隨著科技不斷的進步，人們需要處理的資料量也不斷地增加。在巨量資料的分析上，維度縮減將有助於增進效率。本篇論文主要介紹切片平均變異數估計維度縮減方法，並將此法應用於整體相關性檢定問題上。我們考慮切片平均變異數估計法中的邊際維度檢定，並將利用排列重抽法建構檢定統計量的虛無分配，藉此計算排列顯著值來獲得統計推論。此整體相關性檢定可用在基因組分析問題上，以驗證特定基因組與外顯特徵變數間的相關程度。最後我們將模擬本檢定的型一誤差率和檢定力，並與前人提出的方法做比較。

光碟片具備高容量、壽命長、體積小、易攜帶、價格低廉等優點，目前已成為主要之儲存媒體。然而，光碟片製造商歷經2004與2005年價格競爭與製造成本上揚之壓力，各廠商均承受大幅之虧損，小廠不堪虧損逐漸退出市場，產業目前正朝向大者恆大之趨勢發展，一線廠現今已逐漸跨進高毛利之DL DVD與次世代藍光光碟領域，未來高階光碟片是否能如預期為廠商帶來利潤，現有CD-R與DVD之發展現況為何，各光碟廠商之股價是否能走出陰霾、抑或持續低迷，本研究將探討國內光碟產業上市櫃公司投資價值之分析。 本研究主要以錸德、中環、精碟、利碟、國碩、巨擘等六家上市櫃公司為樣本，依其2001年至2005年之財務報表作為預估個案公司未來成長率及獲利率的根據，利用現金流量折現法，並以銷售導向及盈餘導向二種模式，依照最樂觀、最可能發生與最悲觀等三種情境，估算其實質價格區間，並與個股目前之實際股價互相比較，以推論目前股價的合理性，以及目前股價可能隱含的銷售成長率及盈餘成長率，另以敏感性分析將各個評價因子繪製成龍捲風圖來觀察個別關鍵評價因子對股價的影響程度。 實證結果顯示，錸德、中環、精碟、利碟、國碩、巨擘的股價合理區間分別為13.49元~22.28元、6.86元~16.93元、0元~6.09元、1.82元~6.21元、2.57元~6.33元、23.29元~40.91元。另外，在敏感度分析上，經由各個案公司的龍捲風圖得知，邊際利潤率對錸德、精碟、巨擘的股價影響最大，ROIC對中環、利碟、國碩的股價影響最大，銷售成長率與盈餘成長率對股價影響程度不若上述兩者者為大。

