本研究以Ha & McCann(2008)從資訊環境、廣告操縱和思考出發點等差異所提出的整合性分析架構，以及Dentsu(2006)提出媒體企畫從AIDMA模式轉化為AISAS的論點，探討新科技環境帶來媒體企畫思維和架構改變的同時，國內媒體代理商如何為廣告主擬定媒體企畫？策略為何？影響因素為何？又如何在資源有限又須更有效地觸達日趨複雜的消費者前提下，認知行銷環境上的變化？本文研究對象為台灣地區綜合媒體代理商之資深媒體企畫、購買及研究人員，主要採取量化的問卷調查，並以質性研究之深度訪談做為輔助。問卷調查採分層方式進行樣本配置，共發出102份問卷，回收101份，回收率為99%。統計分析方式包括描述性次數分配、T檢定、因素分析、相關分析和迴歸分析。 研究發現主要包括以下四個部分： 1.媒體企畫思維將轉向為以「電視」為主的傳統媒體，和以「網路」為主的新媒體之「雙核心」式的跨媒體企畫思維。 2.數位時代的廣告媒體企畫不以單一媒體為企畫重心。傳播媒體必須能與其他媒體有效整合，或擁有獨特傳播功能，才能保有優勢。 3.關於媒體企畫所需求的測量指標，仍以與廣告曝光相關的量化指標需求度較高，但需加上消費者對廣告活動的回饋情形，才能完整瞭解廣告效果。 4.媒體代理商仍傾向以透過媒體虛擬形塑出的集體社群進行傳播，並引導社群間的互動、分享，以及消費者對廣告活動的涉入。媒體代理商所需求的消費者資訊仍以集體社群為主，而非個人化的資訊尋求行為。 / The media scenario has become so complex that the information for media selection and planning is specific to the target, for a sophisticated segmentation of the media in relation to a segmented target, a specific combination, distribution and designing of advertisements in the media. This study explores how media agencies frame media planning packages for advertisers in the new era, changing media planning and implementation due to the new technology environment. It examines what are the influencing factors for media planning and buying agencies’ strategy. How do they cognize the change of marketing environment with the premise of limited resources and the necessity of effectively reaching increasingly complex consumers? The study is based on two theoretical contentions. One is an integrated model that Ha & McCann (2008) raised from the divergence of information processing, consumer or advertiser control, and media or consumer-centered strategies. The other that Dentsu (2006) raised is media planning has changed from AIDMA model to AISAS model. Subjects of the thesis consisted of senior media planners, buyers, and researchers of media agencies. The study adopts mainly quantifiable investigation and qualitative in-depth interviews as an auxiliary source. The sampling for quantifiable investigation adopts stratified sampling. The study was sent out to 102 respondents in total and received 101 returns; the response rate is 99%. The main findings are as follows: 1.Media buyers will change their planning and designing due to various reasons when making media mix decision. Television remains a significant medium for integrated communication, while the internet can be a first communication strategy to reach alternative audiences. 2.While emphasis on different audiences in the digital era, media planners tend to focus on multimedia strategies. For traditional media, it can remain advantageous position if the planners integrated effectively with new media with different effects. 3.Media planners tend to use quantifiable advertisement criteria as measurement before they make decisions. They also use various consumer service feedback to create advertisement campaigns for help understand whole advertising effect. The quantitative and iterative nature of media planning makes it an attractive tool for media planning. 4.Media agencies still tend to conduct interviews and collect information from wide variety of community groups. The growing trend of interactive media needs to engage with community groups for further information for interactive marketing strategies.

