從「資源基礎論」看LINE TV合併案後之內容策略－以BL自製劇為例

Abstract

本研究以個案研究的方式，以「資源基礎論」來探討CHOCO TV以及LINE TV之合併案，了解LINE TV在資源的轉換及影視內容策略的改變，並加入BL劇閱聽人的想法進行討論。\n\n 本研究整理出合併後的LINE TV核心資源包括：資金、品牌知名度、BL自製劇的成功經驗及口碑，此外，母公司LINE的社群資源、LINE旗下週邊集團、LINE對於用戶的瞭解等，都是其他國內外OTT TV業者難以仿效的競爭優勢。也由於LINE在台灣的高市佔率，LINE TV在平台整體的策略上採「本土化」的策略，影視內容以「購片本土化、製片多元化」為大方向，盡可能地補足檯面上所有的台劇片庫，製片上則暫緩BL劇【HIStory】系列的進行，改嘗試更多樣的題材，LINE TV特有的「BL館」採購片方式維持。另外，LINE TV也預計將推出藝文、語言學習的影音專區，擴張影視服務內容。\n\n 本研究認為，LINE TV與CHOCO TV合併之後，主打台劇並暫緩製作【HIStory】系列，使得平台的特色較不鮮明，但多元開發自製劇題材，對影視市場來說是一個好的嘗試，不過應該更善用母公司LINE的豐沛社群資源，加強對目標受眾的了解，進而增進其自製內容的能力，而非僅將資源發揮在宣傳上。此外，BL劇雖不能代表真正的男同志處境，但亦有其社會意義，【HIStory】系列更是一個具有國際口碑的BL劇招牌，業者在處理此類題材時應該更為謹慎。

This study applies case study methods to explore the merger between CHOCO TV and LINE TV from a resources-based view, and to reveal the modification of resources and the strategy of film and television content. The discussion also includes the opinions of an audience targeted to boys’ love content.\n\n The core resources of LINE TV after merger include funds, brand awareness, and the successful experience and reputation in making original boys’ love series. Besides, its parent company LINE provides resources such as social media service, other groups under the company, and the understanding of users. These are competitive advantages hard to duplicate for other domestic and foreign OTT TV service providers. Due to LINE’s high market share in Taiwan, LINE TV as a platform adopts the strategy of “localization.” “Localization of purchasing and diversification of producing” is the main direction of its film and television content. LINE TV endeavors to fill its library with Taiwanese drama on the market, and postpones the production of boys’ love series HIStory to try multiple subjects. Meanwhile, LINE TV maintains exclusiveness by adding purchased content to their boys’ love collection. In the future, LINE TV will also roll out art and language learning sections, expanding the content of their service.\n \n After the merger between LINE TV and CHOCO TV, the platform is less distinctive since it postponed the HIStory series and featured Taiwanese dramas. In terms of market, it is a valid attempt to develop multiple subjects for original productions. But it should make the best of social media owned by its parent company LINE. Resources of social media should be utilized to deepen its understanding of target audience and enhance its ability to produce original content, rather than merely to promote. Although boys’ love drama cannot represent the real situation gay men face, the genre has its social significance. HIStory series is a signature boys’ love drama with an international reputation. Thus, the company should be more cautious when dealing with such subjects.