擁有強大票房號召力的恐怖電影，有悖於一般娛樂，是以喚起觀眾恐懼感為賣點。儘管恐懼商機龐大，過往學界卻鮮少討論如何透過不同視聽覺元素，來喚起觀眾更強烈的恐懼，或以恐怖電影的行銷面切入，探討其廣告宣傳效果如何提升，因此本研究選用電影主要廣告形式─預告片，以視、聽覺預告元素的角度切入，檢視恐怖電影預告片如何營造觀眾恐懼感，進而形塑預期觀影愉悅、增加觀影意願；此外，還探討消費者恐懼應對反應及其機制─保護框架的干擾效果。
本研究共執行三個實驗與一個後測，研究結果發現：（1）感知節奏為快的配樂（相較於慢）可以提升恐懼感；（2）超自然類型（相較於真實類型）的恐懼來源會喚起較強烈的恐懼感，且此效果受到恐懼來源與劇中角色空間距離、觀眾恐懼應對反應干擾；（3）就提升恐懼感而言，在宣稱真實事件改編，卻無提供事件名稱的電影預告中，恐懼來源與劇中角色空間距離以近效果為佳，但有提供事件名稱時，空間距離則以遠為佳；在虛擬改編的電影中，空間距離則不影響恐懼感；（4）對恐懼追求者而言，視覺刺激的影響力較聽覺強烈；對恐懼趨避者而言，聽覺刺激的影響力較視覺強烈；（5）恐懼追求者的恐懼感受可直接提升觀影意願，而趨避者則是透過降低預期愉悅而減少觀影意願；（6）恐懼感、預期愉悅感、觀影意願三者的關係，會受到保護框架的干擾，高度框架者在恐懼感對觀影意願的直接與間接效果上皆為正向影響，低度框架者則變為負向影響；（7）透過不同貼近程度的預告場景可設置人工保護框架，並干擾不同恐懼應對反應的觀眾如何回應預告片中的恐懼情緒作用，低貼近場景會弱化恐懼趨避者恐懼感受的負向效果。研究結果為恐怖電影、預告片、感知空間距離、配樂節奏、保護框架等研究領域，提供理論貢獻，並為相關業者提供恐怖電影預告元素之呈現安排的實務建議。

Contrary to general entertainment appealing to positive emotions, horror films, one of popular film genres, attract audiences by immersing them in fear. In spite of a huge business opportunity in horror entertainment, few studies have discussed about how to strengthen audiences’ fear by using different visual and auditory elements in films and considered how to improve the promotion effectiveness of horror films. Thus, this paper chose a main tool of film promotion—film trailers—as the research topic, and investigated the effects of visual and auditory trailer elements on the intensity of fear felt by the audience. In addition, this paper examined the relationship among audiences’ fear, expected pleasure, and intention to see the film to clarify the functional mechanism of fear effects. The possible moderating effects of audiences’ tendencies toward horror and protective frame were also explored.
Three experiments and one post-test were conducted to test the research hypotheses. The results of this research indicate the following key findings. (1) Perceived fast-tempo music elicits higher levels of fear than perceived slow-tempo music. (2) Compared with a non-supernatural horror source, a supernatural horror source evokes higher levels of fear, and this effect is moderated by the spatial proximity between the horror source and the movie character, as well as the tendencies toward horror. (3) When the film trailer claims the film is based on a true story but it does not disclose what the event is, the close spatial proximity between the horror source and the movie character (vs. far spatial proximity) elicits higher levels of fear. However, as the film trailer discloses the name of the true story which the film is based on, the far spatial proximity between the horror source and the movie character (vs. close spatial proximity) elicits higher levels of fear. In contrast, as the film trailer claims the film is based on a fictional story, the spatial proximity between the horror source and the movie character does not affect audiences’ fear. (4) For fear-approaching audiences, the effect of visual stimuli is stronger than the effect of auditory ones. On the contrary, for fear-avoiding audiences, the effect of auditory stimuli is stronger than that of visual ones. (5) For fear-approaching audiences, fear can directly improve the intention to see the film. However, for fear-avoiding audiences, fear will first reduce the expected pleasure and then lead to lower intention to see the film. (6) The relationship among fear, expected pleasure, and intention to see the film is moderated by protective frame. For audiences with high protective frame, both the direct effect and indirect effect of fear on intention to see the film are positive. For audiences with low protective frame, both the direct effect and indirect effect are negative. (7) The scenes differed in the degree of closeness of life can be used to set an artificial protective frame, and this protective frame affects how the audience with different tendencies toward horror respond to the fear evoked by horror film trailers. The scenes with low degree of closeness of life set an artificial protective frame and weaken the negative effect of fear in fear-avoiding audiences.
Research results clarify the mechanism of the effects of audiences’ fear emotions, and enrich the studies on horror film, trailer, spatial proximity, music tempo, and protective frame. The findings can also guide practitioners regarding the appropriate use of horror film trailer elements to generate better promotion effectiveness.

