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題名 觀賞數位修復電影的懷舊感與幸福感之關係
The relationship between nostalgia and well-being from watching digitally restored films作者 洪宇萱
Hung, Yu-Hsuan貢獻者 林淑芳
Lin, Shu-Fang
洪宇萱
Hung, Yu-Hsuan關鍵詞 數位修復
電影
懷舊感
歷史懷舊
個人懷舊
意義型幸福感
享樂型幸福感
Digitally Restored
Film
Nostalgia
Historical Nostalgia
Personal Nostalgia
Eudaimonic Well-Being
Hedonic Well-Being日期 2023 上傳時間 2-八月-2023 14:35:22 (UTC+8) 摘要 近年來在台灣陸續有數位修復版電影上映,包括來自以往不同年代與國家的各種電影類型作品,透過數位修復後的新規格版本呈現給觀眾,其中獲得票房佳績與話題討論的不在少數,也讓觀眾透過數位修復版電影的放映觀賞後能獲得不同感受。本研究主要目的在於探討數位修復電影觀眾的個人特質和觀影習慣,對於觀影後所產生的懷舊感以及幸福感之間的關係,其中更進一步將懷舊感分為歷史懷舊與個人懷舊兩種類型,在幸福感方面則分為享樂型幸福感與意義型幸福感兩種類型分析討論。本研究透過問卷調查法蒐集資料後進行研究分析,結果發現針對觀眾個人特質中的懷舊傾向與創新接受度,在觀賞過數位修復電影後所產生的歷史懷舊與個人懷舊程度皆有影響;數位修復電影觀眾的年齡以及是否重複觀賞過同部電影則僅對個人懷舊程度產生影響;數位修復電影觀眾之觀影習慣中的觀影平台與平時觀影頻次對於歷史懷舊與個人懷舊則無產生顯著影響。最後相較於觀賞數位修復電影後所產生歷史懷舊/個人懷舊較低的觀眾,歷史懷舊/個人懷舊較高的觀眾所產生的享樂型幸福感與意義型幸福感皆較高。本研究結果在學術意涵上提供娛樂媒體體驗中的懷舊感與幸福感關係新的研究視角;在實務上則有助於娛樂文化相關業者或延伸至其他產業針對具有懷舊主題的內容或商品做為發行販售及行銷宣傳之參考。
In recent years, Taiwan has witnessed a surge in the theatrical release of digitally restored films, encompassing diverse genres from various eras and countries. Many of these digitally restored films have achieved notable success, garnering either substantial box office earnings or significant acclaim from audiences and critics alike. Consequently, audiences are afforded distinct and varied experiences when engaging with these digitally restored cinematic works.The primary objective of this study is to investigate and elucidate the relationships between audience personal characteristics, movie viewing habits, nostalgia, and well-being ensuing from the consumption of digitally restored films. Within this context, nostalgia is discerningly categorized into historical nostalgia and personal nostalgia, while well-being is classified into hedonic well-being and eudaimonic well-being, laying the groundwork for comprehensive analysis and insightful discourse.In congruence with the research objectives, data is collected through the implementation of a survey method. The findings reveal that both nostalgia proneness and innovativeness among audiences positively impact the levels of historical and personal nostalgia experienced after viewing digitally restored films. Additionally, the age of the audience and their prior exposure to a particular film significantly impact the level of personal nostalgia. However, the platform utilized for watching digitally restored films and the frequency of movie viewing do not exert a noteworthy influence on historical or personal nostalgia. Notably, audiences displaying elevated levels of historical or personal nostalgia following the viewing of digitally restored films also report higher degrees of hedonic and eudaimonic well-being.The contributions of this study are twofold. Firstly, it offers valuable insights and recommendations for the distribution, sales, and marketing of nostalgic-themed content or products within the domains of entertainment, cultural-related industries, and beyond. 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國立政治大學
