過去國內電視新聞的相關研究中指出，國內電視新聞報導出現「時段區塊固 定」、「嚴肅新聞比例下降」、「報導內容感官主義化」、「報導形式視覺化」等情況。但僅了解電視新聞的發展趨勢似乎仍不足以了解電視新聞對國人的影響，甚至每日潛移默化的改變。 　　本研究提出有別以往電視新聞研究的新取徑，試圖以新聞框架理論來研究和解釋國內電視新聞的情況，並引用國外電視新聞框架的實證研究，整理出五項已知並已獲得證實的電視新聞框架：「責任框架」、「情感框架」、「衝突框架」、「經濟影響框架」、「道德框架」，以檢視國內電視新聞報導社會運動事件，特別是集會遊行時，這五種新聞框架的呈現和頻道間異同。 　　研究選擇以2008的「８３０嗆馬大遊行」作為觀察對象，經過內容分析後，本研究發現，國內電視新聞確實存在新聞框架，並且因為感官主義的媒體環境趨勢、社會運動團體的視覺訴求、新聞則數分配等原因而使得各新聞框架呈現時的差異。 　　國內電視新聞報導社會運動事件時，最常使用「情感框架」、「責任框架」與「衝突框架」。並且進一步發現發現，國內電視新聞報導社會運動事件時，各頻道間在新聞框架的使用上確實出現差異。 　　政治立場偏藍的電視新聞報導中，比偏綠的新聞台呈現更多「衝突框架」和「經濟影響框架」，其他新聞框架則無太大差異。另外，政治中立的電視台明顯比政治立場偏頗的電視台呈現更多的「衝突框架」；另外，政治偏藍的電視台也比偏綠和中立的電視台運用更多的「經濟影響框架」。 / This study examines how Taiwan television news frames protest news by investigating the prevalence of 5 news frames identified in earlier studies on faming and framing effects: frames of attribution of responsibility, conflict, human interest, economic consequences, and morality. 　This study content analyzed 206 television news stories in the protest against president Ma Ying-jeou’s 100th day in office in August 30th, 2008. The results showed that, overall, the human interest frame was most commonly used in the television news, respectively followed by the attribution of responsibility, conflict, economic consequences, and morality. It also appeared that sensational presentation as popular outlets in Taiwan’s television news. The use of news frames not only was differenced from channels, but also in partisan stances taken by various channels.

第一章緒論, 第二章研究目的, 第三章研究理論架構, 第四章研究方法, 第五章研究 結果分析, 第六章結論與檢討。 過去, 曾有一些小說或是其他短評, 文章提及新聞記者形象的問題, 卻沒有人以社會 科學的方法來研究。 本論文是以調查法, 抽樣訪問臺北市一般民眾對報紙記者和電視記者形象的偏向, 來 探討多年來新聞教育的功效, 並由分析結果來做新聞媒介自我檢討的參考依據。

本研究主旨有三：(一)整理現有股市財經節目的營運方式、節目內容並瞭解財經節目主持人及其口語傳播技巧。(二)從股市財經節目觀眾收視行為來觀察，以節目收視率及收視觀眾輪廓(audience profile)為基礎，觀察股市財經觀眾其日常生活中收看股市財經節目的相關行為。(三)結合對財經節目與觀眾收視行為的觀察與研究，找出股市財經節目的關鍵要素並提出建議。 本研究以文本分析、深度訪談、二手資料整理等研究方法進行，分析整理後，發現股市財經節目觀眾的收視動機非常明確，為主動閱聽人，收看節目係屬工具性行為，主要目的係希望投資獲利。因此，節目設計應先考量以下兩點：(1)股市財經節目的觀眾特性：男女比例相當、年齡層較高、學歷較高、居住北部地區較多、家庭所得較高、對資訊需求差異大、對節目是否應教育功能意見分歧。(2)股市特性：資訊瞬變、影響股市漲跌因素甚多、需專家解說。 而股市財經節目雖與其他節目有明確區隔，唯同類型的電視投顧節目或股市貼盤節目本身並無差異化，造成電視投顧節目以消耗投顧老師的方式進行經營，四個股市貼盤節目僅有二個尚稱成功，本研究建議節目產製單位應以更深層、更能吸引觀眾的相關投資資訊來提升閱聽眾對節目的忠誠度，而同類型節目之間則應以觀眾對資訊偏好的需求、對節目教育功能的不同的認知來進行差異化。 / This analysis will 1) examine the current format for Stock Market Analysis Television Programs, the program content, the program hosts types, and the host speaking styles. 2) Examine program viewer behavior, based on viewer ratings, audience profile, and the role that these programs play in the daily lives of its viewers. 3) Ascertain the key elements of these programs and provide recommendations based on conclusions reached through cumulative analysis of such television programs and the behavior of their viewers. Based on text analysis, in-depth interviews, and second-hand data, viewers appear to have clear utilitarian motivations for watching these television programs, they are active listeners, and their primary objective is to profit on their stock market investments. Program design should take into consideration the following elements: 1) Viewer Demographics: even proportion of male and female viewers, higher age-bracket, highly educated, living primarily in Northern Taiwan, high household incomes, strong demand for new information, split on whether such programs provide educational value. 2) The Nature of the Domestic Stock Market: information changes quickly, factors affecting the rise and fall of stock prices are many, professional market insight and analysis is needed. Stock Market Analysis Television Programs, which are quite different from other television programs, fall into one of two main types: Investment Consulting Company-produced Analysis Programs, Real-time Market Data and Analysis Programs, with very little variation between competing programs in each category. The former generally relies on a string of new program hosts in an attempt to maintain viewer interest. There are currently only four of the latter type of program currently running with only two of them showing even mild success. This report will recommend that producers of such programs should offer more in-depth content so as to better attract and maintain viewers. Competing programs should also distinguish themselves from one another by offering different types of data and analysis content, and different levels of educational content in their programs.

