本研究試圖以社會歷史取向，審視一九四五年以來台灣新聞與紀錄片在社會的政治、經濟與文化……等相對自主領域交互影響之下的發展形貌。本文將新聞與紀錄片的產製視為一種文化生產，代表的是社會事實意義的「再現」（representation）過程，故在其產製過程中必受到社會中各場域（fields，政治、經濟、文化、科技…）的影響。本文將台灣新聞與紀錄片的產製，置在特定社會、經濟、歷史脈絡中加以分析，以了解在各不同歷史階段下，所承擔的角色與意義。 在行文脈絡部分，依據影片產製者及影片類型之變遷將台灣新聞片與紀錄片之發展分為電影新聞片時期（1945~1971）、電視新聞片與新聞雜誌影片（1971~1984）、電視紀錄片與獨立紀錄片（1984~1995）、個人紀錄片與學院紀錄片（1995~2001）等共四階段。依次分章節論述台灣新聞與紀錄影片的產製在不同歷史脈絡中及社會運作過程中變遷的結果。 電影新聞片時期（1945~1971）：國營片廠掌控了新聞與紀錄片的生產，其延續日本據台時期的產製模式與運用，將新聞與紀錄片視為政宣的工具，用以形塑國家認同與政權的合法性。其再現美學都以「解釋」（expository）形式紀錄片為主，只在呈現官方所欲呈現之事實現象，暗含強烈的教化意義。 電視新聞片與新聞雜誌影片（1971~1984）：電視時代的來臨吞噬電影的消費市場，於是國營片場在影片的產製上快速萎縮，電視媒體成為新聞與紀錄片主要的產製機構，於是電影新聞片轉變成電視新聞報導以及新聞雜誌形式的節目。另一方面國家機器也利用電視聯播節目的形式主導電視紀錄片的產製，而此時受到外在文化氛圍的影響，紀錄片的題材取向轉為關注本土文化，但也由於政治上的持續高壓，使得對台灣本土的關懷侷限於民俗文化或鄉土風情。而「解釋」形式的再現方式仍是此時期主要表現手法。 電視紀錄片與獨立紀錄片（1984~1995）：八○年代之後威權統治逐漸瓦解，源於反抗國家機器對主流媒體的掌控，壓縮了反對運動的發聲空間，反主流媒體因而堀起，對政運、社運進行紀錄，反擊主流媒體扭曲的論述，對政治的專制、農村經濟的危機、貧富分配不均、公害污染等等社會問題進行揭發與批判。但隨著反對運動的漸趨沈澱，反主流媒體也面臨解體消失的命運。另一方面，電影紀錄片在公共電視體系的支持之下持續生產，題材更趨多元。而「觀察」（observational）型式的紀錄片美學也逐漸出現在此時期的作品之中。 個人紀錄片與學院紀錄片（1995~2001）：科技進步之下，影像製作的進入門檻與成本繼續降低，加上正規教育體系與社會團體在人才上的培育與紀錄片美學的介紹，個人紀錄片蓬勃發展。而有線電視所形成的電視環境所供的資金與時段，國家文化單位對相關研究的支持與創作的獎助，也成為紀錄片成長的動力，如此台灣紀錄片創作源源不斷，而在題材上也包含了更廣泛的層面，一般民眾的生活經驗與觀點更能在影片創作中被呈現。而創造上的知性的思考態度，也使得較複雜的紀錄哲學，例如互動式（interactive）的再現技術漸漸成近來影片創作者的一種實踐理想。 / Through sociohistorical approach, this research tends to examine the newsreel and documentary in Taiwan from 1945, which are developed under the interaction from the individual fields, such as politics, economy, culture and so on. This research regards the producing of newsreel and documentary as a mode of culture producing, or a mode of the “representation” of the social events. Therefore, the procedure of production must be influenced by a variety of fields in society (e.g. politics, economy, culture, technology….). This research analyzed the production of the newsreel and documentary in Taiwan, taking into account of society, economy, history, in order to understand their roles and significances in different period of time. Base on the evolutions of producers and their styles, the developments of the news and recording films in Taiwan can be categorized into the period of newsreel (1945~1971), the period of TV news and TV news-magazine documentary (1971~1984), the period of TV documentary and independent documentary (1984~1995) and the period of personal documentary and school documentary (1995~). These four periods are analyzed and explained chapter by chapter in the research. Newsreel period (1945~1971)：the governmental films-making factory controlled the production of newsreel and documentary, and continued the mode of production and use from the period of Japanese Occupation, which means the newsreel and documentary are regarded as the tool of policy announcement in order to form the country identification and the legality of authority. The “expository model” documentary is the main type in “representation”; only presents what government wants to present. TV news and TV news-magazine documentary period (1971~1984)：the advent of TV narrowed the market of movies. The production numbers of the governmental films-making factory decreased quite a lot. TV became the main media for producing the news and documentary. On the other hand, government also used the style of co-broadcast to lead the production of TV documentary. Meanwhile, the topics of documentary tended to pay attention to local culture because of the influence from the outside atmosphere surrounding the society. However, the increasing pressure from politics also makes this attention only limit to folk culture and local customs. The representation of “expository model” was still the main method in this period. TV documentary and independent documentary period (1984~1995)：after 80’s, the collapsion of authority collapsed gradually leaded to the intention against the main media, against the media’s fake statements, to reveal and criticize the authority of politics, the crisis of village economy, the unbalance of rich and poor, and many other social problems. However, while this movement slowed down, the intention against the main media naturally went disappeared. On the other hand, TV documentary kept in producing because of the support from the system of PTV channel, and the topics tended to be various. The type of “observational model” documentary appeared gradually in this period. Personal documentary and school documentary period (1995~2001)：due to the improvement of technology, as well as the growth of specialist and the introduction of the art of the documentary, the personal documentary develop greatly. The capital investment and broadcasting time provided by PTV and cable TV, and the scholarship supported by government are also the motion for the growth of documentary. As result, the documentary in Taiwan were produced steady, the topics went broader, and the experience and opinion from normal people’s life were presented in the creation of documentary. Moreover, the more complicated philosophy about documentary, such as interactive model of representation become the fulfilling idea of the documentary makers.