本論文主要從敘事與媒體互動的角度出發，主張媒體本身的內在特性會型塑敘事的形式，進而影響了某些類型的意義被製碼。在此研究立場之下，本論文觀察當今由各大報所推出的電子報，發現這些電子報忽略了網路媒體為敘事所提供的新表意潛能，僅把網路媒體當成最新的傳送通道，在既有的新聞敘事上未帶來更新的突破，僅用網路媒體的新瓶子裝上既有新聞的舊酒。 本論文為了能夠探索出網路媒體究竟為新聞敘事帶來哪些新可能，乃選擇回到既有敘事結構理論作考察，發現其傳承自結構主義之「故事」與「論述」二分的敘事結構，並無法回應媒體特性所帶來的變化，基本上還是將媒體特性排除在該普遍架構之外。而本論文則轉從敘事與媒體關係之研究取徑爬梳相關論點，希冀能為既有的（新聞）敘事結構注入活水，將媒體特性的表意動能納入其中，因而展開了理論建構之途徑，以提出一個能將媒體特性表意潛能考慮在內之新敘事結構。 仔細斟酌敘事理論相關文獻後，本論文認為在將敘事分為故事內容與論述表達方式二項要素中，仍可再將故事內容分成二部份，一部份是由事件與行動所組成的「情節」（plot），屬於動態部份，相對於由角色和場景所構成的存在狀態，應該比較會受到其所使用媒體特性之影響。當使用不同媒體進行說故事時，情節部份的內容就會隨媒體的表意特性而有所變化。至於由角色或場景所組成的存在條件，則是不論用什麼媒體傳達都不變，此時也才能被辨識出該故事的原型。本論文因而以情節作為觀察故事內容如何受媒體特性影響的敘事單位。接著再討論，若欲使網路的媒體特性對說新聞故事發揮表意潛能，那麼可從情節之組織結構與發聲位置著手，看網路媒體在這二項敘事要素上各提供了什麼新可能。透過理論建構，本論文提出在情節的組織結構上，網路的超文本特性已帶來了不同的故事結構，可讓故事有不同的走向；而在情節的發聲位置上，網路的互動特性也可為敘述者與敘述對象帶來新關係，進而影響了文本的聲音。本論文就根據這樣的新敘事結構，拿實際的新聞故事為案例，模擬新故事可能之敘事形式，以期達成帶來能發揮網路媒體特性的新聞。 當本論文從新敘事結構出發，對某一新聞故事進行操弄之後發現，一方面可再豐富與細緻化之前提出的網路新聞敘事理論架構，另一方面也回過頭來討論傳統奠基在新聞敘事結構之合理與實踐性，進而開啟在多媒體時代中適用的相關討論。 整體而言，本論文不但試著伸展可反應媒體特性之敘事結構理論，為數位時代中的故事帶來新觀點，以深化目前敘事相關的理論與概念；另一方面，在實務上，本論文則試圖從操弄網路媒體表意特性著手，開啟未來說故事之實務改變的可能、理由與作法。

The impact of digital (new) media has caused both challenges and threats to newspapers’ continuing existence as a profitable and influential mass medium. While this is not the first time in history that new media appear to be challenging the future of the newspaper medium, from one perspective digital media offer not only direct competition, or alternative ways to produce and deliver news, but also possibilities for convergence, for making new media part of the traditional newspaper, inducing whole new possibilities for publishing. From another perspective, the newspaper medium is an old concept; a powerful mass medium with very profound consumption patterns, strongly associated with its traditional output medium: ink-on-paper. The purpose of the present work has been to examine the impacts digital media have on the old, well-established newspaper medium, and what consequences these impacts have for the future of newspaper as a mass medium, that is, is the medium the message? In order to achieve this aim, the present work has been carried out from three different angles: digital media, publishing and reading behaviour and presentation factors. The areas have been examined using several methods: instrumental experiment, eye-tracking experiment, secondary analysis, and case study design. Newspapers’ ’to be or not to be’ depends, in a theoretical sense, on what media constitute. The medium is the message in the sense that, in the definition of a mass medium, the strength of the newspaper message is that it is recognized as the newspaper concept. It is not, in that the message per se is dependent on the medium it is reproduced on, as a newspaper can be considered a newspaper even if presented on a digital medium, yet the specific way the content is presented will always depend on the technology and characteristics of the chosen output medium. Thus, while defusing the output medium’s significance for the concept, the strength of the newspaper, and its industry, lies in what hitherto constitutes the message: accurate, credible, serendipitous, and diverse content, but which is continuously adapted to the technology of the output medium, thus benefiting from it and further strengthening the developed, digitalized newspaper concept, or what will become of it. The newspaper industry has great potential to differentiate itself in a world where news is becoming increasingly commoditized, though it must further emphasize its power, which lies in the long-defined ‘old’ newspaper concept. Moreover, the industry must be aware of the fact that this refashioning and adaptation is a slow process. / QC 20100804