本研究以中天新聞台作為台灣電視新聞頻道國際新聞節目製播策略的初探性研究個案，以內容分析法分析其國際新聞節目「文茜的世界周報」的節目內容規劃與呈現，並深度訪談中天電視台製播部視覺中心經理、新聞部節目專案中心主任及撰述委員，探究節目的定位與角色、人員及資源配置暨節目製播流程、製作技巧與創意及節目未來規劃願景。進一步訪問三位產學界的專家學者，了解理想國際新聞節目應具備的條件、國際新聞節目製播困境與突破的方法，同時針對「文茜的世界周報」製播成效加以評估。 研究發現中天新聞台政策性支持「文茜的世界周報」製播，節目由獨立運作的節目專案中心負責製作，因此享有的人力與資源相較其它新聞台豐富。節目從命名、片頭配樂、場景與鏡面設計皆突顯主持人強烈的個人風格，分析性與故事性的文稿，成為節目的定位與特色。未來規劃開發新的題材與議題，同時深化新聞專題的深度與廣度，以提升觀眾對國際情勢的了解。 根據內容分析結果顯示，報導區域以中國大陸最多，其次是歐盟、北美、東南亞與東北亞。報導主題以經濟新聞與政治新聞最多，其次為社會和文教新聞。陳述類型則以純淨新聞與新聞訊息彙整的新聞提要為主。 產學界專家學者則認為理想的國際新聞節目應提供文化與地理接近性的新聞議題，並培養本地記者實地採訪，賦予國際新聞在地觀點，深入解析事件脈絡與意涵。然而國際新聞節目製播往往受限於收視率壓力，故電視台經營者應調整國際新聞長期被邊緣化的角色，並尋求企業界支持贊助節目製播經費，製作量質兼具的國際新聞。最後，產學界專家學者認為「文茜的世界周報」節目風格鮮明，可增加觀眾對國際新聞的興趣，但主持人與撰述記者的個人詮釋框架，應維持新聞公正客觀，硬性與軟性新聞應各佔一定的比例，亦可試圖將硬性新聞與觀眾生活連結，達到雅俗共賞的目標。 / This case study on CTITV is to investigate the international news program production strategies of 24-7 news channels in Taiwan. Based on the content analysis and the in-depth interview with the visual design manager, the special programming center director and the reporter in CTITV, we explored the orientation and function of the program, “Sisy’s World News”, the allocation of the personnel and resources, the production process, the news production techniques and creativity, and the vision of the development of this program. Moreover, we interviewed three professionals and practitioners in journalism so as to elaborate the elements of the ideal international news program, the alternatives for the predicament of international news production and the evaluation on “Sisy’s World News”. The result of the study discovered that CTITV has been supportive to its international news production. Hence, the international news program, “Sisy’s World News”, is independently operated by the special programming center which capitalizes the comparatively rich personnel and resources of international news. This international news program has been distinguished from its name, insightful news scripts, audio and visual presentations which comprehensively manifest the host’s unique personal style. In the future, the director and the reporters are going to enrich the contents and topics to broaden the audience’s horizons. According to the result of content analysis, the program focused on Mainland China, European Union, North America, Southeast Asia and Northeast Asia. The theme was mostly related to business, politics, society, culture and education. Straight news and the news headlines which summarized the weekly news from the international press were the primary approaches of the presentation. The professionals indicated that the ideal international news program should provide the issues with cultural and geographical proximity for the audience. More importantly, the reporters should get more chances covering the news in person to interpret the news by their own observations and perspectives. However, rating is always the restriction of the international news production. The administrators should break the myth of rating and find more budget supporters for the better quantity and quality of the international news programs. Additionally, the proportion of the hard and soft news should be near equal. The host and the reporters in “Sisy’s World News” should be objective and cautious about the interpretations of the news and try to make the hard news relevant and interesting to the audience as well.