2013年紀錄片《看見台灣》創下台灣影史多項票房紀錄並引發社會迴響，讓紀錄片對於與觀眾溝通嚴肅公共議題的效力再度受到關注；然而，儘管學界對紀錄片的學術性趣有日漸興盛的趨勢，觀眾觀點卻仍舊是有待開發的領域。本文一方面意圖重新指陳這個重要的研究問題，一方面也意圖透過開展一個紀錄片閱聽人研究討論未來相關研究發展的可能。 /

長久以來，反色情女性主義所謂「色情貶抑、客體化女性」的理論和主張，大都透過色情內容的分析或實驗室研究之結果獲得佐證，本研究則嘗試從另一個新的角度--解讀色情「常識」，來探討分析色情對女性的貶抑與客體化。 基於Kappeler「色情研究應從內容取向轉移到色情再現結構的分析，也就是在討論色情的內容之外，同時探究色情生產者、色情消費者及色情的社會意義、功能與影響等」的理論，本研究嘗試從人們日常生活中有關A片的觀點和說法中，分析A片在我們的生活世界以及在人們的認知中所形成的意義，並進一步探討這些意義如何服務於男性利益以及再製既有的性別意識和不平等的性別關係。 本研究整理相關論述以及問卷調查的結果發現，A片的觀看顯示男性集體對女性的偷窺、客體化；透過A片的消費則複製、加強了男性對性和對自我、身體形象的有限認知以及男性將強暴等同於性刺激、性愉悅的自我中心與優越意識。 人們以「觀看無罪」、「生理需求」合理化A片存在與觀看A片行為的說法，顯示出父權社會一貫服務男性利益、替男性脫罪的立場。從本研究分析結果亦可看出，A片所代表的幻想、再現層次的開放多元，並不一定有助於現實生活層次的開放，而A片情節（如強暴劇情）也可能透過模仿而跨越再現，成為真實的一部份。