第一章、緒論 1
第一節、研究背景 1
第二節、研究動機與研究問題 2
第三節、研究目的 8
第二章、文獻探討 10
第一節、恐怖電影 10
一、恐怖電影定義 10
二、恐懼來源之類型差異 11
三、恐怖電影之消費者相關研究 11
四、小結 19
第二節、保護框架 19
一、保護框架機制 19
二、保護框架分類 21
三、保護框架相關研究 22
四、小結 24
第三節、距離因果關係 25
一、感知距離的因果作用機制 25
二、感知空間距離之相關研究 26
三、小結 27
第四節、配樂節奏 28
一、電影與預告片的配樂角色 28
二、配樂的廣告效果 29
三、配樂節奏之相關研究 31
四、小結 33
第五節、電影預告片 33
一、預告片定義 33
二、預告片相關研究 35
三、小結 36
第三章、觀念架構與假說推論 38
第一節、觀念架構 38
第二節、研究假說 39
第四章、實驗一 49
第一節、研究方法 50
一、樣本與實驗設計 50
二、實驗刺激與前測 50
三、實驗程序 60
四、變數衡量 62
第二節、分析結果 65
一、研究樣本組成 65
二、變數之平均數、標準差及量表信度分析 67
三、操弄性檢驗 68
四、假說驗證 68
五、討論 74
第五章、實驗一後測 78
第一節、研究方法 78
一、樣本與實驗設計 78
二、實驗刺激 79
三、實驗程序 79
四、變數衡量 80
第二節、分析結果 83
一、研究樣本組成 83
二、變數之平均數、標準差及量表信度分析 85
三、操弄性檢驗 85
四、假說驗證與干擾可能性測試 86
五、討論 92
第六章、實驗二 96
第一節、研究方法 96
一、樣本與實驗設計 96
二、實驗刺激 97
三、實驗程序 98
四、變數衡量 99
第二節、分析結果 103
一、研究樣本組成 103
二、變數之平均數、標準差及量表信度分析 105
三、操弄性檢驗及控制變數檢定 106
四、假說驗證 109
五、討論 116
第七章、實驗三 119
第一節、研究方法 120
一、樣本與實驗設計 120
二、實驗刺激與前測 120
三、實驗程序 127
四、變數衡量 128
第二節、分析結果 132
一、研究樣本組成 132
二、變數之平均數、標準差及量表信度分析 133
三、操弄性檢定 134
四、假說驗證 136
五、討論 155
第八章、結論與建議 162
第一節、研究發現 162
第二節、研究意涵 168
一、理論意涵 168
二、實務意涵 174
第三節、研究限制及未來研究方向 176
參考文獻 185
附錄 201
附錄一：前測一問卷 201
附錄二：前測二問卷 210
附錄三：前測三問卷 214
附錄四：實驗一問卷 216
附錄五：實驗一後測問卷 224
附錄六：實驗二問卷 230
附錄七：實驗三問卷 236

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