本研究主要探討的是國際標準化商品的製造業者如何從事產品創新，特別是針對一個企業銷售的產品就是標準化的完成品，最典型的例子，就是台灣佔有亞太最大產能的影音DVD光碟片製造業。差異化是企業提升競爭力的主要手段，也是經常被企業採用的競爭策略。一個企業可以尋求差異化的空間顯然和自己產品或服務被標準化的程度有關。產品「被標準化」的程度越高，除了創意越容易受限，組織出現「核心僵固」的情形可能也越嚴重。 本研究延續組織知識創造學說「知識螺旋」理論的精髓，提出「創新螺旋」策略規劃程序的理論模型架構，「創新螺旋」模型是一個以產品創新為主軸的策略規劃程序，以行銷導向創新策略為其核心。行銷導向的創新是一個企業核心能耐經組織內部「共同化」，「外化」訴諸市場，再與市場需求「結合」串連，「內化」為企業策略的過程，意謂著企業核心價值與市場價值缺口產生共鳴的「知識螺旋」。「創新螺旋」模型描述企業應以「市場價值、創造價值、核心價值」做為產品創新的核心概念，以「創新是兩種看似不相干的事物將其成功結合」的中心思想，同時秉持「創新來自邊陲的精神」，尋求產品創新上的突破。 一般而言，國際標準規格的制訂是由大國大廠所主導，技術開發首動者的效益來自參與規格制訂及日後商品上市後收取的龐大權利金。一般小廠小國，市場影響力小、技術開發資源有限，不易參與規格角力的競賽，更遑論發揮舉足輕重的影響力，這是一個殘酷的國際現實。因此小廠小國的標準化商品的製造業者，如何從事產品創新就是本研究所要探討的課題。本研究探討的個案公司以「創新螺旋」策略規劃程序的理論模型做為其產品創新的藍本，檢視在此情境下的台灣影音DVD碟片的製造業者，在產品創新過程遭遇到的困境及其突圍的方式。本研究同時觀摩比較其他國際級的競爭同業，如何發揮其地理環境上的優勢及本身的核心能耐，在次世代藍光DVD來臨之繼，創造更有利的競爭條件。 / This thesis aims to study how to do the product innovation under the condition as the core product or service of one corporate is an international standardized end product. The typical example is such as the video DVD disc manufacturers in Taiwan, who own the major market share in the world wide total throughput. From the strategic point of view, “differentiation” has been widely used to build up a corporate core competency. However, the limitation for one corporate to do the product differentiation is corresponding to its product status being standardized. The higher standardized condition on product it is, the more limitation on creation it will be. It also will cause the organization to be inflexible, furthermore becomes stubborn. Generally speaking, international standard has been formulated by the strong or big countries and international corporate. The first mover advantage to develop the product should be as a format creator and as a licenser in the long run as into the commercialized phase. On the other hand, usually, for the small companies or countries, it has less technology resource and marketing power to influence the standard formation. Under such kind of situation, is there any chance for the small companies to do the product innovation? This is the main topic for the thesis to investigate. This research extends the organization knowledge creativity theory by Nonaka (1995) as the “Spiral of Knowledge” to a new model as “Spiral of Innovation”, which presents the sequence of strategy formation in term of product innovation. Marketing-oriented product developing pattern is the main pursuit of the “Spiral of Innovation”. The first step, through the ”socialization” inside the corporate, the common understanding of the corporate standing position can be created. As for product developing, targeting to find out the customers need or the lack in the marketing, those finding should be put into the step as “externalization”. After that, through “combination” of marketing need and corporate competency, the systematic concept can be developed. The final step, all the above can be converted into the organization function inside corporate, which is called as “internalization”. “Spiral of Innovation” theory states, for a corporate, it takes the “marketing value, creating value and corporate core value” as the core product developing concept. The innovation can be simply interpreted as “the success to combine two dissimilar or irrelevant matters”. Innovation usually generates from that being lack of concern or attention. This research studies the case, Taiwan No.1 video DVD disc manufacturer, which implements the “Spiral of Innovation” model as the framework of its product developing strategy formation. It shows the dilemma the corporate faces in the effort for product differentiation and those attempts it took for breakthrough. It also compares the product developing strategy with some other key and leading players from USA, Europe and Japan. From innovation point of view, those companies intend to exploit their advantage from location and core competency to find out the optimal position for the coming next generation high density DVD era.

本片紀錄一位在青年歌仔戲演員－陳囿任（CHEN YU-JEN）對表演藝術的熱愛與堅持。陳囿任出生於台灣歌仔戲起源地－宜蘭縣員山鄉，並就讀於台灣唯一以正規教育培養歌仔戲人才之科系－國立台灣戲曲專科學校歌仔戲科（現國立台灣戲曲學院），目前為該學院歌仔戲學系一年級學生。 全片呈現陳囿任夢想成為全方位表演者的故事，並記錄其訓練的艱辛過程。同時，本片介紹其成長之家庭環境、學校生活，並兼及其生活與歌仔戲劇外的藝術演出。全片共長六十分鐘，以DVCAM規格拍攝完成。 本片隨附之創作報告解釋本片之創作背景、過程與心得；依照「創作」、「製作」、「映演」三個面向，詳細記錄本片創作之緣起、攝製過程，參酌之相關理論、導演省思、以及試演之意見與回應等。 / This documentary and director’s report present the enthusiasm on performing arts of a young actor, Chen Yu-Jen. Chen was born in Yuan Shan Village, Yi Lan County – the origin of Taiwanese opera, and who has been studying Taiwanese Opera in a traditional opera school for ten years. This documentary shows the dream of Chen to become a performer with omnibearing development, and the tough process of his training. It also tells the story of his family, school life and his performance activities other than the Taiwanese opera. The documentary is 60 minutes in length, and is recorded in DVCAM format. The director’s report demonstrates the production background of the documentary, records the details and process of the production and screening, and reveals the director’s interpretation and self-examination to the film.