媒體網路科技的發展以及數位技術的解放，讓個人媒體開始出現。這些草根媒體不論在型態或是內容產製上都與過去的大眾媒體有很大的差異。2000年韓國出現了強調人人都是記者的公民新聞媒體《Ohmynews》，短短幾年成為韓國前10大影響力的新聞媒體，也讓公民新聞開始受重視。在察覺公民新聞的發展趨勢以及擴大台灣公共電視影響力的需求下，2007年4月30日PeoPo公民新聞平台正式成立運作，它是第一個強調以影音為主的公民新聞媒體，也是強調人人皆可參與的開放新聞平台。 一年的運作下來，PeoPo公民新聞平台不論在公民記者人數的成長或是新聞數量的增加都有了相當的成績，並且舉辦過多場活動展現了草根媒體的影響力。透過PeoPo公民新聞平台，更多人有了公共參與以及關心社區事物的機會，也看到了不同地區、年齡、背景的民眾參與公民報導的實踐。 本研究將透過實際參與PeoPo新聞平台發展一年觀察的田野筆記，呈現PeoPo公民新聞平台發展的軌跡；並且透過量化的問卷以及質性的深度訪談，了解PeoPo公民新聞平台在公眾參與以及多元報導上的表現。

數位電視（Digital TV，DTV）是指一種把影像、語音等聲光的類比訊號換成數位訊號，然後傳遞至視聽消費者端之電視技術。它也可以代表一種能夠接收上述數位訊號、並且無失真地還原成和送出時相同品質的一種電視產品。由於數位電視具有高品質的影像、音響效果，同時提供具附加價值的資訊服務，如透過數據、電子節目表單、在家購物等方式，可帶動旅遊、交通、娛樂、文化產業的發展，對於台灣中長期民生與科技發展極為重要。 各國關閉類比電視頻道的時間已近，產經分析人士咸信未來數年內各國的消費者都將面臨換機或是增購訊號轉換器的處境，因而引發龐大商業機會。由於數位電視市場可望能為台灣平面顯示器產業延長榮景，且其所帶動週邊如STB、以及家用或車用電器、數位內容產業等，創造大量就業人口，在台灣進入另一波數位革命的階段的起點時，它具有極高探討價值。此外，由於積極加入此領域的廠商數目繁多，而數位電視既是充滿機會、又充滿技術與規格艱難險阻的產業，究竟是具備如何條件、訂定怎樣的目標、運用甚麼策略的企業，才能在這個國際化的產品市場上佔有一席之地，是本論文援用大量數據並深入分析的重點。 從本研究所收集資料來分析可以發現，普騰電子以衍生成數家獨立事業群之策略，成功發揮品牌與代工交替運行之優勢，精準掌握電視產品與車用影音電子產品，在台灣形成一種具有特色之企業生存之道。普騰在延續過去技術基礎與成功模式的同時，兩岸與全球之競爭態勢已非同日而語，因此建議其適度放棄非核心家電，進攻利基型如車用數位影音與數位看板之產品，以儘早達成產業升級之目標。 / Digital Television (DTV) is the apparatus and technology that may convert analog video and audio to digital signals and send them to television viewers. It is also a type of display device that may present the image with high fidelity to the original recorded data. With the high quality on image and audio performance and the potential on providing value-added services like on-line personal data transmission, interactive program selection and shopping-at-home, DTV may launch enormous opportunity on developing tourism, transportation, entertainment, and culture industry. It will produce important impacts on the middle and long-term economic and technological development of Taiwan. Most of the countries are facing the fact that their deadlines of closing analog TV channels are coming. Meanwhile, most of the economy analysts believe that the purchase of new TVs or signal converters by customers will give big business opportunities in the coming years. DTV is a worthwhile research topic because of its particular role on elongating the prosperous status of flat-panel display industry and raise customers’ requirement on AV peripheral products like set-up boxes, home or vehicle electronic devices, and digital contents. It means a lot of facets especially when either Taiwan or the industry is entering a new era of digital revolution. Furthermore, DTV industry is a field that appears to be very promising but actually is highly competitive, crowded with aggressive competitors, and full of technology and product specification barriers. For a company that joins this game, what on earth the qualification to be required, the proper goal to be set, and the strategy to be adopted by the company, are within the focus of this study and will be discussed on the basis of large amount of explored data. The DTV explored by this study contains the fixed and mobile AV devices that may display images from wireless broadcasting stations, cable TV stations, satellites, and IPTV. The applications on displays on vehicles, mobile phones, anddigital signage devices are also covered in the discussion. The study raises a well-know Taiwan company, Proton, as an example to see the Proton’s advantages to DTV markets based on applying the analyses models proposed by Poter, Kotler, and Slywotzky to analyze the structure of the company, product features, and marketing strategies. A number of suggestions for its future development are drawn from the analyse results.