The silence and invisibility of Puerto Rican soldiers in fictional and non-fictional representations of U.S. Wars has motivated me to look for alternative spaces in which these unaccounted voices and images are currently being produced, stored, circulated, and memorialized. Within this framework, my dissertation explores the self-representation of Puerto Rican servicemen and women in social networking sites (SNS), (i.e. as MySpace and Facebook), in user-generated content (UGC) platforms, (i.e. YouTube), and also in web memorials. I am interested in understanding how Puerto Rican soldiers self-represent their ethnonational identity online within the overlapping of second-class citizenship. The theoretical framework proposed for this research will apply theories such as 1) articulation; 2) the notion of contact zone; and 3) colonial/racial subjectivities. To complete this goal, my research method draws on online ethnography, textual, and critical discourse analysis. Firstly, I will discuss the limited repertoire of images of Puerto Rican soldiers in TV and film. My argument is that, besides the massive omission of this history, the images and motifs that do escape de facto social censorship will be in conversation with the self-representations. The second chapter is the result of four years of the process of online ethnography on which I analyze the instances of self-representation of Puerto Rican soldiers in SNS. My interest was seeing how those spaces were inflected by an ethnonational subjectivity. The third chapter explores the ways Puerto Rican soldiers, embedded in mash-up cultures, uses UGCs platforms to upload videos that transform the soldiers from passive consumers of images to active producers of content, which tend to disrupt dominant narratives of power. The last chapter explores the emergence of web memorials dedicated to the Puerto Rican soldiers. My main argument is that these instances of self- representation in online spaces are in conversation with the moments of silences and misrepresentations of Puerto Rican soldiers in traditional media, but also have become acts of enunciation in which the particular Puerto Ricanness of the Puerto Rican soldier is affirmed within complex, layered histories of imperialism, racism, heterosexism, and second-class citizenship. / text

À l’image des théories de la bande dessinée imprimée, la BD numérique est elle aussi accaparée par les analyses formalistes, dont la plus connue, celle de Scott McCloud, est critiquable, car elle réduit le média à un langage. Or, les mutations provoquées par la remédiation numérique ne sont pas uniquement formelles : l’expérience du lecteur, de l’auteur, et le rapport qu’ils entretiennent ensemble sont modifiés. Ce nouveau rapport influence le contenu des œuvres : on ne raconte pas la même chose dans le livre que sur Internet. L’autobiographie en BD, courant qui a explosé dans l’édition indépendante des années 1990, puis a été largement repris par les blogueurs, permet d’observer les différences de contenus et d’approches véhiculées par le livre et le numérique. Le dispositif du blogue propose un outil de liberté d’expression et de réflexion, mais les paramètres de son exécution (immédiateté, interactivité, désir de popularité, etc.) peuvent détourner cet objectif. Ainsi, beaucoup d’auteurs de blogues n’ont pas produit une autobiographie singulière, mais ont reproduit un courant de pensée existant (en exposant une libido fortement orientée vers la consommation) ainsi qu’un genre codifié, au sein duquel les autobiographies deviennent uniformes. Pour qualifier leurs blogues, on ne peut pas vraiment parler d’autobiographies, car ils ne mettent pas en scène un passé rétrospectif. Il s’agirait davantage de journaux intimes dont l’intimité est communiquée (ou publicisée) plutôt qu’expérimentée. Ce à quoi ces blogues ressemblent finalement le plus, c’est à une sorte de télé-réalité, une « bédé-réalité ». / Digital comics, like their printed counterparts, are heavily analyzed in a formalist approach: the most famous analysis, Scott McCloud's, could be criticized for it reduction of the media form to a language. But the changes that stem from the digital remediation aren't solely formal: the reader's experience, the author's, and the relation they share are all modified. This new relation changes the work's content: one doesn't tell the same thing in print and online. Autobiography in comics (a trend that exploded in the independent wave of the 90s and was later re-appropriated by bloggers) allows us to compare differences in approach between books and digital formats. The blog offers a tool for free speech and reflection, but at the same time diverts from such goals by the parameters of its execution (immediacy, interactivity, social networking, etc.). Indeed, many blog authors don't produce a singular autobiography as much as reproduce an existing trend (with a consumption-oriented libido) and a now-codified genre, in which autobiographies become uniform. Those blogs can't be completely considered as autobiographical anymore, as they don't tell of a retrospective past; they are more akin to personal diaries whose intimacy would be communicated (or publicized) instead of experienced. In that way, such blogs are closer to reality shows and could therefore be considered as a form of "reality comic".

The research reflected here examined in depth how one cohort of learners viewed and engaged in literature searches using web browser based resources. Action research was employed using a mixed methods approach. The research started with a survey followed by interviews and a screencast examining practice based on a series of search related exercises. These were analysed and used as data to establish what deficits in using the web to search for literature existed in the target group. Based on the analysis of these instruments, the problem was redefined and a workshop intended to help remediate deficiencies uncovered was run. Based on this a recommendation is made that a credit bearing course teaching digital research literacy be made available which would include information literacy as a component. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.