資訊的進步讓學習者可透過多媒體進行動作學習，有偵測錯誤能力才能在無指導者的狀況下進行自我調整。本研究目的為探討多媒體教學影片講解順序對於學習者錯誤偵測能力的影響。研究對象為四年制大專學生，且無網球或其他持拍類運動背景60名 (男：33位；女：27位；年齡：22.0±1.0)。研究中預先設計A、B兩段網球正拍教學影片，A.先講解身體重心後講解球拍軌跡，以及B.先講解球拍軌跡後講解身體重心，實驗進行前參與者隨機觀看教學影片，建立認知基模，進行實驗時使用SMI 公司的RED遠距測量眼動儀，捕捉參與者偵測初學者網球正拍動作時的凝視軌跡，並以手機錄音的方式紀錄參與者口述偵測的錯誤，所得資料以獨立樣本t檢定處理分析 (α=.05)。結果顯示：1. 觀看不同順序的參與者凝視初學者正拍動作的視覺分配不同，其中手臂、軀幹的AOI達顯著差異；2. 分期階段的拉拍期手臂與軀幹的AOI達顯著差異；3. 擊球期與完成期則皆只有手臂AOI達顯著差異；4. 偵測錯誤結果上觀看A教學影片的參與者偵測較多錯誤，結果也達顯著差異。本研究結果發現不同順序教學影片對參與者偵測錯誤的視覺軌跡或能力皆有影響，建議未來網球正拍教學過程先給予身體重心的重點，將有利於學習者偵測錯誤能力提昇。 / The advent of information technology made learning motor skill through multimedia possible and error-detection ability is essential to self-regulate learning under no instructor condition. In order to study the effect of multimedia instructional video content sequence to the learner’s error-detection ability, this research used sixty (male:33; female:27; age: 22.0±1.0 yrs old) four-years university students with no tennis or racket sports experience as subjects. Two demonstration videos were designed: A: explain body Center of Gravity (CG) first follow by racket trajectory; B: explain racket trajectory first follow by body CG. Participants were randomly assigned to watch the videos to build-up their cognitive schema. The SMI RED remote eye tracker is used to capture participant’s gaze trajectory when watching the beginner’s Tennis forehand drive motion. A cellphone is used to record the participant’s dictation of detection of errors. Data gathered were analysed with independent t-test (α=.05). The results indicate that: 1. participants watching different video content sequence allocate their visual distribution differently, with the arm and truck AOI significantly different; 2. The AOI of arm and truck in backswing stage were significantly different; 3. In waving and follow through stage only the arm AOI exhibit significant difference. 4. In error-detection, watching the A instructional video group exhibit significant error-detection results. The results indicate instructional video content sequence affect the learner’s error-detection visual trajectory and ability. The author suggests that emphasize on body CG in tennis forehand drive instruction process can be favourable to the error-detection ability. / 第壹章 緒論 1 第一節 研究背景 1 第二節 研究目的 2 第三節 研究範圍與限制 2 第四節 操作性定義 3 第貳章 文獻探討 6 第一節 多媒體與學習理論 7 第二節 動作學習理論 14 第三節 眼動與運動相關研究 22 第四節 網球正拍動作 25 第五節 本章總結 27 第參章 研究方法 28 第一節 研究架構 28 第二節 研究對象 29 第三節 實驗時間與地點 29 第四節 教學影片與實驗素材 30 第五節 實驗儀器 32 第六節 場地布置 33 第七節 實驗步驟 34 第八節 收集資料與處理方法 40 第九節 統計分析方法 42 第十節 預備實驗 43 第肆章 結果與討論 45 第一節 凝視AOI區域分佈 46 第二節 偵測錯誤語音資料 51 第三節 偵測錯誤凝視順序 54 第四節 綜合討論 55 第伍章 結論與建議 58 第一節 結論 58 第二節 建議 58 參考文獻 60 附件一 正拍動作技術檢核表 67 附件二 人體研究倫理委員會通過證明 68 附件三 受試者同意書 69

生物現象多是由許多基因共同作用產生的結果，以基因組分析方法探討外顯特徵變數與基因組的相關性將更能幫助研究人員了解生物體的作用機制。目前已發展的基因組分析方法大多是針對離散型態的外顯特徵變數，在臨床醫學上，很多疾病的外顯特徵為連續型變數。本研究之目的即為發展運用在連續型外顯特徵變數的基因組分析方法。本文將考慮切片平均變異數估計法進行充分維度縮減的方法，原先被用來決定原始資料被縮減的程度之邊際維度檢定法將被運用於基因組分析方法。除了原有的邊際維度檢定法之外，我們另提出一改良的邊際維度檢定法，並以排列重抽法獲得這兩種檢定方法之排列顯著值。本文將透過電腦模擬以及實例分析來評估兩種邊際維度檢定法，同時也將列入Dinu等學者(2013)所發展的線性組合檢定法之結果以作為比較。