傳播學院碩士在職專班
110941001資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110941001 資料類型 thesis dc.contributor.advisor 林淑芳 zh_TW dc.contributor.advisor Lin, Shu-Fang en_US dc.contributor.author (作者) 洪宇萱 zh_TW dc.contributor.author (作者) Hung, Yu-Hsuan en_US dc.creator (作者) 洪宇萱 zh_TW dc.creator (作者) Hung, Yu-Hsuan en_US dc.date (日期) 2023 en_US dc.date.accessioned 2-八月-2023 14:35:22 (UTC+8) - dc.date.available 2-八月-2023 14:35:22 (UTC+8) - dc.date.issued (上傳時間) 2-八月-2023 14:35:22 (UTC+8) - dc.identifier (其他 識別碼) G0110941001 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/146702 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院碩士在職專班 zh_TW dc.description (描述) 110941001 zh_TW dc.description.abstract (摘要) 近年來在台灣陸續有數位修復版電影上映,包括來自以往不同年代與國家的各種電影類型作品,透過數位修復後的新規格版本呈現給觀眾,其中獲得票房佳績與話題討論的不在少數,也讓觀眾透過數位修復版電影的放映觀賞後能獲得不同感受。本研究主要目的在於探討數位修復電影觀眾的個人特質和觀影習慣,對於觀影後所產生的懷舊感以及幸福感之間的關係,其中更進一步將懷舊感分為歷史懷舊與個人懷舊兩種類型,在幸福感方面則分為享樂型幸福感與意義型幸福感兩種類型分析討論。本研究透過問卷調查法蒐集資料後進行研究分析,結果發現針對觀眾個人特質中的懷舊傾向與創新接受度,在觀賞過數位修復電影後所產生的歷史懷舊與個人懷舊程度皆有影響;數位修復電影觀眾的年齡以及是否重複觀賞過同部電影則僅對個人懷舊程度產生影響;數位修復電影觀眾之觀影習慣中的觀影平台與平時觀影頻次對於歷史懷舊與個人懷舊則無產生顯著影響。最後相較於觀賞數位修復電影後所產生歷史懷舊/個人懷舊較低的觀眾,歷史懷舊/個人懷舊較高的觀眾所產生的享樂型幸福感與意義型幸福感皆較高。本研究結果在學術意涵上提供娛樂媒體體驗中的懷舊感與幸福感關係新的研究視角;在實務上則有助於娛樂文化相關業者或延伸至其他產業針對具有懷舊主題的內容或商品做為發行販售及行銷宣傳之參考。 zh_TW dc.description.abstract (摘要) In recent years, Taiwan has witnessed a surge in the theatrical release of digitally restored films, encompassing diverse genres from various eras and countries. Many of these digitally restored films have achieved notable success, garnering either substantial box office earnings or significant acclaim from audiences and critics alike. Consequently, audiences are afforded distinct and varied experiences when engaging with these digitally restored cinematic works.The primary objective of this study is to investigate and elucidate the relationships between audience personal characteristics, movie viewing habits, nostalgia, and well-being ensuing from the consumption of digitally restored films. Within this context, nostalgia is discerningly categorized into historical nostalgia and personal nostalgia, while well-being is classified into hedonic well-being and eudaimonic well-being, laying the groundwork for comprehensive analysis and insightful discourse.In congruence with the research objectives, data is collected through the implementation of a survey method. The findings reveal that both nostalgia proneness and innovativeness among audiences positively impact the levels of historical and