有許多的研究已經證實圖片提示提供具體且相關的訊息有助於英文寫作。本研究的目的是要探討使用圖片提示對於高低成就高中學生英文作文的內容、結構、字彙及整體寫作表現之影響。本研究的對象是108位屏東縣某所高中的高三學生，根據全民英檢寫作測驗的成績，他們被均分成兩個高成就群和兩個低成就群。他們填寫問卷(一)提供他們的背景資料。接著實施兩型記敘文寫作測驗，高成就群(一)及低成就群(一)接受只有引導句的寫作測驗；高成就群(二)及低成就群(二)則接受另一型提供引導句加圖片提示的寫作測驗。所有的研究對象填寫問卷(二)提供他們對英文寫作的態度，而高成就群(二)及低成就群(二)接著再填寫問卷(三)提供他們對圖片提示的看法。最後的小組訪談旨在更進一步瞭解學生對於圖片提示的觀感及寫作態度動機的轉變。 本研究的主要發現如下：（1）圖片提示對於高分群學生的寫作的內容、結構，及整體的寫作表現有幫助，但是對於單字沒有明顯的幫助。（2）圖片提示對於低分群學生的內容、結構、字彙及整體寫作表現都無任何明顯的幫助。（3）高低成就學生都對圖片提示抱持正面的態度，並且因為有圖片提示更願意從事英文寫作。 / Lots of studies have proved that picture prompts elicit English writing with concrete and relevant information. This present study aims to investigate the effects of using pictures as prompts on English writing performance of high and low achievers in senior high school in content, organization, vocabulary and overall writing performance. Participants in this study were 108 third graders in a senior high school in Pingtung County who were divided into two groups of high achievers (HA1 and HA2) and two groups of low achievers (LA1 and LA2) based on their scores in a GEPT writing test. Questionnaire I was done to know the participants’ background information. Two types of narrative writing tests were administered to the 108 participants. One with verbal prompt was taken by HA1 and LA1 and the other with verbal-plus-picture prompt was taken by HA2 and LA2. Questionnaire II regarding the participants’ attitudes toward English writing was filled out by all subjects. Questionnaire III was done by HA2 and LA2 to express their opinions on picture prompts. In-depth group interviews were conducted to further explore students’ perception of and attitude toward picture prompts. The findings of the study are summarized as follows. First, picture prompts had significant effects on the content, organization and overall writing performance of the high achievers but no significant effect was found on the vocabulary. Second, picture prompts had no significant effects on low achievers’ writing in content, organization, vocabulary and overall writing performance. Third, both high and low achievers kept a positive attitude toward picture prompts and were better motivated to write when guided by picture prompts.

Synopsis As soon as the fingers of the French accordionist, and of the two Taiwanese harpist and pipa player start to run on their instruments the different melodies influenced by each of their culture, the audience is immersed in the multicultural atmosphere set by the collaboration between the two puppet companies. In front of the public stands a box, reminding the traditional tool of puppeteers, but this very box is a massive one of 4 meters on 4 meters. On left and right side of it, three Taiwanese and their puppets and three French and their puppets. As they are walking around the box so as to express the distance they cross, they finally meet. Then on start a Shakespearian love story, and a friendship grows between the 6 puppeteers. The box, fixed on a rolling structure, rotates on itself and gives each time the audience the occasion to see a new face of it, a new part of the plot, new interactions between actors, as well as new elements of each countries’ puppet tradition. This documentary follows the thread of “The Box” from besides the coulisse’s curtains of this one year long collaboration between the French Puppet Company “Les Zonzons” with the Taiwanese “Taiyuan” Company. Following the chronology of their collaboration, traveling back and forth from Taipei to Lyon for Guignol’s 200 years birthday and back to Taipei for the Art Festival, the film will not only shows parts of the live representations and their rehearsals, but also it tries to give audience the occasion to grasp more understandings on those two old puppet’s traditions. Beyond this introduction, the film also questions the current state of both Puppet Theater and the problem of transmission of these traditions. Meantime, through relating this artistic co-realization where puppets play somehow a mediating role, a kind of ‘bridge’ of reflection, creation, communication and respect between those two companies with differences of life and lifestyle, way of thinking, environment, language, code, etc, this film evokes the issue of intercultural dialogue. As a mirror of the play it presents, and trying to get out from the usual clichés of portraits made on both culture, this non-fictional film depicts an encounter between people from these two cultures and tries to give some insights on the exchanges and the process of mutual understanding that underlie beneath. Keywords: intercultural communication; intercultural awareness; intercultural performance; exchanges of knowledge; transmission of traditions; documentary film; non-fiction film. － 片名：（法文）En chair et en bois （英文）In flesh and wood － 型態、規格 ： 紀錄片； DV － 長度：77分鐘

