政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/114958

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/114958

English | 正體中文 | 简体中文 | Post-Print筆數 : 27 | 全文笔数/总笔数 : 112721/143689 (78%)
造访人次 : 49541248 在线人数 : 1036

RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.

搜寻范围

查询小技巧：

您可在西文检索词汇前后加上"双引号"，以获取较精准的检索结果

若欲以作者姓名搜寻，建议至进阶搜寻限定作者字段，可获得较完整数据

进阶搜寻

主页 ‧ 登入 ‧ 上传 ‧ 说明 ‧ 关于政大典藏 ‧ 管理

到手机版

政大機構典藏 > 傳播學院 > 傳播學院碩士在職專班 > 學位論文 > Item 140.119/114958

请使用永久网址来引用或连结此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/114958

题名:	台灣電視氣象播報傳播研究--以一個颱風的生與死為例 TV Weathercast in Taiwan – A Case Study on the Life Cycle of a Typhoon
作者:	陳秀鳳
贡献者:	關尚仁王亞維陳秀鳳
关键词:	颱風氣象主播氣象傳播科學傳播訊息呈現媒體設計 Typhoon Weather presenter Meteorological communication Science communication Message presentation Media design
日期:	2017
上传时间:	2017-12-01 12:05:52 (UTC+8)
摘要:	全球極端氣候、天災頻仍，氣象訊息與民眾生活息息相關，根據中央氣象局104年調查，民眾獲得氣象資訊的管道仍以「電視」占最多數，氣象傳播是科學傳播的一環，本研究以一個颱風從生到死為範圍，對四位電視氣象主播晚間新聞時段氣象預報，分訊息呈現、媒體設計、播報展演等三個層面進行內容分析，並輔之以四位主播的深度訪談，探討國內電視氣象主播在颱風警報發佈前、警報發佈期間與警報解除後，如何對閱聽大眾進行傳播。近年來由於媒體競爭激烈，使得電視氣象預報從颱風還在一兩千公里外就開始眾聲喧嘩。本研究發現，氣象主播的科學背景會影響其颱風播報敘事結構，對於尚處遙遠的颱風，任立渝、林嘉愷用語比較保守，戴立綱語多暗示，王淑麗暗示性最強、使用篇幅也最多。在警報發佈期間，任立渝偏重颱風分析，林嘉愷擅長運用圖表解析即時風雨狀況，戴立綱敘事強調生活化提醒閱聽人防颱防淹水，王淑麗用語相對生動活潑、善用周遭事物比擬陳述颱風。在颱風警報解除後，任立渝、林嘉愷和戴立綱立即恢復平日氣象播報格式，惟王淑麗仍停留颱風訊息的陳述。在媒體設計上，林嘉愷使用的虛擬棚、鏡面和圖表，在視覺化的設計和呈現都較其他三人為佳。在播報展演上，四位主播各有風格，任立渝誠懇嚴肅、林嘉愷草根親和、戴立綱急切亢奮、王淑麗則走輕鬆活潑路線。手勢和觸控筆是氣象主播很重要的展演，手勢是一種肢體表演，觸控筆則是展現專業分析的工具，視覺性的動態展演是聚焦觀眾注意力的方式。綜觀分析結果，本研究也提出颱風氣象播報準則，氣象主播的長期專業形象是其一，訊息呈現的敘事結構必須隨著颱風逼近而機動調整，當颱風地處遙遠時，對於颱風的敘事以「教育」觀眾大氣環境變化為主；當颱風逐漸靠近時，颱風動態路徑的解析說明展演能力，是氣象播報的決勝關鍵；當颱風警報發佈後，對台灣陸地影響的預估解釋能力則是觀眾收視關切的重點。至於搭配的氣象鏡面宜以視覺化為原則，追求圖表色調文字簡單明瞭且可視性高，並且讓觀眾熟悉且習慣這些圖表規格的呈現，惟須避免造成視覺疲勞。而展演方式則視個人風格特色而定，有些人適合沈穩嚴肅，有些人適合親切活潑，但考量電視是視覺展演的平台，動的畫面會比靜的畫面吸引觀眾，不論是眼神、表情、手勢、觸控筆、左右走動都是牽動觀眾視覺的重要元素，讓主播的講解、動作與鏡面三者在視聽感官上的互動，達到人機一體展演的效果。氣象主播的個性發揮與風格確立，關係品牌形象與信賴感。專業氣象人有過實務或學術訓練，如果加上好的展演訓練及觀眾緣，或者是非氣象專業的新聞人，經由豐富的新聞訓練及額外自修，都能獲得觀眾的喜愛與信賴。本研究經由對四位氣象主播播報的分析與歸納，最後提出一套颱風氣象播報準則，俾以提供有志從事電視（影音）氣象播報工作者之參考。 Since the world has experienced extreme weather and natural disasters constantly, weather information has been closely related to the lives of human being. According to the survey conducted by the Central Meteorological Bureau in 2015, TV is still the main channel for the public to access to meteorological information and meteorological communication is a part of science communication. Based on a typhoon from the birth to death, this study explores 4 weather presenters during prime time broadcasting by the use of content analysis which includes 3 aspects: message presentation, media design and performace. Also, by conducting in-depth interviews with the 4 presenters, this study examines how the domestic weather presenters communicates with the public before and during the authorities announces the typhoon alert, and after the alert is lifted. News media face fierce competition in recent years which leads to the rise of infotainment. For example, TV weather presenter starts to dramatize the strength of typhoon when it`s just 1000km or 2000km away. This study found that presenter’s academic background in science does affect the structure