personal nostalgia experienced after viewing digitally restored films. Additionally, the age of the audience and their prior exposure to a particular film significantly impact the level of personal nostalgia. However, the platform utilized for watching digitally restored films and the frequency of movie viewing do not exert a noteworthy influence on historical or personal nostalgia. Notably, audiences displaying elevated levels of historical or personal nostalgia following the viewing of digitally restored films also report higher degrees of hedonic and eudaimonic well-being.The contributions of this study are twofold. Firstly, it offers valuable insights and recommendations for the distribution, sales, and marketing of nostalgic-themed content or products within the domains of entertainment, cultural-related industries, and beyond. Secondly, it contributes to the existing body of research by shedding light on the complex dynamics that underlie audience responses to digitally restored films, facilitating a deeper comprehension of the relationship between nostalgia, well-being, and cinematic experiences. en_US dc.description.tableofcontents 第一章 緒論 1第一節 研究背景 1第二節 研究動機與目的 7第二章 文獻探討 12第一節 懷舊感 12第二節 幸福感 21第三章 研究方法 27第一節 研究架構 27第二節 問卷調查法 29第三節 量表信度分析 35第四章 研究發現 36第一節 樣本描述性統計 36第二節 主要研究發現 38第三節 其他研究發現 48第五章 研究結論與建議 50第一節 研究討論 50第二節 研究貢獻 56第三節 研究限制與未來建議 59參考文獻 61附錄一:問卷量表中英對照 82附錄二:問卷 86附錄三:受訪者觀賞數位修復電影之原版電影發行年份分配 91 zh_TW dc.format.extent 2048552 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110941001 en_US dc.subject (關鍵詞) 數位修復 zh_TW dc.subject (關鍵詞) 電影 zh_TW dc.subject (關鍵詞) 懷舊感 zh_TW dc.subject (關鍵詞) 歷史懷舊 zh_TW dc.subject (關鍵詞) 個人懷舊 zh_TW dc.subject (關鍵詞) 意義型幸福感 zh_TW dc.subject (關鍵詞) 享樂型幸福感 zh_TW dc.subject (關鍵詞) Digitally Restored en_US dc.subject (關鍵詞) Film en_US dc.subject (關鍵詞) Nostalgia en_US dc.subject (關鍵詞) Historical Nostalgia en_US dc.subject (關鍵詞) Personal Nostalgia en_US dc.subject (關鍵詞) Eudaimonic Well-Being en_US dc.subject (關鍵詞) Hedonic Well-Being en_US dc.title (題名) 觀賞數位修復電影的懷舊感與幸福感之關係 zh_TW dc.title (題名) The relationship between nostalgia and well-being from watching digitally restored films en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 王欣妤(2023年3月1日)。〈悲情城市票房650萬 刷新經典重映作開片紀錄〉,《中央通訊社》。取自https://www.cna.com.tw/news/amov/202303010212.aspx 吳明隆(2010年)。《SPSS操作與應用:變異數分析實務》台北市:五南圖書出版公司李克珍(1986)。〈大學生到電影院看電影的動機與行為研究〉。輔仁大學大眾傳播研究所碩士論文。李佩璇(2014)。〈消費者觀賞續集電影之決策:品牌管理觀點〉。政治大學國際經營與貿易研究所碩士論文。李睿琳(2020)。〈媒體懷舊中享樂感與欣賞感對於幸福感的影響:檢視臉書與IG中「我的這一天」〉。政治大學國際傳播英語碩士學位學程碩士論文。杜瑞澤、杜雅雯(2019)。〈以心理學觀點探討幸福感品牌形象關鍵法則〉,《設計學報》,24(3):1-24。林怡靖(2009)。〈文化與懷舊感的關聯性探討-以電影「艋舺」為例〉。交通大學經營管理研究所碩士論文。林家五、郭子嘉、張書豪(2010)。〈懷舊氣氛對正向情緒與後續購買意願影響之探討〉,《行銷評論》,7(3):275-295。林庭安(2020年12月7日)。〈2020MVP|《末代皇帝》破「修復片」票房紀錄!甲上娛樂如何為老電影找新觀眾?〉,《經理人》。取自:https://www.managertoday.com.tw/articles/view/62082?