不同的作者賦予美麗島事件相關相片差異極大的圖說，混淆了我們對於美麗島事件的認識與記憶。本文的研究目的並非探究美麗島事件的歷史真相為何，而是從保有該事件記憶的相片著手，討論大眾傳播媒介如何運用相片再現此一事件，又呈現了什麼風貌的美麗島事件，以及從中形成了什麼集體記憶。對於美麗島事件的研究鮮少論及影像，因此本文期望能以相片與集體記憶的探討為起點，發現台灣民主化歷程中的軌跡與社會變遷的脈絡。 本研究的重心在於相片與集體記憶的相關意涵與二者之間的關連，應用論述分析的概念為研究取徑，以美麗島事件相關出版書籍中的相片為分析的對象。研究結果發現，相片可以再現真實，卻不一定能再現完整的真實。相片無法保存意義，因此不同的觀者因其知面之差異，與對相片背後社會文化脈絡理解之差別，賦予相片不同的意義，然而一則圖說只固定了相片的一種意義。美麗島事件發生二十年來，不同的解讀並非意味著對與錯的二分，而是反映了解讀背後的時空背景。我們由不同年代美麗島事件相關出版書籍中的相片與其所建構的集體記憶，可以發現歷史詮釋權的轉變，並了解社會脈絡對於相片與集體記憶的影響與重要性，以及台灣社會二十年來的相似與變化之處。 相片這樣的歷史記錄形式讓歷史詮釋有更大且更有力的詮釋空間，相片作為集體記憶表現、保存與傳遞的媒介形式，有助於集體記憶的建構與傳承。然而集體記憶的建構仍須受到歷史記錄的限制，有其不可任意性。因此集體記憶融合了「解剖者」與「拯救者」兩種研究取向，「現在」與「過去」在集體記憶中同樣重要，不可偏廢，二者相互扣連、互相辯證。

我國資訊工業自 1976 年起政府大力推動發展, 產值從十餘萬美元至1992 年之七十九億美元, 15年間成長超過三百倍, 但是在 1992年卻有佳佳､國勝､強榜等電腦知名大廠不支倒地, 產業情況這兩年來一直不穩定, 而其中世界知名大廠如 IBM､Compaq等公司更因不景氣而向後整合而威脅台灣原先所佔有之市場, 廠商有必要對產業做一重新之評估以找出自己之定位. 故本研究以個人電腦中之主要零組件主機板及其上之重要元件晶片組為實證研究, 探討晶片組廠商之行銷策略, 並延伸至探討主機板廠商對晶片組廠商行銷策略之評估, 目的希望能提供產業一些資訊, 協助從業人員拓展市場之方向.本研究屬於工業行銷之對偶分析 (Dyadic analysis of Indus- trial Marketing ) 之研究, 前段以台灣現有個人電腦晶片組廠商為研究對象, 了解實際現況並經由統計分析分別找出廠商行銷之方向及策略群組. 後段即針對台灣目前之主機板廠商為研究對象,並以晶片組廠商之行銷策略變數為評估準則, 評估晶片組廠商之策略.研究中發現產業環境及大環境對晶片組廠商訂定行銷策略之影響較大, 另亦發現因為晶片組產業國際分工之屬性明顯而使廠商必須先行確定自己之行銷策略重點再以選擇不同之設計地與生產地來發揮行銷上之競爭優勢. 本研究並利用因素分析分析出廠商行銷策略之方向重點, 分別為生產優勢形象､技術整合能力､行銷手段方法､設計能力優勢､專注特殊市場等五點, 其中以生產優勢形象最受廠商重視. 本研究又將廠商分成技術服務､生產開發､目標導向等三個行銷策略組群, 分別描述廠商之策略方向. 本研究並將廠商之行銷策略與主機板廠商評估方向作一相對性之比較, 使晶片組廠商更能了解自己如何配合本身之條件､目標及外在之環境而訂定出最適合之行銷策略.

國片海角七號的賣座創造台灣影壇近年來的奇蹟，其劇本的內容結構乃七封情書加上一個劇情片內容的故事所構成。針對電影類型與結構的探究是研究者剖析劇本受歡迎可能的出發點，因而本研究從敘事角度出發，探討海角七號的敘事問題。本研究的研究方向包括：探討海角七號的影片結構與敘事；探討海角七號影片中的劇情人物元素；探討海角七號的對白與劇情；探討海角七號影片畫面的元素和場景的設計。並透過半結構式的訪談，訪問理論與實務界人士，使研究敘事結構層次與海角七號賣座的市場效應能有一對照性探討。 研究結果發現：（一）影片敘事與結構容易使觀眾產生共鳴；（二）人物元素多元、角色個性鮮明，有助激發觀眾與影片之間的互動；（三）對白活潑生動、具創意且貼近生活，有助觀眾對情節的記憶、回顧，甚至引起市場效應；（四）電影場面生動，兼具懷舊與現代感，吸納多元觀影者。 可見，劇情能輕易讓觀眾深刻與記憶，甚至造成口碑效應，是該劇本最引人入勝之處。其背後所隱含的情感性或中日情懷是塑造人物與對白最能使台灣觀眾產生親近性的方式。因而，敘事結構對該片的市場成功影響較深。