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The goal of this master thesis is to analyze the three major chipset players in today’s Personal Computer (PC) industry, while providing recommendations in different perspectives. One of the perspectives is from the investor’s point of view to single out a company with the most long term investment value. The other is from each company’s management point of view to suggest for the areas of improvement for the companies. Two of the three companies discussed in this thesis are American-based global companies namely, Intel and AMD, while the other is a Taiwanese company: VIA Technology. Various analyses were made to evaluate each company. In the general comparison of the companies, each company’s background information, product competitiveness, SWOT analysis and market share were discussed. In the finance diagnostics for each company, financial data from 2007 to 2010 were used as the basis in revealing a company’s quality and its ability to manage different types of risks. Enterprise value (EV), which was derived from the financial report, reflects a company’s true value. And each company’s EV per share was compared against their stock prices to see whether their stock prices have been reasonable or not. In conclusion, as an investor, Intel is the best choice for long term investment because of its scale and profitability. And as of the end of 2010, Intel’s stock price was below its enterprise value per share, so there was room for its stock price to rise. In addition, from the profit model map, Intel is located very close in region A in 2010 and it shows Intel is a very well-managed and profitable company. In management point of view, Intel would need to find its place in the emerging tablet PC market, which is being dominated by ARM architecture, as opposed to the x86 architecture in which Intel specializes at. AMD needs to improve on its visibility in the market, as AMD is rarely being seen on TV commercials or magazine advertisement. Via Technology can move to a niche market in order to avoid the 99% combined market share by Intel and AMD in the consumer PC market and be profitable again.

在檔案管理中，照片扮演著記載各政府機關公務、企業生產、學術及科學研究等方面重要的輔助角色。照片檔案以直接且逼真的影像將資訊傳遞給使用者，不受語言、文字的限制，讓人猶如身臨其境，故更具有感染力。基於上述，本研究之主要目的即為針對我國照片檔案館（單位）編排與描述現況、原則，以及國內、外文獻與處理現況作一探討；並進而從檔案人員之經驗瞭解照片檔案館（單位）制定編排與描述標準之現況與需求。 研究結果發現，目前國外部分，英、美及新加坡都具有各別的編排原則與描述欄位，而本研究所訪談之照片檔案館（單位），包含：國史館、中央通訊社、中研院近史所檔案館、台北藝術大學「台灣老照片數位博物館」、中研院史語所也都具有編排原則與描述欄位，可提供照片檔案館（單位）制定編排原則與描述欄位之參考。 在研究結論中，研究者歸納出國內外檔案館之照片檔案大都依據「尊重全宗」與「尊重原始順序」編排，照片檔案之描述層級視各館需求而定，以及照片檔案描述元素視各館需求而異之觀點。此外，在研究建議中，研究者歸納出國內制定照片檔案編排與描述規範之必要性、照片檔案描述必備與選擇元素之建議、建立照片檔案之共享與合作機制等建議，以提供國內照片檔案館相關單位未來制定照片檔案編排與描述規範之參考。