邁入數位電視紀元乃是全球之趨，而其對於增進身障者獲取各類資訊的「媒介近用權」具有莫大助益，其中針對聽障社群接取內容最重要的近用需求──「字幕」和「手語」服務，在數位科技匯流發展下，皆可以「隱藏式」之方式供應，同時造福聽障和非聽障之傳播權益，以及減輕廣電業者相關技術的支付成本。因此，近用服務的提供從過去的消極被動轉向現今的積極樂觀。而外國先進國家大多皆以公共廣電媒體之設立價值與目標，作為該國近用服務推動的核心主體，希望藉由數位電視的技術研發，達成更多聽障輔助應用之需求和供應滿足，協助其順利進入數位包容社會。故本研究以探詢國外落實近用服務情形，以做為我國公共廣電服務借力使力之參考，期許對我國聽障社群在傳播權益上產生影響。 　　 　　研究發現，英國、歐盟針對聽障社群的媒體近用落實，無論在法規的制定、實務的推行以及技術的研發等各層面皆有所重視，認為數位電視平台的時代，應協助聽障融入數位包容社會，並設法增進其傳播權益，以彰顯聽障與一般大眾之平權的公民地位；而在我國公視部份，其營運目標始終視英國BBC為效法對象，希冀在內、外資源充份下能達至同BBC供應近用服務之標準水平。然而在多種因素交織下，現階段公視對於聽障媒體近用服務的提供，則依舊保持類比電視時代之作為，不過，經本研究與其互動後了解，公視未來可能朝向增加其他近用服務項目發展，期望數位電視真正來臨時，其能化過往被動態度轉向積極進取：公視目前在電視平台持續兩個「手語專門」節目的製播，並預計規劃將手語服務擴大至「運動」類型節目，以符合聽障收視的期待；至於字幕服務，在已完備的基礎上，試圖朝向「表情字幕」與「即時字幕」發展；另外，於2011年HiHD數位頻道將推出「隱藏式字幕」功能。在網路平台方面，公視服務仍然延伸至電視頻道的節目宣傳與相關資訊供給為主，對於加強聽障的網路近用權益，例如「無障礙網頁空間」以及「近用小組」，認為必然有公共義務介入加以落實，但礙於目前並無相關資源規劃與投入，因此要實際推行仍有很大的進步空間。 / The main purpose of this study is to discover the practice of the right of media access in foreign countries, in order to provide reference to Taiwan’s Public Service Broadcasting (PSB) and to make progress on communication interests for hearing impaired community. “Caption” and “Sign Language” are the most important tools for hearing impaired people to gather all kinds of information and fulfill the necessity of access service. Under the digital convergence, these tools can be provided in special ways, which makes the hearing impaired people and the hearing people share the benefits simultaneously and the cost-down effect of broadcasting industry. We know that most developed countries positioned their access service project by referring to nation’s PSB. They believed the new era of digital TV is a solution to attend the balance between demand and supply of hearing impaired aid applications. While the provision of access services is getting more active and optimistic, the digital inclusion is much close to us. The study shows, British and Europe Union think they should assist hearing impaired people to be involved in e-Inclusion society and highlight equally citizen status by enhancing the rights of hearing impaired people. All the aspects such as regulation enactments, practical implementations and technique developments has been considering all the time on the stage of digital TV platform. Just like the BBC in British area, Public Television Service (PTS) in Taiwan is taking BBC as a benchmark to achieve the access services standard in condition of sufficient resources. However, changing the status quo is not so easy for inextricably interwoven reasons. PTS still works in an analog status. In spite of the circumstances haven't changed much till now, there are much more possibilities in the future. The study discovered some new progressive plans are possible for PTS’s access services in digital journey: PTS will continue to provide two programs which are sign-presented, and moreover, sign language service is going to show up in sports genre; As to caption services, PTS is working on facial expression caption and real-time caption provision; HiHD would have closed caption function in 2011. In the case of Internet platform, PTS is focused on propaganda and related information of TV programs. Barrier-free web space and access group are considered necessary for strengthening hearing impaired people’s Internet access rights and interests, but with insufficient resources planning and investment to put into realization. We can see there is still so much to do if we believe we have the affirmative obligations.

