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https://nccur.lib.nccu.edu.tw/handle/140.119/141088
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| Title: | 《暗光鳥》影視文創開發計劃
The TV Series 《NIGHT HERON》 Cultural and Creative Development Plan |
| Authors: | 林英作
Lin, Ying-Tso |
| Contributors: | 鄭至甫
Jeng, Jyh-Fu
林英作
Lin, Ying-Tso |
| Keywords: | 影視媒體
文創計劃
智慧財產權
影集
奇幻懸疑
黑色幽默
家庭倫理
Film and television media
Cultural and creative projects
Intellectual property
TV series
Fantasy suspense
Black humor
Family ethics |
| Date: | 2022 |
| Issue Date: | 2022-08-01 17:34:39 (UTC+8) |
| Abstract: | 影集（TV series）是以單集為播放單位，且為多集數、一段時間放映的戲劇節目。台灣以往常見的影集如同早期日劇及韓劇的連續劇形式，按集播放直至全部故事結束，而今受到美國影集的影響，台灣戲劇也開始以季為製作及播放的段落。美國影集一季從十二集至廿五集不等，全部節目有幾季則看收視率而定，這種影視媒體的戲劇節目規格在網路平台上已成為跨國際的主流，也是台灣時下最火熱的戲劇形式。
本文創計劃即以「影集」做為創作標的，進行原創內容的劇本開發。執行程序從市場研究開始，了解整體市場趨勢及目標觀眾喜好，並據此提出計劃構想。之後，秉持著越在地、越國際的精神，從現實生活中取材，挖掘台灣特色風情且兼具人類共通性的故事題材，並參考同類型作品的成功經驗，擘劃藍圖，逐步完成影集劇本，以及預想未來的影視製作和行銷計劃。
完成劇本可謂修成正果，不過，成就唐僧的不是經書，而是那條取經的路。文創產業的內容開發是一個對內誠意正心、對外感同身受的探索過程，這一路走來持續地學習與成長是彌足珍貴的。完成此篇論文將時刻提醒著自己，在經營文創產業中要保有敏銳的覺察能力，也希冀這份紀錄對同樣走在創作路上的朋友們有所助益。
TV series is a drama program that is broadcasted in single episodes and is shown for a long period of time. In Taiwan, the series used to be like the early Japanese and Korean dramas, which were broadcasted in episodes until the end of the story. Nowadays, influenced by the American series, Taiwanese dramas are also produced and broadcasted in seasons as separate segments. A season of American TV series ranges from twelve to twenty-five episodes, and the number of seasons of all shows depends on the ratings. This kind of audio-visual media has become the mainstream of international drama on the internet platform and is also the hottest form of drama in Taiwan nowadays.
This creative project is to develop the original script with "TV series" as the target of creation. The implementation process starts with market research to understand the overall market trend and target audience preferences and propose project ideas accordingly. Afterwards, with the fundamental spirit of "the more local, the more international", we take the material from real life, explore the story topics with Taiwan`s characteristics and the commonality of human beings, and make reference to the successful experience of similar productions to draw up a blueprint to gradually complete the script of TV series, as well as to anticipate the future production of film and television media and marketing plans.
The completion of the screenplay is an achievement; however, it is not the scriptures but the road to get the scriptures that makes the Monk achieve the accomplishment. Content development in the cultural and creative industry is a process of exploring with sincerity and righteousness internally and with empathy externally.
The learning and growth gained along the way are invaluable. Finishing this thesis will always remind me that it is necessary to maintain a keen ability to perceive in the management of the cultural and creative industry. And, I hope this thesis will be helpful to friends who are also on the road of creation as me. |
| Reference: | 中央社「文化+」（2022）。《做戲的人─新台劇 在路上》。臺北：INK印刻文學，初版，頁17-19。
李令儀（2019年7月30日）。〈賣座與否誰能料？文創市場需求不確定的風險與機會〉。June 10, 2022檢索自巷仔口社會學：https://twstreetcorner.org/2019/07/30/leelingyee/
林玉凡（2015年11月7日）。〈數位收視調查市場的全新賽局〉。March 22, 2022檢索自大數聚Big Data Group：https://group.dailyview.tw/article/detail/4
許愷洋（2019年10月8日）。〈數據出爐｜跨代收視習慣大不同，長者網路收視率大漲〉。March 24, 2022檢索自iSURVEY東方線上：https://www.smartm.com.tw/article/36303632cea3
蔡念中、王怡惠、曾筱媛、黃世蕙、周佳穎、梁曼嫻（2019年4月）。《數位經濟下我國影音OTT收視聽衡量機制於商業運作模式之初探》。國家通訊傳播委員會107年委託研究報告（編號：PG10706-0051），頁4。
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維基百科編者（2022）。竈門炭治郎。March 30, 2022檢索自：https://zh.m.wikipedia.org/zh-tw/%E7%AB%88%E9%96%80%E7%82%AD%E6%B2%BB%E9%83%8E
顏理謙（2016年10月14日）。〈內容決勝負！台灣OTT百家爭鳴〉。March 22, 2022檢索自數位時代：https://www.bnext.com.tw/article/41346/taiwan-ott |
| Description: | 碩士
國立政治大學
經營管理碩士學程(EMBA)
107932097 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0107932097 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU202200765 |
| Appears in Collections: | [經營管理碩士學程EMBA] 學位論文
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