Thesis. 1975. M.C.P.--Massachusetts Institute of Technology. Dept. of Urban Studies and Planning. / Includes bibliographical references. / by Harry Minor. / M.C.P.

本研究旨在瞭解台灣有線電視推動數位化關鍵成功因素，首先提出有線電視數位化之困境與問題，建構有線電視數位化應有之關鍵成功因素之指標項目，並透過層級分析法（AHP）之權重分數配比提出良好之關鍵成功因素，以提供本研究結果與建議提供政府單位與相關業者應用與參考。研究方法以文獻分析法、深度訪談、修正式德菲法及層級分析法作為主要研究方式。 文獻分析法主要是蒐集有線電視產業相關中英文學術期刊、相關研究案、論文等資料加以分析；而深度訪談利用分層抽樣與立意抽樣挑選多系統經營者（MSO）、獨立系統經營者及政府單位三大類別共8位具代表性之經營管理者進行訪談；為求AHP更為嚴謹，特別採用修正式德菲法將問卷寄發給15位學者專家代表，針對各項意見進行分析統整並歸納而編製下次問卷，藉此取得共識；層級分析法主要是羅列出有線電視數位化需要決策之問題及相關因素，而後建立其具有相互關係之層級架構並進行信度與效度之檢定。 本研究經過上述研究法得到下列結論：各層面相對權重以技術創新面（43.9％）為首，其次為政策法規面（39.4%）而行銷策略面（16.7%）最低。針對技術創新面研究建議包括：1.公司領導者對有線電視數位化之決心；2.長期營運之資金需求之建議；3.開發高畫質電視（HD）服務之決心；4.數位節目版權費用支出應為列為重要投資項目。而行銷策略面研究建議包括：1.必頇提供更多優質數位頻道給消費者；2.提供民眾免費或低價之數位機上盒為考量方向；3.提供免付費的數位加值應用服務作為誘因。針對政策法規面研究建議：1.政府優先確立關閉類比頻道時程；2.建立有線電視數位化國家級政策；3.研擬收費標準與費率審議政策；4.經營區之調整或重新劃定。 / This study is to research the main success factors of digitization of cable television in Taiwan. At first, this study addresses the current dilemma of digtial cable TV. Also, the study constructs the key success indicators of digital cable TV. Moreover, the study adopts the Analytic Hierarchy Process ( AHP) in order to provide the key success factors to the government agencies and related industry for application and reference.This study introduces the document method, the in-depth interview, fixed Delphi method, and AHP for the main research methods. The docunment method is to collect cable television related academic journals, research projects and thesis. Depth interviews apply stratified and purposive sampling to choose multi-system operators (MSO), independent system operators and government agencies as the three main groups, totally eight representative managers for interview. For the AHP result more rigorous propose, the study adopts fixed Delphi method for sending questionnaire to fifteen scholars, and to analyze, integrate and conclude all the opinions in order to compose the second questionnaire for more consensus. The AHP lists the problems or related factors of digitizing cable TV, then built hierarchical structure with mutual relation and processes reliability and validity statistical analysis. This study can conclude to the following results by the above research methods: the most important factor is the technical innovation(43.9%), second is about the government policies (39.4%), and marketing strategy is the lowest(16.7%) priority. Furthermore, suggestions for the technical innovation include: 1. CEO's determination for cable television digitization; 2. Suggestions of Long term Financial plan. 3. Resolution of developing high-definition (HD) digital service; 4. Digital program copyright cost should be listed as important investment. Suggestions for the marketing strategy include: 1. Offer more high quality digital channels for consumers; 2. Offer audience more low price or free television box; 3. Offer free value-added service as incentives. For government policy suggestions: 1. Government should set a timetable about closing the analog channel; 2.Build national digital cable television regulations; 3. Construct fee standard and rate review regulation; 4.Rezone or revise the cable operators' service area.

