影音休閒娛樂市場競爭越趨多元化，在音樂產業中，KTV產業垂直供應鏈從上游到下游，共分3層：上游是唱片業，中游是伴唱帶發行業，下游是KTV業。上游發行歌曲，賣CD也賣版權；中游買歌曲版權，製作營業用歌曲；下游則買歌曲，供消費者視聽歌唱。由於台灣目前並無強制授權法令，歌曲來源仍受到限制。為解決歌曲來源並進而降低購歌成本，KTV業者可應用《維基經濟學》一書的觀念，也就是開放、合作、分享和全球化。 書裡提到一個名詞「Prosumers」，亦即消費者就是產品創造者，消費者主動、積極地參與產品創作方式，正在全球各處上演，形成一個「Prosumption」模式。在Web2.0觀念下，大家一樣平等，每個人都可以透明地創作、發表，打破市場傳統價值鏈的平衡。 這個模式從「部落格」就可以看出，個人經由網路發表迅速崛起的例子日增。眾所皆知的歌曲「老鼠愛大米」，以及許多透過草根競賽勝出的新興名人，都足以印證媒體2.0時代，好內容來自世界各地的個人，沒有任何公司或通訊管道可以獨占，創作力只會更爆發更精彩。 在這樣的趨勢下，KTV業者可以採取以下做法：在網路上徵求原創歌曲、舉辦歌唱比賽、網路票選優勝者預測、優勝者歌曲製成伴唱歌曲在KTV包廂供顧客點播；或是讓創作者呼朋引伴，在包廂點唱自己的歌曲；點播率高者提供高額獎金並發行CD唱片；在實體通路銷售等等。 應用Web2.0創新商業模式，強調集體智慧、互動及分享，藉以改變現有KTV產業競爭模式。從MySpace的超人氣為它帶來獲利機會，甚至成為「星探」，未來極可能改變音樂產業的模式。 使原創音樂能成為網路或實體通路KTV中的主流音樂。不必受限「周杰倫事件」（藝人約滿全面回收專輯音樂版權再重啟談判）。主流絕對優勢的時代，已經變成歌手不必依賴主流媒體也能發片，消費者選擇音樂的範圍更廣泛的時代，給予不特定多數無名小卒參與的機會，從事催生新音樂的嘗試，才能打開長尾的原野，開拓出更寬廣的可能性。對企業來說，這種做法代表改變現有的一些習慣和方法，雖然不保證能得到相對應的回報。 KTV已屬成熟產業，KTV消費在「食、衣、住、行、育、樂」中排名最後，屬於末端消費，所有娛樂業都是KTV的競爭者，且周休二日實施後，KTV優勢不再，KTV業者或許可以應用「Prosumption」模式，再度引起消費者的唱歌熱情。 / The competition in the audio visual recreational entertainment market has become more diverse. In the music industry, the vertical supply chain of KTV industry are divided into three levels—the upstream record industry, the midstream sing along cassette publishing industry, and the downstream KTV industry. The upstream publishes songs, selling both CDs and their copyrights; the midstream purchases the song copyrights and produce the songs for business; the downstream buys the songs, providing audio visual and singing services for consumers. As no mandatory authorization regulation is available in Taiwan at present, the sources of songs are still limited. In order to solve the problem of song sources and lower the cost of songs, KTV dealers could apply the concepts in the book “Wikinomics”, which is openness, cooperation, and globalization. According to the book, “prosumers” refers to the consumers who are the product creators. Consumers’ active involvement with product creation methods are becoming more popular worldwide, forming a “presumption” mode. In the idea of Web2.0, everyone is equal. Everyone can create and publish with transparency, breaking the balance of the traditional value chain in the market. This mode can be observed in “blogs”, where an increasing number of individuals gain popularity through internet publishing. The popular song ““Mice loves big rice”, and many emerging celebrities from grassroot competition winners are evidence of the media 2.0 era, where good content comes from individuals all over the world. Without the monopolization of companies or communication channels, there will be increasing outburst of amazing creativity. Under such a trend, KTV dealers could apply the follow methods—ask for original songs on the internet, organize singing context, prediction of internet voting winners, produce sing along winner songs for request in KTV rooms; allow creators and their friends to request their own songs in KTV rooms; provide large bonus and record publishing for high request rate songs; to market in existing channels, etc. The application of Web 2.0 new business mode emphasizes group intelligence, interaction and sharing to change the present KTV industry competition mode. Profit opportunities are available from MySpace popularity, potential of being talent scouts, with high possibilities of changing future music industry mode. Original music may become popular music in the internet or existing channels in KTV. No longer limited by the “Jay Chow incident” (artist recycle all record music copyright at the end of contract and re-negotiate). In the generation where mainstream has absolute advantage, singers are not dependent on mainstream media to release their music. In the era where consumers have a wide range of music choices, opportunities are available for an infinite number of nobodies to participate in the making of new music, opening the doors of more possibilities. For enterprises, this indicates the change of some present practices and methods, yet corresponding profits are not guaranteed. KTV is a mature industry. KTV expense came last in “Food, Clothes, Residence, Transportation, Education, Entertainment”, belonging to extremity expenses. All recreational industries are the competitors of the KTV industry. Moreover, since the administration of the two-day-off per week policy, the advantage of KTV no longer exists. KTV dealers may apply the “presumption” mode, arousing the singing passion of consumers once again.

