資訊時代的數位革命，使人類接收訊息的方式從紙本閱讀轉換成視覺圖像的觀看，記錄圖像之工具唾手可得，以影像作為記錄生活的時代也就此展開，人能透過影像記錄更複雜的人類行動，並且通過傳播媒介對整個社會產生刺激。
本研究以個案方式呈現導演陳文彬2016年的紀錄片作品《此後》從緣起到作為歷史影像檔案存在的歷程，探究在肩負社會責任的影像媒體創作者如何將議題的靈感想法轉換為具邏輯的創作與社會連結、溝通，藉由創作者的決策行動實現一部真實卻不失藝術的作品，同時發現創作者、工作團隊與觀影者之間通過心理契約產生緊密連結，並為紀錄片創造出感情、信念、認知和價值觀等隱性資源所構成的情緒資本。在電影產業這些不同層次的關係中，通過結構化梳理，關係的足跡是有脈絡可循的。研究將以管理角度切入藝術創作的思維，將大眾認知中相對感性的藝術通過理性的管理意涵詮釋作品的形塑及產業內關係人的互動連結。
本研究旨在彙整出「創作者面對議題的靈感如何通過管理形塑出具邏輯的作品與社會連結」，以提供其他創作者一個可依循的創作構框模型，梳理出具藝術性且富社會意義的紀錄片。

The digital revolution in the information age has transformed the way that human how to receive informations – shifting from reading on paper to viewing visual images. Multiple and variable tools to produce images is accessible, therefore the usage of keeping record through visual mediums has been proliferated. The general public is enabled to document more complex human actions through visual documentation. Meanwhile, the easiness for disseminating information will further spur the society as a whole to be reflected and to be inspired.
This case study presents the 2016 "From now on" directed by Akira Chen, as an image archive of historical importance to explore how visual creators, who are assumed to increase public awareness of a variety of social issues. Furthermore, how their ideas transformed into creations is approachable through logical arguments and storytelling. In use of a series of decision-making, creators are able to achieve work of actuality while maintaining artistic influence. The psychological contract is existed among creators, producers and viewers, and it generated emotional capital inadvertently, building up emotions, beliefs, cognition and values within the sphere of documentary.
Among the multilateral relationships between the documentary creators and their subjects, how they are formed is traceable and can be examined through structural methodology. With managerial mindset in the aspects of artistic creations, creators are empowered to translate art in a relatively perceptual sense into an interactive connection between the core value of the art piece and industrial stakeholders through management of rationality.
 The purpose of this study is to illustrate the representation of a series of decisions and practices through a documentary, which plays a role as a historical image archive in civic culture. The framework of documentary itself is substantially established in the representation of social notions. Inwards, it builds up the worldview of creators and facilitates the process of identifying common goals between filmmakers and their subjects; outwards, it creates an emotional connection with viewers, which is remodeling viewers’ perspective on the world imperceptibly. The film lives on as a piece of historical image record by itself. In this study, the creative framework model presented can served as a formula for other creators to produce a well-structured documentary. Moreover, helps them to grasp the idea of creating a piece of work that connects the viewers to social issues through management.

一、英文參考文獻
Eitzn, D.(1995). “When Is a Documentary?: Documentary as a Mode of Reception,” Cinema Journal, Vol.35 No.1(Autumn, 1995), pp.81-102
Thompson, J. D., & Tuden, A.(1959). Strategies in decision making. Comparative Studies in Administration. p.198
Daly, M.(2016). Decision support: a matter of information supply and demand, Journal of Decision Systems, 25:sup1, pp.216-227
Christopher S. Chapman, Anthony G. Hopwood, Michael D. Shields (2006). Handbook of Management Accounting Research, pp.810-812
Neuman, W.L.(2003) Social Research Methods: Qualitative and Quantitative Approaches. Allyn and Bacon, New York.
Yin, R. K.(1994). Case study research: Design and methods. Thousands Oaks. International Educational and Professional Publisher.
Glaser, B. & Strauss, A. (1967) The discovery of grounded theory, Chicago, IL: Aldine. Guney, A. & Alb, S. (2012) Effective learning environments in relation to different learning theories, Social and Behavioral Science, 46, pp.2334-2338