In this thesis, we analyze the bandwidth requirements of MPEG-4 AVC video traffic and then propose and evaluate the accuracy of new MPEG-4 AVC video traffic models. First, we analyze the bandwidth requirements of the videos by comparing the statistical characteristics of the different frame types. We analyze their coefficient of variability, autocorrelation, and crosscorrelation in both short and long term. The Hurst parameter is also used to investigate the long range dependence of the video traces. We then provide an insight into B-frame dropping and its impact on the statistical characteristics of the video trace. This leads us to design two algorithms that predict the size of the B-frame and the size of the group of pictures (GOP) in the short-term. To evaluate the accuracy of the prediction, a model for the error is proposed. In a broadband cable network, B-frame size prediction can be employed by a cable headend to provision video bandwidth efficiently or more importantly, reduce bit rate variability and bandwidth requirements via selective B-frame dropping, thereby minimizing buffering requirements and packet losses at the set top box. It will be shown that the model provides highly accurate prediction, in particular for movies encoded in high quality resolution. The GOP size prediction can be used to provision bandwidth. We then enhance the B-frame and GOP size prediction models using a new scene change detector metric. Finally, we design an algorithm that predicts the size of different frame types in the long-term. Clearly, a long-term prediction algorithm may suffer degraded prediction accuracy and the higher complexity may result in higher latency. However, this is offset by the additional time available for long-term prediction and the need to forecast bandwidth usage well ahead of time in order to minimize packet losses during periods of peak bandwidth demands. We also analyze the impact of the video quality and the video standard on the accuracy of the model.

Submitted by Isabela Cahú (icahu@embratel.com.br) on 2009-07-13T17:42:18Z No. of bitstreams: 1 Isabela Cahu - Biblioteca.pdf: 797404 bytes, checksum: fab962ae5496badd4016fa45a6de60aa (MD5) / Approved for entry into archive by Vitor Souza(vitor.souza@fgv.br) on 2009-07-14T18:24:11Z (GMT) No. of bitstreams: 1 Isabela Cahu - Biblioteca.pdf: 797404 bytes, checksum: fab962ae5496badd4016fa45a6de60aa (MD5) / Made available in DSpace on 2009-07-14T18:24:44Z (GMT). No. of bitstreams: 1 Isabela Cahu - Biblioteca.pdf: 797404 bytes, checksum: fab962ae5496badd4016fa45a6de60aa (MD5) / A presente tese busca analisar as relações entre as estruturas de produto e custo e a verticalização mediante a aplicação da teoria microeconômica básica. Verificamos que os pacotes de canais ofertados ao consumidor podem ser explicados através de 3 efeitos: Discriminação de Preço, Complementariedade entre grupos de canais e Dispersão da propensão a pagar entre grupos de canais. Dentro das hipóteses indicadas acima, identificamos que a renda do consumidor, o estímulo ao consumo de um canal avançado mediante o consumo de um canal básico e/ou a dispersão da propensão a pagar justificam a estratégia de oferta mediante pacotes de canais de televisão. Constatamos que o mercado de TV por Assinatura é caracterizado pelo elevado poder de mercado associado à infra-estrutura de distribuição (custo fixo alto), e que a verticalização entre as empresas da cadeia produtiva do mercado audiovisual é um fenômeno comum desse mercado. Identificamos, ainda, que é possível existir práticas discriminatórias mediante imposição de limites ao uso de redes de distribuidora por programadoras rivais. Entretanto, a Integração Vertical pode ser motivada por questões de economias tecnológicas ou ganhos de integração de monopólios sucessivos que levam a ganhos de eficiência econômica no mercado e não configuram, portanto, práticas discriminatórias. Ao analisarmos os principais modelos para análise da estrutura de mercado, identificamos que o papel do custo fixo é determinante para a estrutura do mesmo e o número de firmas no mercado não determina a eficiência.

台灣自1993年公佈「有線電視法」後，有線電視產業發展快速，系統業者為因應市場的激烈競爭，紛採取垂直整合、合併或購併方式，致使廠商家數變化異常；同時由於採取整批收費方式，在價格上限管制之下，系統業者對市場具有壟斷力量，莫不提高收費管制上限的水準；而節目與廣告內容在不分級之下，可能影響青少年身心發展，依此多數學者與新聞局企圖引進「分級付費制度」及推出「付費頻道」與「計次付費頻道」以解決上述問題。有關「付費頻道」與「計次付費頻道」之供應，可增加市場服務之多樣性，然消費者的接受意願及真正的偏好。首先，本文應用巢式多項式羅吉特模型探討消費者對「分級付費制度」與現行整批收費方式的選擇意願；其次，再探討消費者選擇「分級付費制度」下，有關「付費頻道」與「計次付費頻道」的選擇意願模型；最後，應用台灣有線電視消費者的問卷資料對上述巢式羅吉特模型進行實證估計，並根據實證結果，嘗試對有線電視業者在提供「付費頻道」與「計次付費頻道」等節目時新服務管理策略的建議。