在大中華地區，與親朋好友至實體店面KTV唱歌是極為常見的娛樂方式，但近年來至外地念書以及至外地工作的情形屢見不鮮，因此要與親友齊聚一堂、共同歡唱實屬不易。本研究的目的乃是要提出一種創新服務的經營模式，藉由現有攝影、投影和軟體技術的組合與改良，搭配空間情境的塑造，打破地域的限制，滿足不同地區親友與網友跨地域聚會歡唱的需求。 為了找出可行的商業模式，本研究透過實地訪查臺北、北京、深圳以及雲南等地的實體店面KTV，以比較各地經營模式與服務內容的差異性；並透過實際嘗試使用線上KTV網站，以了解目前線上KTV的營運模式與優缺點；更透過訪談各類潛在消費者以及問卷調查與分析，來確認目標客群並評估目標市場的大小。本研究從調查中發現，此種跨域實境的服務除了可以滿足各地親友互相聯繫的需求外，還可滿足商業溝通、愛唱歌者媒合以及陌生網友聯誼等需求。本研究針對這四種需求的目標客群，設計不同的行銷計畫與收費方式，並提出階段性的事業發展計畫。 / In the Greater China region, singing at KTV with friends and family members is a very common entertainment. Studying and working outside the hometown has become very popular recently, so if you want to sing and gather with family and friends it may be quite difficult. The purpose of this study is to propose an innovative service business model, by combining and improving the existing photography, projection and software technology. The purpose will be achieved by shaping space scenarios, creating innovative goods and services that can break the geographical restrictions, and will give people opportunity to gather together. In order to find the viable business model, in this study I will compare differences between business model and services in KTVs in Taipei, Beijing, Guangzhou and Yunnan. I will try to use the online KTV site to learn the operating mode, pros and cons of online KTV, interview potential consumers, use the questionnaire survey, and then evaluate the size of the target market, identifying target customers and a viable business model. After being verified and amended repeatedly, this service will not only satisfy the demand of those, who want to gather with relatives and friends, but will also satisfy the demand of commercial communication, matching the people who love singing, and will also satisfy the activities of unfamiliar netizens. In this study, according to the demand for these four target customers, different marketing plans and charging methods will be designed, and phased development plan will be proposed.

Internal Marketing is a strategy to reduce employee turnover and related high costs. It is a strategy of applying marketing philosophy and principles to people who serve the external customer so that the best possible people can be employed and retained, and so that they will do the best possible work. Many studies offer insights into the relationship between job satisfaction, and employee turnover. This study tries to use these variables to predict turnover intension and in order to offer possible solution to the problem of excessive turnover. The results found that all of the internal marketing practices, include training, management support, internal communication, personnel management and involvement in external communication have positive impact on job satisfaction,but negative impact on employee turnover intension.

視聽休閒產業KTV是本土近年來新興的休閒娛樂產業，從民國八十年代初期發展迄今，已是一個高度成熟發展的產業，並且朝向多元化服務，例如與唱片業的合作、提供網際網路的服務、線上遊戲娛樂之結合、和協助舉辦大型宴會等。然而，隨著產業界的經營成本不斷的爬升，KTV業者將會如何調整其提供的品質水準是本文的研究焦點。本文內容可以分為四部分。首先介紹KTV產業的發展背景，以及目前各家的經營現況。第二部分整理與垂直差異市場相關的文獻。第三部份應用理論模型以解讀目前KTV業者經營決策。最後則為本文研究的結論並對於模型中尚有發展空間的部分做一討論。