本研究旨從唱片工業衍生而成的臺語流行歌之產出，及其與臺灣社會間的關係進行觀察，利用官方貿易數據、報紙、小說與流行歌詞等資料，加以整理時人和後人研究成果，綜合探討臺語流行歌唱片與臺灣社會的互動，進而呈現臺語流行歌的社會文化意涵。 自從有「聲音印刷術」美稱的留聲機及唱片被發明和製造後，隨著技術不斷進步，聲音成為可以被複製並傳播的商品，唱片公司在有利可圖的市場法則下，尋找具備價值的聲音。唱片公司幾經嘗試錄製臺灣傳統音樂的唱片後，臺灣本地多數族群使用的語言—「臺語」流行歌曲唱片，也在1930年代正式亮相，配合著電影播放、廣播放送、唱片公司販售等方法，展現臺語流行歌的風華。 此時發行的的歌曲，吐露出臺灣人面對傳統與現代的矛盾心結、辛苦工作卻又被受欺壓的寫實心情、追求自由但又不捨突破的拉鋸心態，臺語流行歌並非只是唱片公司圖利的工具，更是撫慰臺人心靈的良方，其傳唱過程中道出了廣大民眾內心深處的想望。可惜的是，無情戰火的點燃讓臺語流行歌壇被迫解散，悄然地走下歷史舞台，臺人此時只能配合政府國策，聆聽慷慨激昂的軍歌、或是喧騰熱情的愛國進行曲，總督府基於臺語流行歌之於臺人的重要性，此時將臺語流行歌的旋律改填入日詞以符合戰時宣傳的需要，對於臺語歌來說雖然悲哀，但何嘗不是可以重溫過去美好時光的機會，戰爭期間仍舊致力於創作與演出的音樂工作者，不僅奠定戰後歌唱文化的基礎，更為世世代代臺灣人留下至為珍貴的文化資產。 / This research regards the Taiwanese popular songs dew to the record industry in the Japanese-ruled period. We use the lyrics of the songs, newspapers and novels to see the interaction between Taiwan record industry and the society, and present the culture of Taiwanese songs. First, I refer to the development from western country to Japan. Taiwan, the first colony of Japan colony was entered a capitalist system of records, and the market was established little by little. Next, the Taiwanese popular songs were produced in the political, economic and cultural environments and the popular dissemination techniques of Taiwan in the 1930s. Finally, I introduce the development of the record industries and Taiwanese popular songs during the East Asian war.

對於社工,一般大眾的瞭解不深,常伴隨著「做好事」、「幫助窮人」、「有愛 心」等刻板印象;或是負面的「拆散家庭」、「多管閒事」、「官僚」;甚至有許多 人以為社工就是志工,是不支薪而樂於付出的一群。創作者自幼長期接觸社工與 其工作環境,盼透過影像創作方式,呈現台灣社工所面臨的某些現實。 《標準量表》從一兒虐案出發,以類紀錄片的方式帶出相關人事物,討論案 中每個角色所面臨的困難與心理衝擊,以及案發後所有人如何適應、回歸、繼續 生活。特別將視角集中在負責本案的基層社工,以她為敘事中心,講述一個社工 與家暴家庭的互動故事,呈現社工在個案服務工作中的心情轉折,讓觀眾有機會 認識這些心理負擔與壓力。並期待透過本片,建構一個兩難的世界,畢竟真實社 會中的習題,往往不是結束在一個定點,而是事情發生後,人們怎麼繼續走下去。 / We don’t know much about social workers, who sometimes been thought of “doing things good”, “helping the poor”, “kind and compassionate”; or accompanied with some negative thought, “destroy families”, “make uncalled-for meddling”, and “officialdom”. Even some people think social workers are volunteers, who are happy and willing to help people without salary. The writer of this story has contacted with social workers since she was a child and tries to show some reality of them by visual productions. Standard Scale of Humanity is a story of a basic level social worker and a child-abused family, and produced by skills of mockumentary. The film lets every character in the case talks about her stories, feelings, and how to back to the normal life after the tragedy, so the audiences have chances to know more about the pressure, load, and difficulties of social workers and offenders. Moreover, the production hopes to create a situation of dilemma, because things not always stop at a particular point in the real world, after all, it is more important to know how to live after something bad happened.

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1970年代，從電視台、大飯店到歌廳、舞廳甚至是唱片錄音室，幾乎所有跟歌唱娛樂事業相關的場合，都可以看見樂手的身影。鼓霸大樂隊身為台灣第一支正統的爵士大樂隊，剛好搭上時代的潮流，見證了這段日後再也不復見的榮景。本片記錄現在鼓霸大樂隊中幾位年齡不同的樂手，試圖呈現過去台灣音樂工作者的不同樣貌，以及這個時代下他們如何繼續其音樂工作。