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.

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。

根據過去研究發現，電視新聞已成為台灣地區民眾主要的消息來源，而轉型期的台灣 社會，各種不同層面的社會衡突正與日俱增，電視以其社會公器的本質所提供的公共 議壇，如何在有限的時間內，讓社會上各種聲音都有機會出現在新聞中，這就牽涉到 消息來源選取的問題；此外，電視媒介對消息來源所作不同程度的處理，亦是一種社 會權力的展現，有其重要的社會意義。 本研究乃以電視新聞中的爭議性新聞為對象，研究新聞中之消息來源以及對於消息來 源的處理方式，並藉此探討不同特性之消息來源的言論導向。 本研究共分四章，約五萬四千字。第一章為研究動機、目的以及文獻探討。第二章為 研究方法，詳述其抽樣與內容分析之類目建構。第三章為研究結果報告。第四章則對 結果提出討論與建議，並說明其研究限制。

本研究主要目的在探討哪些因素會影響台灣電視新聞的正確性、以及記者報導新聞錯誤的原因，除了探討傳統認知新聞性質、新聞取得方式、記者本身專業程度對新聞內容影響外，本研究也嘗試分析媒介組織常規、意識形態如何影響記者新聞報導的正確性。本研究採用個案研究及深入訪談兩種研究方法，選擇科學、生活、司法三種新聞類型之三則新聞報導為個案，深入訪談六位撰稿記者以及三位消息來源，深入了解哪些因素可能影響電視新聞正確性以及記者報導錯誤發生的原因。 研究主要發現如下： (一)不論何種類型新聞，電視新聞主觀錯誤多於客觀錯誤。 (二)對新聞觀點的不同及電視新聞篇幅限制，造成消息來源與記者對錯誤認知歧見嚴重 (三)媒介組織機構常規與政策影響新聞「正確性」最嚴重。 (四)影響新聞正確性因素，隨著新聞類型不同，影響程度亦有所不同。 / This research mainly conducts the causes to influence the news accuracy of television news in Taiwan, and the reason why journalists make mistakes while reporting. Besides the influence of news content caused by traditional acknowledged news, the methods to obtain news, professionalism of journalists, this research also try to analyze how the ideology and the policies of media organization impact on the news accuracy of individual journalists. This research adopts case study method and in-depth interview method, choosing three reports from science, leisure, and juristic categories as study cases, and interviewed six journalists and three sources, to figure out the causes to influence the news accuracy of television news and the reason why journalists make mistakes while reporting. Findings of this research： 1.Despite of the type of news, television news has more subjective errors than objective errors. 2.Difference of viewpoints toward news and the time limitation of television news result in different opinions of misapprehension between journalist and source. 3.Rules and policies of media organization are most influential to the news accuracy. 4.The causes to influence news accuracy are different due to the type of news, the degree of impact also differs.

數位時代社群媒體的應用，大大改寫媒體生態，21世紀初接連發生在北非、中東的抗議活動，Facebook、Twitter等社群媒體更發揮重要傳播作用，甚至成為政治運動的催化劑，國內外各大新聞組織也開始將這些被社交媒體平台大量分享、轉發的用戶生成內容 (UGC, User-generated content)重製後進行傳播，尤其是發生抗爭等社會運動、人為或意外現場等事件，因為時效性的關係，記者不能第一時間趕到，目擊者手機拍攝的影片或現場監視錄影器的畫面，往往成為重要新聞素材。 　　對於國內外新聞組織尤其是電視台來說，動態影片更同時具有吸引力與新聞說服力，新聞機構如何使用UGC資源，及其日漸普及的趨勢，則同時引發正反兩方意見，除了樂見其協助社會問題發聲，擴展公民參與，甚至打破新聞編輯室權威，讓媒體更加民主化之外；另方面卻也擔心降低新聞標準，尤其截稿時間，更增加電視台新聞記者判斷影片真偽的求證壓力，過度使用也可能造成媒體過度依賴社群媒體資源，瑣碎化的UGC甚至戕害新聞公共領域的發展。 　　本研究試圖剖析電視新聞使用來自目擊者或網友的第三方影音素材(TPV, third party video)的頻率與原因，研究分成兩步驟，首先選舉一家地面電視台一個月的prime time新聞，作為研究樣本，進行內容分析，以量化研究分析電視新聞如何應用TPV素材，研究樣本數共1825則；同時以質化研究中的深度訪談，訪問該電視台的文字、攝影記者，以及新聞室負責調度的大編輯台主管與編輯共九人，透過量化與質化的研究方法，來探究電視台採用TPV素材的動機、意願、標準與目的。 / The media ecology has been rewritten to a great extent by the application of social media in the digital age. In the 21st century, social media has even become a catalyst of social movements as Facebook and Twitter play an important role in disseminating the news on protests which commonly take place in North Africa and the Middle East. In fact, large news organizations at home and abroad have begun to reproduce and broadcast User-generated contents (UGC) that are greatly shared and forwarded on the social media. This applies especially to incidents such as social movements, including protests, and accidents. The video taken by an eye-witness’ mobile phone or the recording of an on-site surveillance camera has often become important news material due to timeliness of the news and the fact that reporters cannot arrive at the scene on time. According to foreign and domestic news agencies, especially TV stations, video is both appealing and persuasive as news materials. The growing popularity of UGC and the approach to make use of such resources have led the emergence of positive and negative viewpoints. It would be delightful to see the voicing-out of social problems through UGC since it could increase citizen participation. UGC could even lead to a breakthrough from pressroom authority, thus creating a more democratic media. However, UGC could also lower the news standard especially when there’s a deadline to meet. Furthermore, it could pile pressure on news reporters as they try to determine the authenticity of the video. The excessive use of UGC could lead to the media’s over-reliance on social media resources. The fragmentary nature of UGC could also be harmful to the development of news media at the public domain. The study attempted to analyze the purpose behind a TV station’s adoption of eyewitness/netizen-provided third-party video (TPV), as well as its frequency of use. The study was divided into two steps. First, research samples for content analysis were collected through a selection of one month’s worth of news reports that were broadcasted by a terrestrial station at prime time. A total of 1825 samples were studied through quantitative research and analysis with regard to the application of TPV by TV news. At the same time, in order to explore a TV station’s motivation, willingness, standard and the purpose in applying TPV, qualitative research was conducted through an in-depth interview with nine representatives from the TV station. This group included journalists, cameramen, editors and seniors who were responsible for ordering daily news in the Newsrooms.

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.