting semi-structured and depth interview, the study applies purposive sampling and interviews 10 TV shopping consumers living in greater Taipei area, aiming to investigate these consumers’ demands and their feelings about marketing strategies of TV shopping channels in Taiwan. The findings are: 1. Due to the convenience, consumers are attracted to purchase daily necessaries and tourism products. 2. Consumers purchase at brick-and-mortar stores though they often do TV shopping. 3. Consumers feel perceived risk because they can’t see the product themselves. 4. Consumers hope hosts of TV shopping programs to be sincere and honest. 5. Consumers are not loyal to specific TV shopping channel. 6. Consumers prefer to be served by people rather than phonetic system. 7. Consumers worry about quality of goods even though they affirm the convenience of TV shopping and lowers prices of goods. 8. Consumers hold optimistic attitude towards the development of TV shopping in the future. Based on the research conclusion, the suggestions are: 1. The government should supervise the Satisfaction Guarantee & Return Policy of TV shopping channels. 2. Third-Party Payment should be implemented to enhance the safety. 3. The hosts of TV shopping programs should not exaggerate the effects of products. 4. TV shopping channels should put more emphasis on service and avoid tricks meant to deceive. 5. The activity of bonus points should be implemented to make consumers loyal to specific TV shopping channels. 6. More customized services should be provided. 7. TV shopping enterprises should integrate different shopping channels and provide probationary service. 8. Different systems should be integrated to meet the era of digital convergence. 9. Introduction systems should be used to make more consumers shopping with their family members. 10. Logistic systems should be fortified to make it easier for consumers to return their goods.

本文主要探討台灣電視新聞的言談結構(discourse structure)，以及標示各單位的言談標記(discourse marker)。本研究分析25則電視新聞，文類限定於社會新聞。首先，在結構上，每一則新聞包含兩大結構︰導語(news kernel)以及旁白與影片(news body)。兩大結構又可細分為七個較小的單位，分別為︰開場白 (opening)、摘要 (abstract of the news)、事件現場畫面 (event scene presentation)、主要新聞事件 (main news events)、後續發展 (follow-up)、評語 (evaluation)、結尾 (routine ending)。而這七個單位還可再細分為更小的單位。此外，本文所探討的言談標記可分為五類︰1. 指涉詞 (referential forms) 2. 連詞 (connectives) 3. 地方副詞 (locative phrase) 4. 話題轉換填充詞 (topic shift fillers) 5. 畫面轉換 (shot shift)。是故，本文研究重點有二︰1.將新聞結構分為三個階層—Level 1、Level 2、Level 3，並探討出現於不同階層的言談標記在類型與數量上是否反映出階層 (hierarchy)？ 2. 標示各個結構的言談標記為何？ 研究結果指出︰1. 三個階層的言談標記在類型上除了Level 1固定有畫面轉換之外，其餘兩個階層皆無固定的言談標記。另外，在數量上僅Level 1可同時出現多個言談標記，Level 2與Level 3在數量上並無差異，顯示出電視新聞為口說語(spoken language)的一種，訊息與訊息之間的連結性比表現出文體結構階層性更為重要 2. 標示各單位的言談標記並無一致性。受到各單位特性影響，言談標記呈現不同的分佈。 / The present study examines twenty five pieces of broadcast news about crimes and damages in Taiwan. The purpose is to examine the relationship between the discourse structures and their corresponding markers. The discourse structure of a piece of broadcast news is divided into seven components and they are categorized into three levels. Level 1 includes news kernel and news body. Level 2 includes abstract in news kernel, main news events, follow-ups, evaluation, and routine ending in news body. Level 3 contains the smaller units in the Level 2 units. The boundary markers to be examined are divided into four categories: topic shift filler, referential forms, connectives, and shot shift. The present study has two major findings. First, the amounts of markers only show significant difference in Level 1. Down to Level 2 and Level 3, linearity overrides hierarchy. Second, the types of markers are decided by the nature of each unit. The opening is always marked by shot shift and speaker shift plus topic shift fillers/temporals/additives. The abstract section is marked by locative phrase plus referential forms. The event scene presentation section is marked by shot shift and speaker shift plus referential forms. The main news events section is marked by shot shift plus temporals which signal the exact time. Then, the follow-up section is marked by shot shift plus referential forms/connectives. The evaluation section is marked by shot shift plus referential forms. The routine ending section is marked by a relatively longer pause.

《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.