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本片以”當美好事物即將失去,你將會怎麼辦？”為主題，透過紀錄兩位國中女學生因為學習扯鈴，而能在比賽中得冠、或是能到校外表演，獲得成就感。然而在國中以升學為主的學習環境下，拉扯著她們曾經對扯鈴的美夢，更因此遭逢失去這些成就的危機。 本技術報告主要說明導演採用參與觀察法，進行紀錄片拍攝。在報告中，省思拍攝者與被拍攝者之權力關係。說明導演如何在與被攝者的互動中，改變攝影機的拍攝角度。另外也探討創作者，由職業上的記者身分，如何轉變為紀錄者(導演)，以及思考可能對紀錄觀點的影響。 / The concept of this film argues that how people will we do once wonderful things are falling away? By this documentary film telling two young teenage girls achieve their fulfillment by wining champion of diabolo competition out side of school. However, their dream has been stressed out by overwhelming tests and homework when they are preparing for the College Entrance Exam, and that is a crisis for them to lose this fulfillment. This paper presents the way of director‘s perspective to make this documentary film. It also exams the powership between director and interviewees, presents on various way of camera shooting as their interaction is changing. Meanwhile, it also explores “cross identity change” to deconstruct the idea of film making as director has been changed his role from a reporter to a documentary film maker.

「一部劇情片的完整拍攝練習」是創作「留念」的主要目的，我想完成一部劇情片，並透過直接參與其前置、拍攝與後製來總結我個人在學校裡對於影像創作的學習歷程，畢竟作為一個足以畢業的代表性成品，我想不管它是一篇論文或是一個作品，除了需要有一定程度的質量外，也必須回應該學習者過去的研究領域或生涯，因此對於我而言，既然過去主要在鑽研的都是影像創作實務，那麼如今也應該用創作來完成畢業作品。在這樣的背景下，本論文可分為兩大部分，前半部分主要為導演的創作闡述，涵蓋故事大綱、主題、敘事策略設計等等；第二部分則為實際上的製作報告與心得。 由於「留念」仍為一影像作品，建議後續研究者欲以此為參考文獻時，可以影像作品為主，本製作報告為輔。

本作品紀錄家人對患有腦性麻痺的弟弟無私的付出與照護，用影片呈現以阿嬤為首的家人，如何努力、認真地面對不幸與殘缺。創作過程同時作為自我療癒的實踐方式，本人藉此過程重新獲得勇氣與面對遺憾的信心。 在拍攝手法上，主要採取參與模式（The Participatory Mode）紀錄家人與弟弟相處的情形，呈現家屬努力不懈的奮鬥精神。期盼透過作品，觀眾能夠打破對身心障礙群體及其家屬單一且刻板的淒苦印象，肯定家屬們的努力，並且理解病患與家屬之間緊密、雙向與互助的情感聯繫。 本創作論述提供創作的背景與動機，關於敘事治療、疾病、照護、紀錄片類型的文獻探討，以及創作內容說明。 / This film records my family’s wholehearted devotion to my little brother with cerebral palsy. It reveals how my grandmother and family members fight with the misfortune and transcend it. As a practice of self-healing, I obtain courage and confidence to face the trauma that has been buried in my mind since my little brother became disabled through the whole process. I apply the“Participatory Mode”of documentary to record how my little brother and my family live their lives to reveal their unyielding spirit. I hope this film can change the stereotypical impressions of the disabled and their families in the society and let people truly understand the tight inter-subjective bonds between the disabled and their families. The thesis declares my motives and story background of this creation in the first part. It then reviews the literary writings about self-healing, cerebral palsy, family caregiving, and documentary directing. In the third part, I explain all the treatment of my film.

創作是以「控制」作為主要概念，以人作為主體，思考「控制」之於人們的具象與抽象的連結意義。作品從微觀的個人生活開始，思考「控制」如何與人的日常生活連結，人們如何戮力控制外界事物；進而發展到在鉅觀的人類社會中，以相對被動的角度，思考人們如何在各種政經、社會、媒體層面，受到他者的控制；最後則以較為抽象的角度，思考「控制」概念的發展與極限，連結現代性，以譬喻的方式串連出「控制」 之於人類生活的觀點。 / This creation takes the verb "control" as the main concept, and takes human beings as the main subject, discussing the abstract and concrete significances of "control" in human’s life. It can be divided into three sections. First, it starts from the micro- perspective of personal life, trying to connect with the daily life of people and how people control the outside subjects; Second, it reaches into the macro-perspective of human's society, discussing how people are controlled by others passively from an political, economical, media's point of view; Third, it concludes with the abstract angle to represent about "control," connecting with modernity, using metaphors to build up the development of "control" in human's life.