「動跡剪輯」是將多個不同內容的影片片段，根據影片中特定物體移動的關係，剪接成新的影片，使得產生的新影片能維持動作連貫及流暢的特性。本論文提出一套方法能夠自動找尋不同影片間相似的剪輯點，作為「動跡剪輯」的參考。此方法之重點在於建立影片的時空資訊，作為找尋剪輯點的依據。建立影片時空資訊的過程中，我們先將影片依偵測出的鏡頭轉換點分割成不同的影片片段，再將影片片段中前景物件的位置、大小與動作等資訊分離而成影片物件平面，並結合影片片段中的背景動作資訊與影片物件平面資訊，成為該影片片段之時空資訊，從而進行剪輯點之找尋與比對，擇其最佳點進行剪輯。 運用影片時空資訊於找尋影片間之剪輯點時，是以影片物件平面作為搜尋單位，此方式有助於提升結果的正確性，同時也提供了搜尋時的靈活度。 / With the rapid increasing of the multimedia applications in modern commercial and movie business, it becomes more desirable to have efficient video editing tools. However, conventional video editing requires too many manual interventions that reduce productivities as well as opportunities in better performance. In this thesis, we propose a MOtion-based Video Editing (MOVE) mechanism that can automatically select the most similar or suitable transition points from a given set of raw videos. A given video can be divided into a set of video clips using a shot detection algorithm. For each video clip, we provide an algorithm that can separate the global motions as well as the local motions using the principles of video object plane and accumulated difference. We introduce the concept of spatio-temporal information, a condensed information that associated with a video clip. We can use this information in finding a good video editing point. Since the spatio-temporal information is a concise representation of a video clip, searching in this domain will reduce the complexity of the problem and achieve better performance. We implemented our mechanism with successful experiments.

《罪羊人》是一部獨立集資並用高畫質數位單眼反射相機 （HD-DSLR）所攝製而成的原創劇情短片，從發想編寫到後製完成共歷經了一年多的時間，內容取材自創作者二十多年的生命經驗，將人生中的喜好、痛苦、感動、疑惑給整理融合並壓縮提煉出來，主題是關於罪惡、宗教和寬恕，故事敘述一名因醫療疏失而入獄服刑的救護車司機，出獄後依然擺脫不了罪惡感，進而陷入信仰混亂的洗罪過程，在經過一連串的掙扎，最後仍舊無法逃離循環的枷鎖，人與神似乎都不是罪惡難題的完美解答。 在文獻探討部分，本片因借用義大利西部片的老電影片段來當作情感連結和隱喻，於是回顧了互文理論和電影類型，另一方面本片也觸及了心理學、哲學和宗教儀式的主題，所以在負罪感以及猶太新年贖罪期也有所著墨，並列舉了三部相關電影長片作品來作評析比較，分別是韓國李滄東導演的《密陽》、德國法提阿金導演的《天堂邊緣》和墨西哥阿利安卓崗札雷伊納利圖導演的《靈魂的重量》。在作品呈現部分，分別從敘事、類型、選角、場勘、美術、服裝、表演、攝影、燈光、剪輯、配樂、聲音，將每個環節重點敘述和分析一次，包含思維想法、製作過程等等皆會融合納入不同段落，以期忠實呈現創作者的心靈。 / The Teshuvah is an independently-funded original narrative short film, which is shot by HD-DSLR camera. The creator taps into his real-life experience over the past 20 years and more, aggregating and distilling all the love, fondness, pain, affections and confusions, with its theme is set on sin, religions and forgiveness. The story tells an ambulance driver, who serves for his sentence in prison as he was convicted of medical negligence, haunted by his feeling of guilt after he came out of prison. He eventually becomes trapped by a chaos of seeking redemption from religious belief. After all his struggling, he still cannot escape from the shackle of life`s circulation, and it seems that either human or God(s) could provide a perfect answer to the riddle of crime. As for Literature Review, Intertextuality and movie genres are covered since the film has borrowed from old spaghetti-western movie clips to function as a metaphor of affections bound, while other topics like psychology, philosophy, and religious rituals are also referred to; hence, the feeling of guilt and Jewish Ten Days of Penitence are also depicted. Three other relevant feature films are listed herein to serve the purpose of critical analysis and comparison. They are Secret Sunshine by South Korean director Lee Chang-Tung, The Edge of Heaven by German director Fatih Akin, and 21 Grams by Mexican director Alejandro González Iñárritu. In the respect of presentations of film works, this thesis goes through every essential phase, outlines and provides analysis on narration, genres, casting, location hunting, arts, costumes, acting, shooting, lighting, editting, original music, and sounds. It also indicates that mindsets, production process and so on are also incorporated into different chapters of a film to faithfully represent its creators mind.

Kyoto University (京都大学) / 0048 / 新制・課程博士 / 博士(工学) / 甲第15370号 / 工博第3249号 / 新制||工||1489(附属図書館) / 27848 / 京都大学大学院工学研究科機械理工学専攻 / (主査)教授 北村 隆行, 教授 宮﨑 則幸, 教授 琵琶 志朗 / 学位規則第4条第1項該当

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