看電視新聞，到底看哪裡？除了聽聲音之外，我從電視新聞鏡面裡，可以看到什麼我想要得到的訊息？有天氣、有時間、有不斷在往左跑的跑馬燈、有新聞大標、新聞說明、和播報這一則完全無關的新聞畫面、新聞標題、還有讓人誤解的新聞鏡面（以為下大雨或失大火了）；同一個主播忽換左，忽然右，甚至轉來轉去，一會兒坐一會兒站，台灣電視新聞鏡面，繽紛萬千。 　　這些繽紛萬千的鏡面，產生的原理原則為何？影響產生的動機又是什麼？從1962年台視成立開始，到2005年有線電視多樣的鏡面，電視鏡面又做了什麼樣的改變？形成的生態為何？生態改變的當中，主要環境是如何形成？ 　　透過資料的整理和深度訪談，發現，「競爭」是左右鏡面一項重要的因素；台灣鏡面發展的五個時期，與「競爭」息息相關，三台時期因為競爭因素，開始創造辦公室背景、單雙主播播報；1993年有線電視法通過後，也因為SNG和跑馬燈的廣泛運用，鏡面開始出現不同的元素；到了2003年，更因為媒體環境的激烈競爭，讓新聞鏡面不只充滿服務的元素，更多促銷自己與主播特性明顯的鏡面。只要可以「預告新聞」「留住觀眾」的任何元素，都可以塞進鏡面裡：一則新聞兩個鏡面以上、鏡面像四格漫畫一樣說新聞、把鏡面變成火焰或任何主題等，整個電視鏡面，滿滿都是訊息，超過九個以上的資訊，要在鏡面出現的一分鐘以內，讓觀眾吸收。 　　這樣繽紛鏡面的生態，主要來自於科技支援下的巿場競爭，因為收視競爭，製作人就必需「創造」新的鏡面元素（像是天空標、訊息框等），而新的鏡面元素呈現之後，只要收視率不出現下降的趨勢，各台迫於競爭壓力，開始形成「模仿」與流行，而一旦模仿與流行成為趨勢，製作人或主管，又得為了收視率開始想辦法，創造新的鏡面元素。 　　所以，在本研究，整理出電視鏡面的改變趨勢與時間進程，分析目前電視新聞鏡面的構成元素與產製流程，透過資深電視人的訪談，找出電視新聞鏡面的設計原則、動機與生態系統，希望透過本研究，除了提供業界人士鏡面的缺失和思考的方向以外，能夠為將來鏡面研究，累積資料數，進而發現閱聽人接收端對鏡面的接受程度與態度。 / What do we look at on TV news reports? In addition to audio presentation, what else is presented on the television? Weather reports, current time, continuously updated crawls, news title, news content, as well as the scene, title, and confusing television graphics of a piece of unrelated news (such as about a sudden downpour or a fire accident). The anchor changes his camera angle from left to right, right to left; being seated in one second, and standing in another. The television graphics in Taiwan are really versatile. 　　What is the principle and rule for the production of these versatile graphics? And what is the motivation behind the production? From the establishment of TTV (Taiwan TV Enterprise, Ltd) in 1962 to the development of versatile graphics on cable TV channels in 2005, what has been the change of television graphics and background of the formation? And how the main environment was formed amid the change of the ecosystem? 　　Through data collection and in-depth interviews, it was discovered that “competition” is an important factor for television graphics. There are 5 stages of the development of television graphics in Taiwan, all of which are closely related to competition. During the 3-channel stage, the background of an office, single and duo anchor reporting were innovated. After the CATV Law was passed in 1993, due to the extensive applications of SNG and crawls, different elements of graphics were created. By 2003, under the intensive competition in media, television graphics were not only filled with multiple service elements but also self-promotion messages and features of the anchor. Any element that “previews news” and “retains the audience” can be stuffed into the graphics. A piece of news may contain more than 2 graphics in 4 boxes, like a comic book. The graphic can be a fire or any theme, making the whole television graphic filled with messages. Sometimes, more than 9 messages are presented to the audience in just one minute. 　　This ecosystem is mainly attributed to the competition in the market supported by technologies. Because of the competition for reception, producers have to "create" new graphic elements (such as sky bar, message boxes). And when the new elements are presented, as long as the rating does not decline, bowing to the pressure of competition, every channel starts to "imitate" and prevail the creation. When it has become a popular trend, TV producers or managers have to brainstorm again for new graphic elements. 　　Therefore, this study organized the trend and evolution of television graphics and further analyzed the elements and procedure of production of the current television graphics. Through interviews with senior television producers, it aimed to find out the design principles, motivation, and ecosystem of the television graphics. It was hoped that the study could provide the industry with the flaws of television graphics and a direction of thinking as a reference, accumulate data for future studies, and further discover the degree of acceptance and attitude of the audience toward television graphics.