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It’’s Not TV: The Spectacular Rise, Revolution, and Future of HBO

為了解決Dramas TV的問題，作者Gillette, Felix,Koblin, John 這樣論述：

The riveting inside story of HBO, the start-up company that reinvented television--by two veteran media reportersHBO changed how stories could be told on TV. The Sopranos, Sex and the City, The Wire, Game of Thrones. The network’s meteoric rise heralded the second golden age of television with se

rialized shows that examined and reflected American anxieties, fears, and secret passions through complicated characters who were flawed and often unlikable. HBO’s own behind-the-scenes story is as complex, compelling, and innovative as the dramas the network created, driven by unorthodox executives

who pushed the boundaries of what viewers understood as television at the turn of the century. Originally conceived by a small upstart group of entrepreneurs to bring Hollywood movies into living rooms across America, the scrappy network grew into one of the most influential and respected players i

n Hollywood. It’s Not TV is the deeply reported, definitive story of one of America’s most daring and popular cultural institutions, laying bare HBO’s growth, dominance, and vulnerability within the capricious media landscape over the past fifty years. Through the visionary executives, showrunners,

and producers who shaped HBO, seasoned journalists Gillette and Koblin bring to life a dynamic cast of characters who drove the company’s creative innovation in astonishing ways--outmaneuvering copycat competitors, taming Hollywood studios, transforming 1980s comedians and athletes like Chris Rock a

nd Mike Tyson into superstars, and in the late 1990s and 2000s elevating the commercial-free, serialized drama to a revered art form. But in the midst of all its success, HBO was also defined by misbehaving executives, internal power struggles, and a few crucial miscalculations. As data-driven model

s like Netflix have taken over streaming, HBO’s artful, instinctual, and humanistic approach to storytelling is in jeopardy. Taking readers into the boardrooms and behind the camera, It’s Not TV tells the surprising, fascinating story of HBO’s ascent, its groundbreaking influence on American busines

s, technology, and popular culture, and its increasingly precarious position in the very market it created.

Dramas TV進入發燒排行的影片

以社會認知理論探討網紅影響下粉絲跨通路持續購買線上英文課程之因素

為了解決Dramas TV的問題，作者蘇愉惠 這樣論述：

本文探討粉絲在網紅YouTube社群上受網紅和其他社群成員影響的線上學習行為變化，同時檢視其對該網紅的付費線上課程持續購買的意願。實證設計係根據問卷調查的資料，透過偏最小平方法-結構方程模式(PLS-SEM)來檢視網紅YouTube社群的影響效果。實證結果顯示：對網紅YouTube社群的認同與在該網紅的付費線上課程之線上學習自我效能、線上學習結果預期之間皆沒有產生顯著的直接影響，但對該網紅的付費線上課程之態度是有直接的顯著影響。而在網紅YouTube社群中所產生的社交互動自我效能以及擬社會關係對該網紅的付費線上課程之態度、線上學習自我效能、線上學習結果預期以及持續購買意願皆有顯著的直接影響，

同時在社交互動自我效能以及擬社會關係兩者也會透過對該網紅的付費線上課程之態度、線上學習自我效能以及線上學習結果預期與持續購買意願之間皆產生中介效果。上述結果反映出，網紅YouTube社群所提供的環境，具有社交互動的線上學習社群之特點，同時有助於該網紅提供更多豐富化的知識及互動，讓社群成員更能夠對線上學習產生正向認知、情感及預期，進而提升社群成員進一步至付費通路持續購買課程之意願，促使社群以及線上課程蓬勃發展。

Build a Bag Book: Tote Bags (Paperback Edition): Sew 15 Stunning Projects and Endless Variations

為了解決Dramas TV的問題，作者Shore, Debbie 這樣論述：

Debbie Shore is a best-selling and award-winning author. She began her career as a children’s television presenter and since then has appeared regularly as an actress in various popular dramas and as a TV presenter. Debbie has developed her own range of fabrics, designed her own patterns, writes for

several popular sewing magazines and has written over 25 books for Search Press with several more underway, of which she has sold 650,000 copies worldwide. She is the winner of Craft Influencer of the Year 2020 in the Craft Business Awards and Social Media Influencer of the Year 2019 in the British

Sewing Awards.Debbie has over 250,000 subscribers on her YouTube channel, which has over 30 million views. In 2018, Debbie launched her Half Yard Sewing Club, a monthly subscription service based on the mega-selling Half Yard(TM) series, and won the 2019 IPG Digital Publishing Award. For more detai

ls about the club visit www.halfyardsewingclub.com.Debbie lives in Lincolnshire, UK. Visit her website www.debbieshoresewing.com

近在咫尺又遙不可及的愛：觀眾的偶像依戀對戲劇中產品置入效果之影響

為了解決Dramas TV的問題，作者盧怡撰 這樣論述：

目前網路科技發展快速，數位匯流開啟了行動影音世代，影音內容除了可以從傳統媒體播出之外，也跨平台延伸至行動載具。媒體資訊的易得性使得戲劇與現代人之間的關係越來越緊密，更加深了戲劇置入中龐大的商機。此外，粉絲經濟也是近年來十分重要的效益來源，不論是粉絲龐大的消費力抑或是迷群群體特有的行為展演，不論對於業界或是學界，都是一項奇特且值得深究的議題。本文以偶像依戀作主軸，結合依戀理論與社會比較理論，檢視女性觀眾的偶像依戀對戲劇中置入產品的態度與後續購買意願之影響，此外，也檢測觀眾的依戀風格類型、偶像的性別以及置入情境差異對於偶像依戀效果之干擾。研究以準實驗法進行，給予受測者真實戲劇置入片段作為刺激後透

過問卷蒐集各變數資料。研究的重要發現為：(1)偶像依戀會提升購買意願，且透過產品態度所正向中介。(2)產品置入於非浪漫情境時，同性偶像 (vs. 異性) 會強化偶像依戀對置入產品態度的正向影響；置入於浪漫情境時，則是異性偶像 (vs. 同性) 更加強化。(3)浪漫的置入情境 (vs. 非浪漫) 會強化偶像依戀對置入產品態度的正向影響。(4)癡迷型 (vs. 安全型) 的偶像依戀對置入產品態度的正向影響是更強的。(5)當產品由同性偶像做置入時，癡迷型 (vs. 安全型&疏離型) 的偶像依戀對產品態度的正向影響是更強的。(6)當產品由異性偶像置入且於浪漫情境時 (vs. 非浪漫) 會強化偶像依戀對

產品態度的正向影響；同性偶像置入時則不受情境影響。本研究結果在理論層面，可對偶像依戀、依戀理論、社會比較理論以及置入性行銷的研究帶來擴展；實務層面除了可以給予品牌端、影視製作端設計置入畫面時實質的建議外，也可將研究發現應用於偶像相關的線上線下活動作品規劃，不論是偶像經紀方或是品牌業者都可以加以參考。