本研究擬從經濟社會學和創業研究等觀點，對台灣有線電視系統先驅者所進行的媒介創業行動進行考察，嘗試說明早期有線電視系統業者媒介創業行動的行動邏輯，以及揭露其創業行動邏輯的社會根源。 通過媒介創業行動意涵的討論，並彙整當代創業研究的論述，以及參考場域、資本與慣習等概念，本研究將媒介創業行動的考察，聚焦在媒介創業歷程中文化資本、社會資本與象徵資本等不同類型的創業資本，如何進行交換的問題上。 關於研究方法與研究對象的選擇，本研究以口述傳記研究法來蒐集有線電視系統先驅者的媒介經驗，並以台灣選擇社區共同天線系統業者，作為研究的個案。通過對於研究個案的訪談與傳記資料的重構，以及口述傳記訪談法的應用，本文嘗試重建早期有線電視系統業者之媒介創業經驗的整體形貌。 經由對業者之媒介創業經驗的解析，本研究嘗試揭露早期有線電視系統業者所從事之媒介創業的行動邏輯，並推論出：「技術能動性的作用」、「情感互惠的中介」、「『報』的社會常規的應用」、「自尊與歸屬之創業情感的自我期望」等意義結構，是解釋台灣有線電視系統媒介創業行動的關鍵行動邏輯。 進一步，對於媒介創業行動邏輯的社會根源問題，本研究嘗試扣連台灣在地社會的文化傳統，發現在地社會中所強調「人情主義」、「義氣習性」與「技藝精神」等常民規範性，是驅動媒介創業歷程中「情感互惠」、「回報常規」習性與技術能動性的社會文化根源。 結語，本研究指出，受到創業冒險、自信與樂觀等情感因素所導引的台灣有線電視系統先驅者，他們實為一群具有「即興展演」的行動能力，並以文化常規中的「情義」邏輯，來進行創業行動的「野性」的媒介創業者。而相異於當代主流創業論述強調工具理性、資源有效運用的行動思維，這群「野性」的媒介創業者，他們勇於突破政策管制的困境，巧於利用技術物之功能的能力，是他們之所以能夠通過技術與市場的高度不確定性，以及媒體管制政策的壓力，成功進行媒介創業行動的能動性根源。 最終，扣連到傳播生態發展史的論述，本研究發現，這群帶有野性精神的媒介創業者，不僅具有啟動不同資本之交換行動的能動性，他們所具有的創新與創造性行動的力量，更是馴化新傳播的科技特性，使傳播科技得以轉化為日常生活之媒體的關鍵力量。 / This study aims to investigates media entrepreneurial phenomenon which caused by the rise of new communication technology by the viewpoints of economic sociology and entrepreneurship. Based on the unfolding of the oral biography from the cable television pioneers in Taiwan, this study illustrates the action logics of social exchange about media entrepreneurial activities in Taiwan. Discussed on the contemporary communication phenomenon, entrepreneurship theories and economic sociology theory, this study illustrating the meaning of media entrepreneurship in history, figuring out the overview of media entrepreneurship study, describing the view of ‘media workers as media entrepreneurs’, discussing the meaning and types of ‘media entrepreneurs’, identifying three theoretical dimensions in media entrepreneurial processes, and summarizing the framework of analyzing the media entrepreneurial processes by using the concepts from cultural capitals, social capitals, and symbolic capitals. According to the work of structural analysis of narration, case reconstruction, and concept crystallization, this study finds: ‘the function of technical agency’, ‘the intermediary of entrepreneurial emotion’, ‘the application of Pao from social codes’, and ‘the project of self esteem and belonging ’ are the core meaning structures about the action logics of Taiwan Cable Television pioneers. About the problems on social origins of the media entrepreneurial process in Taiwan Cable Television pioneers, this study also finds: ‘the ontology of emotion’, ‘the rules of cultural Yi-Chi disposition’, and ‘the spirit of craftsmanship’ are the social origins from local culture in Taiwan. In conclusion, this study points out that these pioneers afford the improvisation for the potential of communication technology, and they can domesticate the wildness of new media technology. Further, they can perform the innovation and creative power to encounter the technology-market uncertainty, and overcome the regulation from government. Finally, this study name there pioneers in Taiwan Cable Television as the ‘Savage in media entrepreneur’, they possess the strong entrepreneurial agency, and they can build the new media ecology for future.