隨著技術專業化與全球化市場的影響，個別企業難以單獨生存，企業間必須依其專業分工、共同發展，產生複雜的網路關係，透過知識的交流，形成關係資本，組織運用關係資本龐大的能量，帶動整體產業的創新。 休閒服務業所提供的娛樂商品通常不是其本身可產出，而是整合各個合作廠商供應授權之娛樂商品，提供消費者整體娛樂服務，因此在休閒服務業中與事業夥伴之網路關係十分重要，如何經營關係資本成為關鍵課題。並選定近年來新興且趨於成熟的本土產業—KTV產業作為研究對象。 本研究分別就合作夥伴與顧客的互動方式，探討KTV業者與關係網路互動的模式與過程，了解休閒服務業如何形成關係資本，透過何種機制促進產業創新，找出更適合、有效的創新方法。 綜合文獻探討與個案研究，本研究發現休閒服務業之關係資本確實會刺激產業創新，產業夥伴或消費者引發創新，網路成員透過知識交流、共享，共同研究開發產生創新，而組織與消費者運用DART(溝通、取用、風險評估、透明)互動機制累積創新能量；且網路關係中某些特性使得創新更易於產生，如關係緊密程度、網路關係位置、網路關係複雜度。業者可藉由調節這些特性，加強關係資本與產業創新的關聯。

Made available in DSpace on 2015-05-14T12:36:30Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3139610 bytes, checksum: 2e35b9df588a5149cf314e0b66a66da5 (MD5) Previous issue date: 2011-09-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The advent of Digital TV has promoted a scenario of increasing number of channels, content and services available to the user. However, these changes were not reflected in the way multimedia content is described. The traditional model presents a syntactic structure, which have no semantic information. In addition, its representation format for transmission does not allow interoperability with other systems. With the convergence between TV and web platforms that scenario becomes even more problematic, since there is a movement in the Web, leaded by the World Wide Web Consortium, in order to make systems interoperable and based on homogeneous representation format. In this scenario, this work proposes a knowledge based infrastructure for modeling multimedia content in TVDI, aligned with the concepts and standards of the Semantic Web aiming to integrate the platform and Web TVDI, applied to the Brazilian middleware standard the Ginga middleware. / O surgimento da TV Digital promoveu um cenário de aumento da quantidade de canais, serviços e conteúdo disponíveis ao usuário. Entretanto, tais mudanças não foram refletidas na forma como o conteúdo multimídia é descrito. O modelo tradicional apresenta uma estrutura sintática, no qual as informações não possuem semântica, além do seu formato de representação para transmissão que não permite interoperabilidade com outros sistemas. Com a convergência entre as plataformas de TV e Web esse cenário passa a ser ainda mais problemático, uma vez que na Web já há um movimento em curso com o objetivo de tornar os sistemas interoperáveis e o formato de representação homogêneo. Neste cenário, este trabalho propõe uma infraestrutura para modelagem de conteúdo multimídia em TVDI baseada em conhecimento alinhado aos conceitos e padrões da Web Semântica, visando à integração entre as plataformas de TVDI e Web, aplicada ao middleware do padrão brasileiro, o Ginga.

Made available in DSpace on 2015-05-14T12:36:32Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2749110 bytes, checksum: f4b96a7e26e5b3800a119692a456c32b (MD5) Previous issue date: 2012-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The Interactive Digital TV brings many innovations to the existing analog scenario, such as improved sound quality, image, number of channels, programs and services available to the user. However, the information representing the structured multimedia content are presented in a traditional format of tables and files, not providing interoperability between the information, nor having semantics. This way, the project Knowledge TV - KTV proposes to organize the data in the DTV semantically, using this concept of Semantic Web and knowledge representation, and provides an architecture for application development. A major component of the KTV is the environment of knowledge discovery in databases supported by semantic concepts. This environment aims to discover useful knowledge in the data through data mining, semantically organize them and make them available as a service. In this context, this work aims to specify and develop this environment that this approach will be called the Mining Knowledge TV - MKTV. / A TV Digital Interativa Interativa traz inúmeras inovações ao cenário analógico existente, como aumento da qualidade de som, imagem, quantidade de canais, programas e serviços disponíveis ao usuário. Contudo, as informações que representam o conteúdo multimídia se apresentam estruturadas de forma tradicional, em formato de tabelas e arquivos, não provendo interoperabilidade entre as informações, nem possuindo semântica. Desta maneira, o projeto Knowledge TV - KTV propõe organizar os dados presentes na TV Digital Interativa semanticamente, utilizando para isso conceitos da WEB Semântica e representação de conhecimento, além de fornecer uma arquitetura para desenvolvimento de aplicações. Um dos principais componentes do KTV é o ambiente de descoberta de conhecimento em base de dados apoiado por conceitos semânticos. Este ambiente tem por objetivo descobrir conhecimentos úteis nos dados, através da Mineração de Dados, organizá-los semanticamente e disponibilizá-los como um serviço. Neste contexto, este trabalho visa especificar e desenvolver esse ambiente que nesta abordagem será chamado de Mining Knowledge TV MKTV.

