As television viewers we are used to watching television as a flow of programs with varying content, and usually do not think about how the programs are created. Who decides what should be produced and what the programs should contain? What role do the TV producers play? Who are the producers? Have their working conditions changed due to changes in society? The aim of this study was to answer questions about the TV producer’s background and career, and about how ideas for TV productions developed into actual TV programs. The study resulted in more than 90 “cases” or descriptions in drama and journalism. The respondents were asked about the role that different levels of management, economic resources, technical equipment, audience ratings played in the production of television programs. They were also asked how they evaluated professionalism and competition and what changes had occurred during the periods of the study, 1992-1999 and 2006-07. The TV producers who were interviewed belonged to different “generations” and had  entered  the television industry on  different occasions, such as at the launch  of  television channels  (the first TV channel, TV2, TV4) or  new ventures like regional television or minority language programs. The drama producers often executed the ideas that had been decided on by higher management, even though some drama authors who participated in this study had great power over the story lines and content. The journalist producer’s independence and power over the content were greater than the drama producer’s, since they wrote their own “scripts” during the production of programs. In light of many “cases” of programs described it can be suggested that journalist producers’ choice of program ideas were  parallel and complementary or alternative institutional processes, that preceded, followed or coexisted with reports, investigations, trials etc.   One of the most obvious changes during the period studied from 1992 to 2007 was the change in overall technology from analog techniques to digital. Internet, intranets, e-mail and cell phones had made “the mobile office” a reality and the analog techniques in cameras and editing in TV production became digital during the period.

兩岸新聞交流密切且頻繁，但是總因政治之故而蒙上陰影並益顯複雜，因此不失為一研究之好題材。學界與坊間不乏與此有關之文獻，惜乎大抵以報紙間之交流為主，至於電視台之交流則僅聊備一格。為補遺珠之憾兼鼓勵來者，本作者嚐試一探究竟，並尋求改善交流之道與化解挑戰之方。 本研究係以東森電視公司之新聞部為研究單位。方法則為深度訪談，資料蒐集與分析以及文獻回顧。 文分五章，計為：緒論，文獻回顧，交流模式，交流挑戰，結論與建議。 東森與大陸之間的新聞交流密切、多樣且規律。惟其品質與內容深受政治影響，尤以大陸之影響為最。 展望未來，台灣媒體需“寄希望於大陸當局”，則兩岸新聞交流之正常化庶幾有望。 / Though close and frequent, the cross-strait news exchanges are shrouded and made complicated by politics, which makes it a good topic for scholars to research. Articles and papers related to it are many. However, exchanges in newspaper sector are what people are interested in, those in TV sector are largely ignored. To make the picture more complete and encourage potential researchers, this writer tries to explore the modes of and challenges to the cross-strait news exchanges in TV outlets, and to find ways to better the exchanges and ease those challenges. Methodology for conducting this research comprises 3 measures: the in-depth interview, data analysis and literature review. This thesis consists of five chapters: introduction, literature review, modes of news exchanges, challenges to news exchanges and conclusion. News exchanges between EBC and the mainland are close, diverse and regular. However, the quality and contents of the exchanges are heavily influenced by political consideration coming largely from the mainland side. Looking into the future, Taiwan media should “rest hopes upon CPC” to normalize the cross-strait news exchanges.