Based upon perspectives and concepts from social and historical research on technical systems, this dissertation describes and analyses events and processes relating to the dramatic change in television in Western Europe during the 1980s and early 1990s. In particular, it focuses on how Swedish television, conceived as a large socio-tecnical system, has shifted from a traditional 'public service' system to a more open and mixed system. In addition to traditional public television broadcasting, it has now come to encompass several commercial channels distributed through an expanding combination of technical and market alternatives, including satellite television. The study traces the multiple ways in which socio-historical processes and contingencies have shaped the television system in Sweden. The most detailed historical descriptions and analyses focus on the entrepreneurial activities of the Swedish firm, Industriförvaltning AB Kinnevik, documenting the introduction of the satellite channel TV3 in Sweden and the related expansion of the system. The entrepreneurial actions of Kinnevik in establishing the new satellite channel TV3 are analysed against the background of (1) the characteristics of the traditional Swedish radio and TV broadcasting system, (2) the development of cable television in Sweden, and (3) the broad history of satellite television. Emphasis is placed on how and why it was possible for a new actor to successfully challenge, gain access to, and help transform a well-established system that had remained relatively stable for a long time. This raises attendant questions of timing. How do we account for and explain the relative stability of this system for such a long period? Why did radical change occur at a particular time and not before or after? Whereas the empirical material concerning the activities of Kinnevik in relation to its entrance on the television market covers the period between 1984 and 1991, the study in general addresses developments throughout the twentieth century and, occasionally, even further back in history. The focus is thus on the system as a whole, rather than on only one of its components. A number of conclusions are drawn from the study concerning both the construction of new systems and the reconstruction of established systems. Two major conclusions can be mentioned here. (1) First, the historical material confirms the necessity of collective action in large-scale technology-based entrepreneurial action. (2) Second, the study also shows that there is nothing necessary or inevitable about the development of technologies/technological systems, even though they are subject to a high degree of path-dependence. / <p>The electronic version of the printed dissertation is a corrected version where all spelling and grammatical errors are corrected.</p>

數位科技雖然是政府與產業所體認的技術發展趨勢，各國政府也都積極以硬式導入或發展數位內容來逐步推廣，這些努力的確在社會大眾間引起很大的注意，但任何科技的推動皆須有賴市場的回饋才得以持續，所以在推展過程中，外在環境的角色，與企業內部策略的擬定都會對整體數位電視的價值鏈發展產生影響。因此當大家都把目光放在數位電視發展未來的遠景時，過程（Process）中的衝擊與契機卻是需要及早發掘與因應的。 本研究以「價值系統（產業價值鏈）」與「五力分析」為理論架構，套用於有線電視數位化過程，以發展出本研究研究架構，以此觀點蒐集相關資料、擬定問卷主軸與規劃訪問對象，然後分別從產業價值鏈來進行有線電視產業的內部分析，以五力分析來觀察外部環境態勢。 研究結果發現雖然研究中所觸及的相關組織或單位都對數位化抱有很大的期望，但彼此對數位化的認知卻是存在不同的歧異，因此本研究的分析與建議正可答覆業者這方面的遲疑與卻步。以本研究所聚焦的有線電視頻道經營者與系統業者來看，對頻道業者而言，未來發展與其說是朝向「數位內容產業」，更確切地說應該是新興「文化創意產業」的數位化，應該加入更多對社會與文化的認同與規範，如果還是落在「產業」的概念來推動，過多的政經角力最後將又是另一個畸形的電視生態；對系統業者，市場的接受度是科技發展的根本問題，對消費者的重視畢竟才是長遠發展的基礎，就算免費推廣機上盒，裝到每個家戶中，但真正的內容與營利模式才是必須審慎評估的，不然最終消費者與業者還只是執著於前段免費頻道的多少與質量，並沒有感受數位化的好處。 / Although the government and private industry regards digital technologies as mainstream in the future and in both the developed and developing countries digital television have been spread by the promotion of the digital receiver and content, the success of new technologies depends on the adoption and response of the market. External environment and internal strategies related with market both affect the development of digital television value chain. Then we should not only put emphasis on the vision of DTV, but also dig out the impact and moment to the industry and find the solution during the digitalization process. The analytic concept of this survey is based on Porter’s “industry value chain” and “five force analysis”, with which the framework of the dissertation combines cable digitalization. According to the framework, researcher searches and collects relevant data, sets up the questions and interviewees of in-depth interview, analyses the changes of cable television industry value chain and observes the transformation of competitive atmosphere. In the conclusion, different managers and authorities that have had expectation towards DTV possess different perspectives in digitalization because of the lack of understanding. So the suggestion and analysis caused by dissertation responds to the doubt and hesitation of the industries. As the cable channel operators, they need to transform into digitalized “cultural creative industry”, not “digital content industry”. The difference between both industries is the addition of the culture that imports more identification and features from society. Moreover, the channel operators should redefined as content provider fitting in with all the channels, like MOD, DTTV, DBS and so on. From the point of view of cable distributors, customer relation management (CRM) will be the most important and difficult work. The distributors need to find out how to communicate with consumer what the benefit of digital television is as soon as possible.