本研究發現在服務業日益興盛的情況下，第三級產業缺工的情況越來越明顯，由於勞動力缺乏，服務業與零售業之勞動成本直線上升，而生產力無法相對的成長，加上工作的可取代性，因此紛紛採用或提高了部份工時的雇用。部份工時的運用通常於營業高峰期或較不具技術性的工作。再者，服務業多規模不大，且工作場所分散，工作時間可較為彈性，因此更加適合部份工時勞工之發展。 針對本研究之研究對象─視聽娛樂業中之部分時間工作者本研究分別從個人特性與工作特性兩個前提來分析其對組織承諾之影響。發現如下：在組織承諾的表現方面普遍呈現正面的表現。若再深入組織承諾的三個面向來說，價值承諾與努力承諾的表現明顯比留職承諾的表現較高，呈現出部分時間工作者的留職承諾的確是偏低的，但是努力承諾仍然很高。若把個人特性考慮進來，性別、學歷對於組織承諾並無顯著的影響。在地區與年資對於組織承諾則是有影響的。其中年資若在一年以上者，年資與組織承諾呈現正向關係，其中價值承諾與努力承諾的部分，表現更是明顯。其次則是工作特性對組織承諾的影響，工作特性的部分以本次調查結果發現工作特性中的勞動條件對於組織承諾的影響並不顯著。 在建議的部分，本研究發現視聽娛樂業的部分工時工作者其努力承諾相當的高，相對留職承諾與價值承諾則偏低。因此建議管理時若欲提高工作效能則可針對努力承諾方面來繼續提升，可透過績效評估與激勵來進行。此外，偏低的流動率有利於降低訓練的成本，而本研究也發現部分工時工作者仍具有相當的留職承諾，因此亦可透過公平的公司制度來提升留職承諾降低流動率。 此外，在遴選部份工時工作者時，根據本研究的發現可以中等學歷者為優先考量。但若是短期的部分工時工作者則可考慮高等學歷者，因為其留職承諾雖低，但努力承諾卻是最高的。

This study attempts to compose an account of television history in Kuwait, one that focuses on its integration into society and is told from the audience's perspective and experience. This study represents a cultural alternative to the overwhelmingly national, institutional, and biographical focus that accompanies television history works in Kuwait and the Arab world. The narrative is gathered and generated through the individual oral stories of 25 Kuwaitis over the age of 50, who generally represent the six geographical districts of Kuwait. Through their oral stories, the narrators examine the different areas in which television has integrated itself into society from 1957 to 1990. These include television’s succession to cinema, television’s novelty, television’s familiarization into society, television’s domestication, television’s interaction with modernity, and television’s content. The oral stories of the narrators regarding each area reveal a wide range of microscopic topics about living in early Kuwait and television’s integration with it, including the people’s initial “miraculous” conception of the device, television’s relation with Kuwaiti urban growth, and the early economical gap of television ownership in Kuwait. Besides the general exploration, discussing the research areas indicates a somewhat linear narrative of television’s integration into culture, where television was preceded by the cinema technology that had semiotically paved the way for the device, before an abrupt novelty period in which television was settling in an ever-changing Kuwait, followed by a familiarity period in which the device had lost its gimmicky association, interrelated with all the other sociocultural factors of society, and spatially corresponded with both the extinct and the surviving components of the Kuwaiti house. Kuwaiti television had also corresponded with the social, economical, and urban alterations of Kuwaiti modernity, with its content nostalgically reflecting different stages of Kuwaiti cultural life. In the end, an overarching theme could be found in the “foreshortening” of television’s integration journey into Kuwaiti culture, with the narrators using television to express their yearning to the values of yesteryear. Future studies suggest more focus on contextuality, qualitative data, and interdisciplinarity in television history.