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    題名: 男性追韓劇嗎?怎麼追?追什麼?台灣男性閱聽眾收看韓劇的動機與收視方式之初探研究
    Exploring the male audiences’ motivation and viewing patterns of consuming Korean drama in Taiwan
    作者: 林郁庭
    Lin, Yu-Ting
    貢獻者: 許瓊文
    Hsu, Chiung-Wen
    林郁庭
    Lin, Yu-Ting
    關鍵詞: 韓劇
    使用與滿足
    動機
    媒介
    新媒體
    Korean drama
    Use and gratification theory
    Motivation
    Media
    New media
    日期: 2019
    上傳時間: 2019-08-07 17:16:32 (UTC+8)
    參考文獻: 參考文獻
    中文文獻
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    吳孟芯、曾意倫、蘇冠心 (2012)。〈由《犀利人妻》探討台灣偶像劇海外市場競爭力〉,《犢:傳播與科技》,4:60-75。
    李佳玲 (2018)。〈影視作品在文創產業中的角色及影響:以韓劇《燦爛的守護神:鬼怪》為例〉,《教育傳播與科技研究》,118:47-64。
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    段馨君 (2011)。〈e世代戲劇研究:以莎學與電視劇《犀利人妻》為例〉,《資訊社會研究》,21: 86-108。
    徐志翔 (2011)。〈青春偶像潮輻射下青少年世界觀探析〉,《現代商貿工業》,17: 228-229。
    張正杰、 施美雲 (2015)。〈高中職學生手機使用行為與手機成癮傾向之研究〉,《教育傳播與科技研究》,110:41-62。
    張宏杰 (2004)。《滾滾韓流》。台北:知本家文化。
    張卿卿 (2016)。〈線上影音接收、傳散與產製上傳行為探討:多元動機之觀點〉,《中華傳播學刊》,30:61-107。
    陳姿伶 (2009)。〈男人為什麼看韓劇?回應女性羅曼史研究〉,《文化研究月報》,95: 2-14。
    陳婷玉 (2012)。〈愛就是陪他們「看電視」!-成年子女的電視消費與新孝道實踐〉,《廣播與電視》,34: 25-53。
    曾美貞、楊雯如、曾聖文、陳鴻錦 (2016)。〈苗栗縣國中小女性教師人格特質、連續劇收視動機與教學效能間關係之探討〉,《運動休閒餐旅研究》,11(4): 70-93。
    黃俐娟 (2016)。〈傳統與現代的融合:韓流3.0階段韓國穿越劇的發展脈絡〉,《南台人文社會學報》,16:181-213。
    葉乃靜 (2015)。〈大學生觀看線上影音節目之隨興休閒資訊行為研究〉,《圖書館學與資訊科學》,41(2):106-126。
    趙庭輝 (2005)。〈電視偶像劇【薰衣草】:愛情神話的建構與再現〉,《朝陽人文社會學刊》,3(2):131-171。
    劉婧一 (2008)。《應對媒介融合──新環境下的電視節目營銷》。北京:中國傳媒大學出版社。
    蔡琰 (1997)。〈電視劇與社會〉,《傳播研究簡訊》,12(3): 6-7。
    盧亞柔、許碧芳 (2012)。〈建立偶像劇男主角評選模式〉,《廣播與電視》,34: 1-24。
    盧嵐蘭 (2005)。《媒介消費:閱聽人與社會》。台北:揚智。
    謝旻凱、林麗玲、吳奉晟 (2015)。〈台灣大哥大MY VIDEO行動影音平台價值提升策略之探討〉,《資訊社會研究》,59:171-182。
    鍾樂偉 (2014)。〈第一陣「瘋」:K-Pop席捲外星球〉,《韓瘋 : 讓世人瘋狂的韓國現象》,頁 51。香港 : 天窗。
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    英文文獻
    Brown, D., Lauricella, S., Douai, A., & Zaidi, A. (2012). Consuming Television Crime Drama: A Uses and Gratifications Approach. American Communication Journal, 14(1), 47-61.
    Chang, B., Khang, H., Jeong, I., & Chung, J. (2010). Local vs. international television drama: Niche analysis of South Korean audience`s use of Korean, American and Japanese dramas. Conference Papers - International Communication Association, 1-35. Retrieved from Communication & Mass Media Complete(59227474).
    Dal, Y. J. & Tae, J. Y. (2017). The Korean Wave- Retrospect and Prospect- Introduction. International Journal of Communication, 11, 2241-2249.
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    Espiritu, B.F. (2011). Transnational audience reception as a theater of struggle: young Filipino women’s reception of Korean television dramas. Asian Journal of Communication, 21(4), 355-372.
    Garcia-Munoz, N.; & Fedele, M.(2011). Television Fiction Series Targeted at Young Audience: Plots and Conflicts Portrayed in a Teen Series. Comunicar , 37, 133-140.
    Greenwood, D. (2010). Of Sad Men and Dark Comedies: Mood and Gender Effects on Entertainment Media Preferences. Mass Communication & Society, 13(3), 232-249.
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    Hoffman, B. L., Rosenthal, E. L., Colditz, J. B., Mcgarry, R. & Primack, B. A. (2018). Use of Twitter to Assess Viewer Reactions to the Medical Drama, Code Black. Journal of Health Communication, 23(3), 244-253.
    Jeong, J. S., Lee, S. H., & Lee, S. G. (2017). When Indonesians Routinely Consume Korean Pop Culture:Revisiting Jakartan Fans of the Korean Drama Dae Jang Geum. International Journal of Communicat, 11, 2288-2307.
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    描述: 碩士
    國立政治大學
    傳播學院傳播碩士學位學程
    104464019
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0104464019
    資料類型: thesis
    DOI: 10.6814/NCCU201900545
    顯示於類別:[傳播學院傳播碩士學位學程] 學位論文

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