This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinema’s engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industry’s structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.

1993年有線電視法通過，有線電視逐漸取代無線電視，成為台灣主要的傳播媒介。有線電視因其纜線鋪設與經營形態等特性，成為自然壟斷的地方媒體；因此，法律上視其為「準公用事業」，並賦予回饋地方的義務，此為有線電視公用頻道出現的原因。 公用頻道的主要價值是落實媒體近用權，然而受到申播法規、業者經營意願與民眾製作影音內容技術門檻等限制，公用頻道在台灣的成效不彰。近年來新傳播科技興起，影音網站快速成為民眾慣用的近用平台，公用頻道存續意義乃受挑戰。本研究之目的即在探討數位匯流趨勢下，公用頻道的未來。研究發現，影音網站雖能儲存播放大量的民眾影片，但其本質仍屬「社群媒體」，與公用頻道作為社區媒體的功能不同。同時，影音網站的搜尋機制與使用者習慣也影響影片的曝光度，並不能提供一視同仁的公平近用。因此，本文認為，有線電視公用頻道的地方性與公平近用的經營理念，仍是公用頻道未來發展的應屬方向。 據此，本研究之創作實踐即以五十支「臺北市民故事館」短片，試驗公用頻道落實地方媒體近用，提升社區意識的可能製作方式。此短片透過口述歷史與數位自述之技巧，提高居民分享社區記憶、建立社區認同、參與社區事務，提升社區公益的意願，以作為公用頻道未來節目企劃製作的參考。 / In Taiwan, the previously prohibited cable television operators were legalized after the Cable Television Law was established in 1993. Like in many countries, cable television has gradually replaced network television as the primary media in Taiwan. The specific cable installation and its business model make cable television a monopolizing media in local communities. According to Cable Television Law, cable television is regarded as a “prospective public utility,” and one of its obligations is to serve the public. Therefore, the cable television public access channel was launched. The core value of public access channel is to grant the Right of Media Access. However, the practice of public access channel in Taiwan is hampered due to multiple restrictions such as broadcast application law, regulations, business management and the technical thresholds of audiovisual content production. In recent years, many websites, such as YouTube and youKU, have rapidly become the preferred access platform for the public. The necessity of public access channel is being questioned and challenged. Some studies showed that while audio and video websites can store and play a large number of access videos, their essence remains as “social media” rather than “community media,” such as public access channel. Furthermore, the audio video websites’ search mechanism and the users’ habits can both affect the exposure of the videos and impair the fair access of media. This study, supplemented with 50 related projects, intends to discuss the future development of public access channel under digital convergence. Through a year’s productions and surveys, the author concludes that the unique local relevance and the importance of providing fair access should be the emphasis of the future development of public access channel. The creative projects of this study, broadcasted on public access channel, present the public the right to access local media and enhance the community awareness. These projects, digital programs of personal life experiences, were designed for telling Taipei Stories. By employing oral history and digital storytelling techniques, these projects intend to encourage the residents share their community memories, enhance community identity, participate community affairs, and further improve the community charity. In addition, these projects can serve as references for planning and producing programs for public access channel in the future.