of narration. When typhoon is still far away and the impact is variable, Ren Li-yu and Lin Jia-kai are more likely to present with a conservative tone while Dai Li-kang is more suggestive. Wang Shu-li has the strongest suggestive tone. During the alert, Ren Li-yu focuses on the typhoon analysis, Lin Jia-kai is fond of using charts and graphics to analyze the current wind speed and rainfall. Dai Li-gang puts more emphasis on reminding audience to be cautious and to do as much as one can to prevent the typhoon. Wang Shu-li’s style is relatively lively and she tends to make an analogy with surrounding things to describe the typhoon. After the typhoon alert is lifted, Ren Li-yu, Lin Jia-kai and Dai Li-gang resumes to the usual weather broadcasting style immediately. However, Wang Shu-li’s way of presenting stays the same. From the aspect of media design, Lin Jia-kai presents in a virtual studio with particular TV screen layout, charts and graphics which is clearer and better than the other three. When it comes to performace style, the 4 presenters have their own style, Ren Li-yu is sincere and serious. On the other hand, Lin Jia-kai is more approachable and affinitive. Dai Li-gang seemed to be more aggressive and provocative. Lastly, Wang Shu-li tends to present the program with a lively style. Gestures and stylus could be important tools while presenting. Gesture weighs during broadcasting while the stylus could be used to show their professionalism, attracting more viewers. From the results of the analysis, the study also proposed typhoon forecasting criteria, first of all, the weather presenter’s long-term professional image. The narrative structure of the message must be adjusted as the typhoon approaches. When the typhoon is far away, the narration should be focused on “educating” the audience the knowledge of the atmospheric environment. While the typhoon is gradually close, the capacity to analyze the typhoon is the key to prevail against others. When the typhoon alert is announced, the ability to explain how the typhoon would impact Taiwan is the concern of audience. The key principle for weather forecast`s animated background is visualization. The graphics and texts should be simple and easily digestible. Also, the program should let viewers absorb and familiarize with these presented charts. One thing that needs be avoided is visual fatigue. In terms of performace, some presenters are calm and serious, some are cordial and lively. Since television relies heavily on visualization, moving pictures are more eye-catching than still images. Otherwise, both eye contact and facial expressions, gestures, the use of touch pen, or even the body movement all play a dispensable role. Combining weather presenter’s narrative, gesture and chart, can deliver the best weather forecasting performance. TV weather presenter’s personality and personal style establishment is helpful to build brand image and earn the trust of the audience. Professional weather presenter with practical and academic training, plus good performance training; or for journalist without meteorological background, through abundant professional news training and self-study, they can win audience’s heart and trust.