This dissertation explores how social class matters in young men’s everyday relationship to digital media. The aim is to contribute to the existing knowledge about how young people incorporate digital media in their everyday lives by focusing on the structural premises of this process. It also presents an empirically grounded critique of popular ideas about young people as a “digital generation”, about the internet as a socially transformative force, and about class as an increasingly redundant category. The empirical material consists of qualitative interviews with 34 young men (16-19 years) from different class backgrounds, upper secondary schools and study programmes. Drawing on the conceptual tools of Pierre Bourdieu, three classes are constructed: the “cultural capital rich”, the “upwardly mobile”, and the “cultural capital poor”. The analysis shows that class, through the workings of habitus, structures the young men’s relationship to school and future aspirations. This also engenders class-distinctive ways of conceiving leisure and digital media use. Through their class habitus and taste, the young men tend to orient themselves and navigate in different ways in what they perceive as a space of digital goods and practices, endowed with different symbolic value in school and society. The “cultural capital rich” are drawn to-wards practices capable of yielding symbolic profit in the field of education and beyond, whereas the other classes gravitate towards the “illegitimate” digital culture but deal with this different ways. These findings indicate that there are social and cultural continuities at play within recent technological changes. They also expose the structural differences hidden by sweeping statements about young people as a “digital generation”. Finally, they show that class, contrary to popular beliefs about “the death of class”, still represents a pertinent analytical category.

The media attribute a great significance to criminal events. However, those are not all reported in the same way. The media treatment of one generally depends of its sensationalism. The more impressive the event is, the more importance will be given by the media. Although street gangs have been very much present in the news content for several years, very few studies have assessed the extent to which the phenomenon is appealing to the media in relation to all criminal news. Considering the importance of media content and its impact on our society, the present study focuses on this question in order to determine whether the news about street gangs are treated differently. The sample of this study consists of 417 reports from Radio-Canada’s TV channel and Internet content, from that 210 are related to street gangs and 207 don’t bear on the phenomenon. The results suggest that the audiovisual and digital media present a more specific aspect of the phenomenon. Reports about street gangs are also more detailed and benefit from a greater mediatic treatment, regardless the medium of information used. Independently of the components that determine what make good news, the events involving street gangs and their members seem to receive a special media treatment. / Les médias accordent une grande importance aux faits divers et aux évènements criminels. Toutefois, ceux-ci ne sont pas tous rapportés systématiquement et de la même manière. Le traitement médiatique d’un évènement dépend généralement de son sensationnalisme. Plus un évènement est sensationnel, plus les médias auront tendance à lui accorder de l’importance et à en laisser d’autres, moins sensationnels, de côté. Bien que les gangs de rue soient très présents dans le contenu médiatique depuis plusieurs années, très peu d’études permettent d’évaluer dans quelle mesure le phénomène est intéressant pour les médias par rapport à l’ensemble de l’actualité criminelle. Étant donné l’importance que prend le contenu médiatique au sein d’une société, le mémoire s’attarde donc à cette question, de manière à déterminer si les nouvelles au sujet des gangs de rue sont traitées différemment des autres nouvelles de nature criminelle. Le corpus à l’étude totalise 417 reportages de Radio-Canada diffusés sur leur chaîne télévisée et leur site Internet, dont 210 portent sur les gangs de rue et 207 sont des nouvelles-témoins. Les résultats suggèrent que les médias audiovisuels et numériques présentent un aspect particulier du phénomène au public. Les reportages au sujet des gangs de rue sont également plus détaillés et profitent d’un traitement médiatique plus important que les autres, peu importe le médium d’information utilisé. Ainsi, indépendamment des éléments classiques qui déterminent ce qui fait une bonne nouvelle, les événements impliquant des gangs et leurs membres semble recevoir un traitement médiatique particulier.