電信事業是各種社會活動的重要溝通載具，同時其所具備的商業利益更是龐大，雖然我國已經在電信自由化的路程上邁出腳步，然而電信事業相關資源卻仍然由國家獨佔與把持，加入世界貿易組織後，我國電信事業自由化的程度必然是相關會員國所競相覬覦的市場利益，因此自由化是不但是一條不可回頭的不歸路與必經之路。政府在開放電信事業市場的同時，一方面需要遵守世界貿易組織服務貿易總協定（General Agreement on Trade in Services，簡稱GATS）有關電信事業服務的規範，另一方面又如何將國內既有的電信事業相關業者、政府與國外業者的衝擊降到最低，這將是政府一項艱鉅的政策規劃。本研究主要的研究目的是檢視我國電信法規是否有修改空間使之加速數位匯流發展與符和世界貿易組織的自由精神。 政府是否應介入並課與有線電視系統經營者負有開平等放接續與用戶迴路開放的義務，本研究將進行探討以提出之觀點，大體上可將以下三個剖析方向進行探討：(1).有線電視系統經營者有無主動開放接續之誘因、(2).競爭法之搭售行為、 (3).普及服務反競爭效果之避免。由通訊傳播技術持續的演進，原先所設定的管制方式可能會因網路架構之改變而有不合時宜之處，為保持事前的產業管制彈性，必須隨時因應網路架構與技術變化，定期檢討現有之業務規範。尤其是在現行電信法規下，對於各電信事業的市場界定係以不同法規命令的管制作為區隔，因此現行制度下每開放一個新的業務就會創設出一個新的管理規則與一個新的業務市場，進而產生許多過度切割的市場或是重複管制的可能性。 「通訊傳播管理法草案」修法工程已延宕經年，更造成我國在第四代寬頻通訊上逐步落後於相關競爭對手。雖然目前已經將有線電視系統經營者列入第一類電信經營者管理，但是仍然與電信事業經營者間的管理與發展仍有些許不同，因此如果早日完成基礎網路與服務平台分管，將可因為各項加值與應用服務的進入門檻降低而大幅提升競爭效率。 本研究建議由有線電視系統的平等接續與用戶迴路開放義務兩個面向進行變革方可收全功之益。依現行電信法有線電視系統不需擔負平等接續義務，然而所劃分的有線電視經營區過於狹小無法滿足有效經營所需的經濟規模，因而造成現成財團蠶食後壟斷的現象。在電信產業引入競爭，有兩種基本作法：一在基礎網路層採用「網路競爭」（network competition）模式，而服務平台層則採用「服務競爭」（service competition）模式，且將基礎網路層與服務平台層採分別擁有與管理的模式。

法庭應否開放電視轉播此一問題，早在1964年，美國因錢德勒案（Chandler v. Florida）沸沸揚揚，當時國內即有倡議開放者。但直到2000年蘇建和等三人刑事再審案開庭時，法院因旁聽席不足，將審理實況錄影轉接至法庭外同步播放，電視媒體則自行拍攝轉播予公眾，變通出「間接轉播」的形式，法庭究竟能否經由電視轉播給公眾觀看，才引起廣泛討論。 本研究之目的有二，其一在於檢視我國既存的間接轉播模式，並藉由四個面向探討我國法庭開放電視轉播的可行性，包括：（一）法庭開放電視轉播所涉的爭議及國內外之現況；（二）司法資訊公開作為法庭開放電視轉播的憲法上理論基礎；（三）從傳播效果研究觀察法庭開放電視轉播可能產生的負面影響；（四）我國法庭開放電視轉播的建議方案；其二則就國內較少進行研究的法庭活動進行初探研究。本研究透過文獻回顧，掌握美國、日本、德國與中國大陸的相關論爭，歸納轉播可能面臨的難題為何。其次，就資訊公開及大眾傳播理論中的效果研究進行分析，探討司法資訊公開的理論基礎，並釐清轉播可能產生的負面效果。同時，藉由敘事結構分析我國司法制度下的審判敘事為何，然後建議透過電視轉播法庭，改善過濃的法制移植色彩，強化人民對司法的認同，及透過分析影像的真實模態提出適合我國法庭開放轉播的建議方案。 本研究認為，為促進資訊公開及審判公開，增進司法教育，強化司法認同，充實法庭言說活動，並參考國會公開的先例，再加上轉播的負面影響尚乏實證支持，以及因技術及噪音干擾法庭的情形已改善，故支持我國法庭開放電視轉播。 本研究礙於時間及資源之限制，無法進行精確而有效的電視轉播實驗及評估可行方案、影像資訊公開的風險管控、敘事結構對閱聽人的實證影響及法庭上權力與語言關係等等詳加探討。惟法庭開放電視轉播，因傳播技術的革新，遲早會是一個無法迴避的重要政策問題，本研究希望能藉此拋磚引玉，並期待未來能有更多的研究投入。

本研究以電視新聞社會線為研究場域，旨在探討電視社會女記者與電視社會新聞之陰性化現象之間的關連。本研究採取質性研究的多元途徑，以參與觀察法、深度訪談法、案例分析法，探討兩大研究問題：一、近年來，電視社會新聞內容有沒有陰性化的傾向？1.社會新聞記者怎麼看待陰性的社會新聞主題？2. 社會新聞記者怎麼看待陰性的新聞報導角度？3.社會新聞記者採取什麼樣的工作倫理？二、電視新聞工作場域文化與社會女記者的新聞產製1. 社會線的文字記者需要具備什麼特質？ 2. 社會線女記者的女性身份，是否影響：(1)社會線女記者線上關係之建立(2)社會線女記者在組織中的任務分配與評價(3)社會線女記者和受訪者的互動(4)社會線女記者社會新聞的角度？ 在電視社會新聞的陰性化方面，本研究發現，在電視社會新聞內容方面，由於以市場為主要考量，軟性議題儘管增加，其份量和重要性仍低於感官化取材，而女性議題仍居少數。在電視社會新聞的處理方式與記者敘事方式上，趨向實用、貼近觀眾感受的陰性報導角度增加，但社會新聞仍以陽性化的感官處理為主要走向。 