Nicoles, B.(2001). Introduction of documentary. Bloomingon: Indiana University Press.
Nichols, B.(1991). Representing reality: lssues and concepts in documentary. Bloomington: Indiana University Press.
Thomson, K.(1998). Emotional Capital: Capturing Hearts and Minds to Create Lasting. (1st edition). United States: Capston.
二、中文參考文獻
期刊論文
李家驊（2013）。真實與幻見：臺灣紀錄片中的寫實情結，國立臺南藝術大學藝術創作理論研究所博士論文，臺北。
謝佳玲（2008）。臺灣原住民紀錄片：導演生存心態下之美感詮釋，國立東華大學民族藝術研究所碩士論文，花蓮。
張哲瑋（2008）。獨立紀錄片工作者之隱性知識研究－以製片流程為例，世新大學資訊傳播學系碩士論文，臺北。
王慰慈（2003）。臺灣紀錄片的類型發展與分析－以Bill Nichols的六種模式為研究基礎，廣播與電視，第二十期，pp.1-33
李道明（1985）。什麼是紀錄片？，聯合月刊，52，pp.76-81
李道明（2009）。從紀錄片的定義思索紀錄片與劇情片的混血形式，戲劇學刊，第十期，pp.79-109
廖金鳳（2008）。臺灣紀錄片「前史」：紀實影像、家庭電影到紀錄片。
孫松榮（2014）。超紀實之眼：論張照堂1970年代的另類紀錄片，現代美術學報，第27期，pp.77-104
專書
張錦惠（譯）（2009）。社會中的藝術。臺北：五南。(Niklas Luhmann, 1995)
王亞維（譯）（2012）。紀錄與真實：世界非劇情片批評使，臺北：遠流。(Richard M.Barsam, 1996)
吳莉君（譯）（2010）。觀看的方式，臺北：麥田。(John Berger, 1996)
許綺玲（譯）（1997）。明室・攝影札記，臺北：臺灣攝影。(Roland Barthes, 1995)
李建興（譯）（2017）。讓藝術長出商業的翅膀，臺北：遠流。(Amy Whitaker, 2016 )
王新超（譯）（2002）。組織和心理契約，臺北：五南。(Perter Makin, Cary Cooper, &Charles Cox, 1996 )
王佳煌（譯）（2014）。當代社會研究法：質化與量化取向（第二版），臺北：學富文化。(W. Lawrence Neuman, 1991)
王亞維、喻溟（譯）（2016）。製作紀錄片，臺北：遠流。(Michael Rabiger, 1998 )
王亞維（譯）（2016）。紀錄與真實：世界非劇情片批評史（第二版），臺北：遠流。(Richard M. Barsam, 1996)
焦雄屏（譯）（2010）。認識電影（第十版），臺北：遠流。(Giannett, L. D, 1995)
臧國仁（1999）。新聞媒體與消息來源－媒介框架與真實建構之論述，臺北：三民。
齊隆壬（1992）。電影符號學，臺北：書林。
李道明（2007），台灣紀錄片的美學問題初探，台灣當代影像：從紀實到實驗，臺北：同喜文化。
陳敏（譯）（2016）。無法扼殺的愉悅：文學與美學漫筆，北京：北京師範大學出版社。(Walter Benjamin)
三、網站參考部分
紀錄片《此後》官方網站
(http://fromnowon2016.blogspot.com/)
紀錄片《此後》粉絲專頁
(https://www.facebook.com/luminosofromnowon/)
臺灣電影網
(https://taiwancinema.bamid.gov.tw/Chi/Index)
臺灣國際紀錄片影展
(https://www.tidf.org.tw/zh-hant/news/91453)
維基百科
(https://zh.wikipedia.org/wiki/)
四、視聽資料
Robert Flaherty《北方的南努克》(Nanook of the North, 1992)
Lumière brother《火車進站》(The Arrival of a Train at La Ciotat / L' arrivée d’un train à la Ciotat, 1895)

Lumière brother《從盧米埃工廠下班的工人》(La sorite des ouvriers del’usine Lumière / Workers Leaving the Lumière Factory, 1895)
Dziga Vertov《持攝影機的人》(The Man with the Movie Camera, 1929)
陳文彬《此後》（2016）
陳文彬、古秀妃《家》（2004）