參考文獻:	中文部分王石番（1991）。《傳播內容分析法：理論與實證》。台北：幼獅。史景遷（1969）《改變中國》。台北：時報出版。（原書Jonathan D. Spence [1969] . To Change China: Western Advisers in China, 1620-1960, 溫洽溢譯 [2015]）任立渝（2000）《看電視學氣象》。如田傳播有限公司-任立渝氣象工作室。p.60 汪益譯（1999）。《預知傳播紀事》。台北：台灣商務。（原書Eric, McLuhan & Frank. Zingrone [1995] Essential McLuhan）阮水根等（2005）。《電視氣象服務與標準化研究》。北京：氣象出版社。李天任藍莘譯（1995）。《大眾媒體研究》，台北：亞太。（原書Wimmer R.D.&; Dominick J.R. [1991]. Mass Media Research：An Instroduction. Belmont, CA: Wadsworth）李宗祐（2009）。〈氣象局要講民眾聽得懂的話〉，《中國時報》，頁 A4。邱永滸（2017）。《氣象主播的工作知識與形象經營之研究-以東森氣象為例》。世新大學資訊傳播學研究所碩士論文。沈錦惠（2005）。〈社群之知vs.客觀之知：從電子口語看電子新聞〉，《新聞學研究》82：1-40。屈雅利（2010）。〈略論電視氣象節目主持人的傳播素質〉。中國西安市：新聞素質，11，67-68。秦琍琍李佩雯蔡鴻濱（2010）。《口語傳播》。台北：威仕曼文化。頁5。高敬雯（2011）。《國語流行歌曲融入國中國文修辭教學之行動研究》。淡江大學課程與教學研究所碩士論文。許澤民譯（2004）。《個人知識:：邁向後批判哲學》（原作者：Michael Polanyi）。臺北市：商周文化。（原著出版年：1958）陳向明（2002），《社會科學質的研究》。台北：五南。陳伯璋（1990）。《教育研究方法的新取向－質的研究方法》。台北：南宏圖書公司。陳炳宏（2017年9月16日）。〈颱風一個轉彎甩出媒體怪象〉。《聯合報》民意論壇。陳建宏王善芳（2015）。〈淺談氣象節目主持人的综合素質〉。中國四川：西部廣播電視，20，150-155。陳琳劉新苗黃鈺婷（2016）。〈論電視氣象節目主持人的有聲、無聲語言〉。重慶市：移動信息，2016第1期，33。郭倩文（2008）。〈台灣有線電視新聞主播的展演類型研究〉。世新大學口語傳播學系碩士論文。張霄亭等人譯（2003）。《視覺傳播》。台北市：雙葉書廊有限公司。頁180-181。（原書 Lester, P. M. [1995]. Visual Communication：Images with Messages. Belmont, Calif. : Wadsworth Pub. Co.）黃政傑（1998）。《質的教育研究：方法與實例》。台北：漢文。黃俊儒（2009）。〈笨蛋，問題不在氣象口語化〉。《中國時報》。取自 http://reader.roodo.com/lchintwnews/archives/10399081.html 黃俊儒（2014）。〈科學傳播中「確定」與「不確定」的敘事：以莫拉克風災之系列報導為例〉。《科技醫療與社會》19：73-116。黃俊儒（2015）。〈當媽媽說：「再不好好讀書，以後就去當上知天文下知地理的氣象主播」時〉。《聯合報》。取自 https://opinion.udn.com/opinion/story/6077/707368 黃新生（1994）。《電視新聞》。台北：遠流。黃新生（1995）。《電視媒介管理》。台北：廣電基金會。彭啟明（2007）。〈專業氣象播報不敵美女牌〉，WEATHERRISK。取自 https://www.weatherrisk.com/index.php/news-media/media/1293-professional-weatherman-lost-beauty-brand 彭啟明（2012年8月24日）。〈恐怖的是不專業的氣象新聞〉，《聯合報》民意論壇。賈敏（2015）。〈建立氣象主持人行業標準體系至關重要—“氣象先生”宋英傑解讀國外氣象主持人發展現狀及啟示〉。中國氣象局網站。取自 http://www.cma.gov.cn/2011xwzx/2011xqxxw/2011xqxyw/201507/t20150702_286611.html 葉夢姝陳力丹. (2011)。〈天氣信息大眾傳播的發展歷程回顧〉，《Advances in Meteorological Science amd Telechnology氣象科技進展》1(2), P43-45。熊台玉（2002）。《熊台玉的氣象魔法書》。台北：法蘭克福國際工作室。鄭明典. (2012)。天氣預報資訊傳遞。取自鄭明典臉書 https://www.facebook.com/mdc.cwb/posts/122078614598136 鄭明椿譯（1993）。《解讀電視》。臺北市：遠流。（原書 Fiske, J. [1978]. Reading television）劉昭民（1980）。《中華氣象學史》。台北：商務。劉興欽（2005）。《吃點子的人：劉興欽傳》。台北：聯經。潘明宏、陳志偉譯（2003）。《最新社會科學研究方法》。台北：韋伯文化。（原書 Frankford-Nachmias, C. & Nachmias, D. [2000]. Research methods in the social sciences. New York, NY：Worth Publishers.）關尚仁譯（2009）。《科學家的致勝寶典-傳播科學》。台北：台灣科普傳播事業催生計畫統籌與協調中心。頁41-48。（原書Carrada, G.[2006] Communicating Science: A Scientist`s Survival Kit. Luxembourg: Office for Official Publications of the European Communities.）關尚仁（2013）。《科學影視品質管理研究》。台北:台灣科普傳播事業發展計畫計畫辦公室。關尚仁莫季雍（2011）。《科學家的致勝寶典傳播科學-在地篇》。台北：台灣科普傳播事業催生計畫統籌與協調中心。羅世宏譯（1992）。《傳播理論：起源、方法與應用》，台北：時英。（原書 Severin, W.J. & Tankard, J.W. [1992]. Communication theoires : origins , methods, and uses in the mass media. New York：longman. 蕭菊貞（1997）。〈馮鵬年好久不見大家的美好回憶〉，《中國時報》第43版。騰達（2013）。〈淺談氣象主播在天氣預報節目中的定位〉。哈爾濱市-黑龍江氣象第30 卷第 1 期，44-45。