林瑞德(2021)。〈Incremental Role of Cognitive Beliefs in Psychological Well-Being over Subjective Health and Interpersonal Relations〉,《哲學與文化》,48(5):131-149。祁玲(2020年9月22日)。〈晚一步就來不及! 片子死了時代記憶也消失了〉,《鏡週刊》。取自https://www.mirrormedia.mg/story/20200917insight012/ 邵鈺珊(2020年10月4日)。〈4個發現,從影視觀看喜好看男女思維差異〉,《關鍵評論網》。取自https://research.tnlmedia.com/article/64胡晉置(無年代)。<時光完全修復手冊(1):我們抵抗時光遺忘的理由>,《國家電影及視聽文化中心》。取自:https://edumovie-tfai.org.tw/article/content/736 高千容(2019年1月24日)。〈【12月電影社群數據(上)】當數位修復經典再度成為院線電影:25週年《霸王別姬》的社群魅力〉,《QSearch》。取自https://blog.qsearch.cc/2019/01/%E3%80%9012%E6%9C%88%E9%9B%BB%E5%BD%B1%E7%A4%BE%E7%BE%A4%E6%95%B8%E6%93%9A%EF%BC%88%E4%B8%8A%EF%BC%89%E3%80%91%E7%95%B6%E6%95%B8%E4%BD%8D%E4%BF%AE%E5%BE%A9%E7%B6%93%E5%85%B8%E5%86%8D%E5%BA%A6%E8%AE%8A/《國家電影及視聽文化中心》(2022)。取自:https://www.tfai.org.tw/ 張懷慈、許富傑(2017年7月21日)。〈懷舊電影修復潮!經典電影紛紛再映 讓影迷重溫當時感動〉,《三立新聞網》。取自https://www.setn.com/News.aspx?NewsID=275204莊啟祥(2021)。〈2020年台灣發行票房市場綜論分析〉,《2021台灣電影年鑑》。新北市:國家電影及視聽文化中心。陳逸穎(2017)。〈影響院線電影消費行為因素探討〉。高雄師範大學表演藝術碩士論文。陸洛(2005)。〈In pursuit of happiness: The cultural psychological study of SWB〉. 中華心理學刊, 47(2), 99-112.曾芷筠(2010)。〈懷舊與侯孝賢都市電影美學:《戀戀風塵》、《南國再見,南國》、和《千禧曼波》〉。中央大學英美語文學碩士論文。項貽斐(2017年4月7日)。〈【老電影的新樂園】數位重映再現生機〉,《鏡週刊》。取自https://www.mirrormedia.mg/story/20170403ent021/ 項貽斐(2023年2月25日)。〈【娛樂透視】《悲情城市》4K數位重映 老電影創聲量吸引新世代〉,《鏡週刊》。取自https://www.mirrormedia.mg/story/20230217insight001/ 黃保慧(2022年9月12日)。〈「神隱少女」奪中秋假期票房冠軍 吉卜力首度加碼寵粉〉,《聯合報》。取自https://stars.udn.com/star/story/10090/6607386 楊宏達(2015)。〈電影產業數位化之電影修復研究〉。實踐大學工業產品設計學系在職專班碩士論文。楊俊明(2017)〈回歸美好年代:經濟不安全感對懷舊訴求廣告效果的促進作用〉,《管理學報》,34(4):577-605。廖福生(2022年7月15日)。〈《少年吔,安啦!》徐小明曾想放棄拍電影 因這2人重拾導演筒〉,《TVBS新聞網》。取自https://news.tvbs.com.tw/entertainment/1849241 膝關節(2020年12月7日)。〈2020 台灣十大經典重映電影票房出爐 數位修復成為後疫情時代主流了嗎?|2020 年度回顧專題〉,《Yahoo奇摩電影》。取自https://movies.yahoo.com.tw/news/%E5%B9%B4%E5%BA%A6%E5%9B%9E%E9%A1%A7-2020-%E5%8F%B0%E7%81%A3%E5%8D%81%E5%A4%A7%E7%B6%93%E5%85%B8%E9%87%8D%E6%98%A0%E9%9B%BB%E5%BD%B1%E7%A5%A8%E6%88%BF%E5%87%BA%E7%88%90-%E6%95%B8%E4%BD%8D%E4%BF%AE%E5%BE%A9%E6%88%90%E7%82%BA%E5%BE%8C%E7%96%AB%E6%83%85%E6%99%82%E4%BB%A3%E4%B8%BB%E6%B5%81%E4%BA%86%E5%97%8E-124640237.html蔡旻峻(2018)。〈台灣電影觀眾的觀賞動機與消費行為研究〉。中山大學劇場藝術學系碩士論文。鄭秉泓(2020年8月9日)。〈2020時光,被疫情偷走,被修復老電影和戲院復活〉,《端傳媒》。取自https://theinitium.com/article/20200809-culture-old-movies-in-plague/ 鄭閔聲(2022年7月8日)。〈《少年吔,安啦!》數位修復版上映!30年前遭新聞局禁播,為何成為跨世代影迷重映首選?〉,《今周刊》。取自https://www.businesstoday.com.tw/article/category/183030/post/202207080034蕭至惠(2012)〈懷舊廣告果真為銷售萬靈丹?-從集體懷舊觀點探討懷舊廣告對台灣嬰兒潮世代的影響。〉,《行銷科學學報》,8(2):117-146。謝麗華(2016)。〈電影數位修復應用模式之研究—以國家電影中心為例〉。台灣藝術大學電影學系碩士論文。魏莉娟(2019)。〈尋找最初的感動:探討懷舊電玩遊戲、懷舊情緒、幸福感與原真性知覺關係之研究〉。政治大學傳播學院傳播碩士論文。蘇詠智(2022年9月2日)。〈「捍衛戰士」台灣票房熱 首集4K版將回戲院和續集連映〉,《聯合報》。取自https://stars.udn.com/star/story/10090/6584760Abeyta, A. 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