電視產業80年經歷多次創新，從硬體，載體加上視聽播送內容，以及非市場因素的政府介入，交互影養，我們看到內容與平台的創新演變與轉折。如今，資訊科技以新技術破壞式創新，融合多媒體匯流服務，”閱聽眾”收視習慣因而變成了”用戶”。兩方互跨領域與內容，紛紛以「新媒體」之姿跑馬圈地。 『世界是平的』作者，佛克林David Verklin提到，我們生活在一個競爭無止境的世界，代表創新抉擇亦將無止境。電視媒體過去從無線到有線以致數位，一直以持續性創新前進新戰場。如今，競爭對手不只是電視同業，資訊科技異業的攪局與破壞創新，定義出數位時代傳播服務的「新媒體」，將撼動電視媒體霸主地位。潮流所趨，電視媒體「轉型」已勢在必行，如何再次創新以加速就位，是一場嚴峻的挑戰。面對內部組織能力與外部新興科技的專業，都有創新的兩難。本文透過個案研究方式，應用古典與現代學派學者不同的創新論述，分析電視媒體轉型新媒體必備的創新元素與能力，彙整出創新抉擇的思考依循，提醒電視媒體企業經營者應有的創新習慣及演練，避免消失。 研究發現，電視媒體與資訊科技「新媒體」產業因”閱聽眾”與”用戶”概念，創新思維差異很大，以致採取不同價值主張。電視媒體認為資訊科技為輔助角色，直接平移新聞與節目即可。而由資訊科技業或電信網通業者所打造的「新媒體」，則定位在提供用戶最大「量」與「速度」的多媒體匯流服務，並轉載與其他平台一樣的資訊內容即可。事實上，兩者都已在同一個數位競技場，如果內容同質性過高，實難建立”閱聽眾”與”用戶”的忠誠度，更甭說獲利與否。結果顯示，新媒體服務必須滿足“閱聽眾”與“用戶”的概念，才能實踐創新，而創新的抉擇，必須回歸自身資源優勢與資訊科技業互補，共生共榮，才是「新媒體」正軌發展之道。 / TV-Media has been developed for more than 80 years with many transition。Not only technology、carrier but also regulation pushed TV Media heading to a new service。Apply those turnings to the theory of innovation，showed how TV media deal with unexpected future and their innovation phase。In this comprehensive with all kinds of possibility internet world，the new tech of media convergence emerged the「New Media」service，TV towards IT service，IT towards TV content service, which changed viewer’s behavior of seeing and hearing behavior, they became a user，that makes both side wants to be a Player。 As the book of 「The world is flat」writer “Thomas Friedman” says：”We are living in a never-ending competition world which means that takes innovation action is a way to survive”. Via Wireless、Satellite，then deliver the seeing & hearing content through cable to users，TV-media’s competitors are beyond the same trade，and more competitors will be the IT(information technology) business for it can converge all kinds of content and deliver it to TV/PC/Mobile，which defines itself as a「New Media」service。Transforming the way to see and hear with IT heavily involved，TV Media viewer has become a faithful user to the 「New Media」。Does it mean that 「New Media」might shake up TV-Media’s long lasting standing ? To a traditional TV-Media , tackling this innovation step is kind of a dilemma，for it’s current organization that seems not allow them to do so , and without IT-experts support hardly can make any step on what New Media needs。This research has applied Mr. Clayton Christensen’s point of innovation (Harvard Business Professor) to elaborate what were TV-Media’s innovation elements?how to empower those elements ? and some reminder has been figured out to help TV-Media to make the right innovation determination to avoid to be eliminated in media market 。 Accomplished this research , we discover that innovation orientation of TV-Media and IT-Based Media (New Media) are quite different.TV-Media took IT as a supplementary，thus，moving TV program as a New Media content. The IT-Base Media buy the same content to serve user as competitors do,focusing on quantity and speed。Actually both TV and IT , they are toward each other’s territory and battle in the same arena shows that content will be a critical issue。No matter viewer or user,they will not take the same service with repeat content。 Changing to a New Media era ,user behavior will different from sitting in sofa’s watching TV viewers , the content should be distinguished from long duration content。As a PC or mobile phone user , they dominate what content to watch。If the content attract thems or make it as a necessary information for themelves，they must to satisfy user with an innovation determination to consolidate both TV and IT Media’s advantage is necessary to take。 Because innovation will be the only way to breakthrough barrier，and a right way to turn TV-Media itself as a 「New Media」to a sustainable development。

A concept of underworld runs through many cultures. These realms of spirits and the dead generally share several key characteristics, despite their varied and separate traditions. The commonalities among these different mythological places make it possible to generalize certain characteristics as chthonic for descriptive and analytical purposes. The underworld has appeared widely in video games throughout their history. I argue that the remarkable prevalence reflects a formal relationship between the underworld and video games; specific elements in mythic underworlds comprise a chthonic poetics that resonates with video game worlds and affordances. Video games uniquely support the spatial, thematic, and narrative elements that characterize underworlds and the philosophical questions they engage. Embodiment binds these elements together; they are unintelligible without this core perspective. The body sits at the axis of experience in mythic underworlds like the one described by Dante in the Divine Comedy and in game worlds like the one in World of Warcraft. It provides the medium through which we can experience these simulations as worlds rather than mere information structures. Other formal elements give context and direction to that embodied experience, and exploring how these interact with embodiment can expand our understanding of chthonic embodiment and the experience of space in virtual worlds. Three primary forces acting on the agency, subjectivity and control of the body structure that experience, which in turn reflects the ways of being that emerge from chthonic contexts. By incorporating these forces into their gameplay and narrative structure, games provide more direct access to the mythic power associated with the underworld than previous media forms.