臺灣博碩士論文加值系統

文化創意產業近來在全球各國皆受到重視。在亞洲，南韓於文創產業上的成就斐然，尤以電視劇方面的表現備受矚目。韓劇的風行通常會帶動其相關商品的銷售而產生額外的利潤。本文即以韓劇「原來是美男」為例，欲探究台灣消費者對電視劇周邊商品之態度。本研究運用連結度此構念，來評估收視者與個案劇及其角色們之間，所建立之關係的強度；並以平衡理論來探討主要的研究議題—觀眾對劇中角色的態度、及其對該劇周邊商品的態度之間的關係。此研究之概念係建立於平衡理論的基礎上，以態度其傾向和諧之特性，來解釋消費者、角色、和周邊商品間之三角關係。本研究採網路問卷調查之方式進行資料蒐集，以個案劇的收視者為研究對象來檢測變數間的關係，最後共取得747份有效問卷以進行分析。所使用之分析方法包括描述性統計、單因子變異數分析、和皮爾森積差相關。研究結果顯示：（一）填答者對該劇之周邊商品普遍持正面態度；（二）連結度與對商品之態度呈現正相關；（三）對劇中角色之態度與對商品之態度呈現正相關。這些研究發現，提供了行銷實務上的具體建議；台灣的電視業者應當善加運用周邊商品之策略，以創造出由電視節目領航、進而產生可觀之經濟效應的文化創意產業鏈。

The cultural and creative industries have been receiving increasing attention worldwide. In Asia, South Korea’s achievements in its cultural and creative sector, particularly in television dramas, have been greatly noticed. The popularity of Korean dramas often creates demand for program-related merchandise, which can generate additional benefits. This paper attempts to explore the influence of television drama merchandising on Taiwanese consumers’ attitudes toward the products by taking a Korean TV drama, entitled Minami Shineyo (You''re Beautiful), as a case. The research applies the connectedness construct to evaluate the intensity of the relationship(s) that viewers develop with the case TV miniseries and its characters, and balance theory to address the main research issue on the relationship between attitudes to the drama characters and attitudes to the drama merchandise. The concept is based on balance theory, in which attitude alignment is the interpretation of relationships between a triad composed of the consumer, the drama character, and the drama merchandise. An on-line survey with viewers of the case TV drama was conducted to investigate the relationship among the variables. A total of 747 valid questionnaires were collected and analyzed. The quantitative analysis of the questionnaires was performed using descriptive statistics, ANOVA, and Pearson correlations. Results of this study showed that, in general, the respondents were positive toward the drama paraphernalia. In addition, a positive correlation between viewers’ connectedness and their attitudes toward the products was found. Furthermore, the findings revealed that consumers’ attitudes to the drama characters were positively correlated with their attitudes to the drama merchandise. These results suggest some potential applications for marketing practice. Broadcasters in Taiwan could make greater use of television-based merchandising so that the establishment of a valuable chain of cultural and creative industries led by television programs may be achieved.

TABLE OF CONTENTS

摘要 I
ABSTRACT II
ACKNOWLEDGEMENTS IV
TABLE OF CONTENTS V
LIST OF TABLES VIII
LIST OF FIGURES IX
Chapter One Introduction 1
Background 1
Motivation 3
Purpose of the Study 5
Research Objectives 6
Research Questions 6
Definitions of Terms 7
Research Procedure 8
Organization of the Study 9
Chapter Two Literature Review 11
The Cultural and Creative Industry 11
The Television Industry in Taiwan 16
The Popularity and Effects of South Korean TV Dramas in Taiwan 18
Television Merchandising 21
Relevant Research on Television Merchandising 23
The Case TV Drama—Minami Shineyo (You’re Beautiful) 27
Connectedness 29
Attitudes 33
Balance Theory 35
Marketing applications of balance theory 38
Summary 42
Chapter Three Methodology 44
Research Design 44
Pilot Study 47
Participants 48
Instrumentation 49
Reliability of the Instruments 50
Data Collection Procedure 50
Data Analysis Methods 52
Chapter Four Research Results 53
Demographic Information on the Sample 54
Sample Profile 63
Connectedness 63
Attitudes 69
Attitudes Toward Minami Shineyo and Its Leading Characters 70
Attitudes Toward Minami Shineyo Merchandise 71
Tests of Correlations Between Main Variables 77
Summary 78
Chapter Five Conclusions and Discussion 80
Conclusions 80
Discussion 81
Implications 88
Applications of Connectedness 89
Balance Theory in Television Merchandising 90
Other Issues 92
Limitations of the Study 94
Recommendations for Future Research 94
References 98
Literature in Chinese 98
Literature in English 102
Appendix A Questionnaire (English Version) 109
Appendix B Questionnaire (Chinese Version) 120
Appendix C Frequency Distribution of the Paraphernalia Purchased 130
Appendix D Frequency Distribution of the Three Merchandise Items That the
Respondents Would Be Most Likely to Buy 133
Appendix E Frequency Distribution of the Reasons for Product Choices 136


LIST OF TABLES

Table 1 Definitions of Attitude 34

Table 2 Means and Standard Deviations of the Connectedness Scale 64

Table 3 Analysis of Variance for Connectedness by Age Group 68

Table 4 Analysis of Variance for Connectedness by Occupation Group 69

Table 5 Means and Standard Deviations of Attitudes Toward the Case Drama 70

Table 6 Means and Standard Deviations of Attitudes Toward the Leading Characters 70

Table 7 Analysis of Variance for Attitudes Toward the Leading Characters by Age Group 71

Table 8 Analysis of Variance for Attitudes Toward the Drama Merchandise by Age Group 72

Table 9 Correlations Between Connectedness, Attitude Toward Characters, and Maximum Amount That Would Be Spent 76

Table 10 Correlations Between Connectedness, Attitude Toward Characters, and Attitude Toward Merchandise 77


LIST OF FIGURES

Figure 1. Flowchart of the research procedure. 8

Figure 2. The second-order factor model of connectedness. 30

Figure 3. The unbalanced triad of Mary. 37

Figure 4. Alternative routes to restoring balance in Mary’s triad. 37

Figure 5. The balance model of the current research. 40

Figure 6. Research framework. 46

Figure 7. Distribution of gender. 54

Figure 8. Distribution of age. 55

Figure 9. Distribution of educational background. 55

Figure 10. Distribution of occupation types. 57

Figure 11. Distribution of recoded vocational status. 57

Figure 12. Distribution of disposable income. 60

Figure 13. Geographic distribution of the sample. 61

Figure 14. Distribution of residential status. 62

Figure 15. Actual purchase rate of the drama merchandise. 73

Figure 16. Percentages of respondents by amount spent on drama merchandise. 74

Figure 17. Percentages of respondents by maximum amount willing to pay for drama
merchandise. 75

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