本研究旨在藉由2008年馬英九當選「中華民國第十二屆民選總統」後電視新聞相關報導內容的敘事分析，探討其試圖傳達的意義、形象，以了解電視新聞媒體對廣大閱聽眾「說了什麼」及「如何說」馬英九之神話故事，藉此歸納出新聞媒介「造神運動」的過程。 Barthes (1972)指出，神話系統可劃分為一級語言系統與隱含意識形態的二級神話系統。本研究循此從古代神話進而論述媒體神話、電視新聞神話於兩階層不同深度的意義，並根據Chatman (1978 )敘事理論和考量電視新聞之媒體特質將電視新聞神話第一層分為故事內容與敘事手法，以敘事分析之研究方法分析馬英九相關電視新聞。 研究結果發現，馬英九新聞故事多描述其個人形象塑造、兩岸與經濟政策、520就職典禮相關事宜及內閣人事等情節，並不時突顯其領導才能、公共議題與政見、政黨代表因素、政治風格、本土化特質、個性與個人背景等特色，且多報導其於公共流行文化領域之內容。其敘事手法則多以全景、長景與中景鏡頭拍攝，且記者多使用非干擾性旁白聲調述說新聞故事，而聽覺的後製效果應用較少。 資料分析亦顯示馬英九新聞故事暗示之意識形態可分為人民認為優秀總統應具備的條件與期許、兩岸關係爭議、親美思想以及新時代來臨等四類，此亦反映台灣社會價值觀、國際與政治情勢以及人民對新政府的期待。 / The research aims at exploring the meaning and individual image presented in Ma Ying-Jiu’s television reporting after his election of R.O.C president in 2008. By means of narrative analysis, the study is expected to understand the TV news media “what to tell” and “how to tell” the mythical news story of Ma Ying-Jiu, and to generalize the “Mythmaking Movement” process. As Barthes (1972) points out, myth is a second-order system constructed of linguistic system and ideological myth system. Based on the structure, this research discusses two orders of “myth” from ancient myth to media and television news myth respectively. Besides, with the concerns of television features, the linguistic system of TV news myth can be further divided into narrative “content” and “techniques” according to narrative theory proposed by Seymour Chatman. Results of this analysis indicate that, in terms of news plots, Ma Ying-Jiu’s TV news stories can be classified into the following categories such as individual image presentation, cross-Strait relations and economic policy, 520 inauguration ceremony and government personnel. For the role traits part, news stories are generally focused on Ma’s leadership, public issue, political party and style, localization, personality, and personal background. Even more, the sphere of public and popular is the most used setting in Ma’s news story according to this analysis. As for the technique, the full, long and medium shot and non-interrupted reporting tone are regularly used, while the other postproductions are not. In respect of ideology, Ma’s television reporting reflects four categories as follows: condition and expect of an outstanding president, cross-Strait controversy, pro-America thinking, and the coming of new epoch.

自2008年Youtube熱潮席捲全球之後，以影音分享為主的媒介消費行為逐漸成為常態，在這股集體協作並開放分享的浪潮下，新聞組織亦不免於其外，開始盛行以取材於眾(crowdsourcing)的新聞產製模式增加新聞素材來源的多樣性。電視新聞工作者取用網友拍攝後上傳的第三方影音內容（third party video,TPV）作為新聞素材的一部分，使得眾多使用者生產內容(User-generated content/ produsage)漸成為電視新聞畫面的一大主軸。 本研究欲瞭解電視新聞工作者取用TPV的過程，因此採內容分析法觀察TPV做成的新聞內容，並深度訪談及實際參與觀察以瞭解電視新聞工作者取用TPV的動機、處理素材的方式與新聞查證的過程。研究結果分成兩部分，首先，在取用情況上發現電視台確實大量使用TPV，但超過半數以上的素材難以辨識來源。題材選定偏好具爭議性的內容，而處理素材的方式則以剪接為主。其次，由於TPV的特性使然，電視新聞工作者在查證時容易面臨原始資料不明、消息來源不確定與情境脈絡斷裂等挑戰，而他們通常採取單一查證方式、尋找單一採訪對象，且最常比對網路資料。此外，在需查證的新聞中，僅半數的記者會到現場勘查與採訪。而在取得報導素材後，為規避查證責任，電視新聞工作者經常以白描畫面、翻攝網友留言與重新議題設定等方式作新聞，藉此模糊具爭議性的部份。 本研究因此針對TPV的查證提供若干建議：（1）從第三方的角度客觀觀察，避免淪為有心人士操弄的工具；（2）設法從發文者的字面敘述中或直接從影像中找到可辨識的地點、物件與人物，據此找到當事者；（3）盡力找到消息來源，若無法與消息來源取得聯繫，則應轉而尋找當事者、公正第三方如警察、或是向媒體同業詢問；（4）到事發現場勘查；（5）題材為各種網路傳言時，可請專家以實驗的方式證實。本研究並整理出幾項適用於各種情境的查證原則：質疑優先、詰問必備、資料比對、邏輯至上與經驗輔助。 / Crowdsourcing is an important trend and affects major parts of our lives. More notably, bulk of our news consumption consists of crowdsourced content; these content are what we call third party video or TPV for short. In recent years, we see an increased use of TPV in the Taiwanese media landscape, especially in news reporting and creation. Using crowdsourced content in news presents two major problems: 1. Over half of the TV news today uses crowdsourced TPV. These content often contain controversial materials. These controversial materials are often selected in bid to manipulate its audience. . 2. Due to the nature of crowdsourced TPV, news reporters have difficulties identifying the source of these content. Since more than half of the news reporting today uses TPV, this makes news highly suspicious. Although this research finds that reporters do attempt to verify its sources, these attempts are far from vigorous: new reporters often adopt one of the following ways in order to verify their news sources: cross validating their data using the Internet, remake opinions based on netizens/cyber-citizens or changing the agenda of the news content. In the worst case, news reporters avoid or skip validation of their news sources altogether. This research provides the following suggestions in solving the above mentioned problems: (1) prevention of content manipulation by malicious parties so that consumer of news content are not manipulated or swayed. This ensures that the news presented is unbiased, objective and fair. (2) Verifying TPV can include attempts to find any recognizable location, object, or figure from TPV as tips to trace origin. (3) News reporters can try their best to get in touch with the news sources. If this cannot be done, try to get in touch with unbiased third parties, such as the police force or people same as your profession.(4) News reporters can also attempt to perform on-site investigation may be contributed to find the truth. (5) If the issue is about rumors on the internet, news reporters may consult experts on the subject matter for clarification. Finally, this study summarized essential factors for verification applied in a various situations: Doubting, Cross-examination, Cross validation, logic, and experience.

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.

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.