在電視社會新聞工作場域文化方面，研究發現組織當中父系意識型態的主導，與商業邏輯的感官化操作思維相結合。在社會女記者的新聞產製方面，女記者發展出中性化的性格特質與女性化的性別特質，並接受父系觀點對她們的觀視或期待，這是一種對場域文化的投降策略。因此，女記者的社會新聞報導與男性記者沒有差別。 / This study takes the impact of TV female journalist on the feminization of TV social news as the main inquiry. Adopting the channel of qualitative research, this study takes the participant-observation method, in-depth interview method, and case study method to discuss two significant issues. I. Is TV socail news feminized in the past few years? 1. How do journalists of TV social news view feminine topic of news reporting? 2. How do journalists of TV social news view feminine angle of news reporting? 3. What kind of working ethics do journalists of TV social news hold? II. The field culture of TV news work & the news production of female journalists 1. What are the conditions required for female journalists? 2. Does sex factor have influence on TV social news female journalists in aspects below: (1) their relationship with steady news source (2) the assignments and evaluation they get (3) their interation with news source (4) their angle of news? As to the phenomenon of the feminization of TV social news, we have found that market is the major consideration of news production. Though the soft news issues have increased, the amount and value of this kind of issues are still far less then those of sensational issues. Meanwhile, women issues are few. Concerning the style and the way of reporting of TV social news, it has tended to practical value and has become closer to the feelings of audience, which is a feminized new style. However, sensationlism remain the main mode that journalists deal with social news. In the aspects of the field culture of TV news work, we have found that the paternal hegemony is the leading power in newsroom, and it has been integrated with the sensational ways of newsmaking oriented towards commercial pursuits. As to female journalists, they practice neutralized characters and female sexual characteristics, and accepted the paternal gazing and expection imposed on them, which is considered as a strategy of surrender to the field culture. Therefore, there is no distinct difference between the news reporting of male and female journalists.