英文部分 Anderson, K. (2005). Predicting the weather [electronic resource] : Victorians and the science of meteorology. In I. ebrary (Ed.). Chicago: Chicago : University of Chicago Press. Chaiken, S., & Eagly, A. H. (1983) .Communication modality as a determinant of persuasion：Therole of communicator salience. Journal of Personality and Social Psychology ,45, 241-256. David R., Michael J.(2008). Operational Forecaster Uncertainty Needs and Future Roles. Weather and Forecasting. DOI: http://dx.doi.org/10.1175/2008WAF2222142.1 Ekstrom, M. (2000) Information, Storytelling, attractions: TV Journalism in Three Modes of Communication. Media, Culture & Society, 22(4), 465-492. Emerson, John (2008). Visualizing Information for Advocacy －An Introduction to Information Design, p.34. E.Horn, Robert (1999) Information Design:Emergence of a New Profession. Information Design. edited by Robert Jacobson, MIT,15-30 (web version) Fleming, Gerald (2005) Guidelines on Weather Broadcasting ane The Use of Radio For The Delivery of Weather Information. WMO/TD No.1278 Foss, S. K. (2004). Rhetorical criticism: exploration & practice: Long Grove, Ill.: Waveland Press. Hauser , Gerard A. (2002) .Introduction to Rhetorical Theory (2nd Ed.). P. 247-248. Prospect Heights, IL: Waveland.） Henson, R. (1990). Television weathercasting: a history.Jefferson, N.C.: McFarland.p.35 Henson, R. (2011). Weather on the air : a history of broadcast meteorology. Boston, MA : American Meteorological Society : Imprint: American Meteorological Society. P.87 Hullinger, Jessica (2016). 11 Behind-the-Scenes Secrets of TV Meteorologists. 取自http://mentalfloss.com/article/73983/11-behind-scenes-secrets-tv-meteorologists Kvale, S. (1996). Interviews：An Introduction to qualitative research interviewing. Thousand Oaks , CA: Sage. p.88 McManus, J. H. (1994) Market-driven journalism : Let the citizen beware? Newbury Park, CA: Sage Publications. Pennesi, Karen (2007). Improving Forecast Communication: Linguistic and Cultural Considerations. Bulletin of the American Meteorological Society. DOI: http://dx.doi.org/10.1175/BAMS-88-7-1033 Raimondi, A. (2009). The communicative process of weather forecasts issued in the probabilistic form. Journal of Science Communication, 8(1), 1-12. Richard Doherty & Kevin G. Barnhurst(2009). Controlling Nature: Weathercasts on Local Television News, p.211-226. Rodriguez, H., Diaz, W., Santos, J. M., & Aguirre, B. E. (2006). Communicating Risk and Uncertainty: Science, Technology, and Disasters at the Crossroads. In H. Shoemaker, P. J. (1996). Mediating the message: theories of influences on mass media content. In S. D. Reese (Ed.): New York: Longman. Tufte, E. R. (1985). The visual display of quantitative information. Journal for Healthcare Quality, 7(3), 15.
描述:	碩士國立政治大學傳播學院碩士在職專班 104941001
資料來源:	http://thesis.lib.nccu.edu.tw/record/#G1049410011
数据类型:	thesis
显示于类别:	[傳播學院碩士在職專班] 學位論文

文件中的档案:

档案	大小	格式	浏览次数
001101.pdf	7839Kb	Adobe PDF2	967	检视/开启

在政大典藏中所有的数据项都受到原著作权保护.

社群 sharing

著作權政策宣告 Copyright Announcement

1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.

DSpace Software Copyright © 2002-2004 MIT & Hewlett-Packard / Enhanced by NTU Library IR team Copyright © - 回馈