懷舊情懷與文化消費行為 - 以國立故宮博物院之台灣，日本，美國觀眾為例

Abstract

「懷舊」風潮席捲消費市場，近二十年來也成為行銷學上的研究標的。本研究以國立故宮博物院做為「虛擬懷舊」之研究場域，以台灣，日本，美國的觀眾為研究對象，並利用美國學者Holbrook於1993年所提出的懷舊量表與李克特七點量表為測量工具，採取面對面問卷調查法，總共回收360份有效問卷。在資料分析上，首先以因素分析在懷舊量表的20道題項中萃取出五個懷舊傾向的構念，再以集群分析將受訪的觀眾分為四大懷舊傾向族群，分別為「懷舊厭今，悲觀未來」族、「物件懷舊，相信未來」族、「戀舊惜今，看好未來」族、「期待不多，實際度日」族。 接下來利用卡方檢定，將國家變數，人口統計變數，消費行為變數與「懷舊傾向」做交叉分析，得知除了年齡之外，不同國家，性別與教育程度的觀眾，其懷舊傾向都有顯著差異，而不同懷舊傾向的族群，表現在參觀次數，參觀時間，選用的導覽方式，與是否購買紀念品等選項上，亦出現顯著差異。同時，將不同的國家變數，與歷史物像記憶變數之間，以卡方檢定做交叉分析，也得知來自不同國家的觀眾，在參觀後對於不同的歷史物像與特展，保留了不同的記憶與喜好。 本研究以懷舊為出發點，利用歷史性博物館為研究平台，再加入不同的文化背景為變數，來探討三者之間的關係。在全球化的今日，希望這一份跨國的研究，也能做為文化創意產業的策略發展與消費者研究的參考。

In recent decades, “nostalgia” has been a fashionable tendency in consumer markets as well as a new research topic in the Marketing discipline. This study is conducted by using the “Nostalgia Scale” proposed by Holbrook in 1993 and the seven-point Likert Scale as the measurement tools, and the National Palace Museum as the venue of research. Visitors from Taiwan, Japan and United States are interviewed personally and totally 360 effective samples of interview questionnaires are collected. In the process of the data analysis, the Factor Analysis is firstly used to reduce the 20 statements in the “Nostalgia Scale” to five major factors which are the basis for classifying the 360 interviewees into four nostalgia-proneness groups with the Cluster Analysis: Group 1,“nostalgic for the past and negative for future”; Group 2, “nostalgic for objects but positive for future”; Group 3, “nostalgic for the past but positive for future” and Group 4, “Realistic about life and without much expectation”. Meanwhile, we use the Chi-Square Statistic to cross-tabulate the “nostalgia-proneness” with variables of the visitors’ native countries, demographics and consumption behavior. The results show that except the age, visitors’ native countries, genders, and levels of education do cause significant differences in their nostalgia-proneness. Besides, interviewees of different nostalgia-proneness groups also show differences in visiting frequency, time spending, tour guide tool selection and souvenir shopping. Futhermore, having cross-tabulated the variable of the native-country with the ones about historical-image-memory, we find that visitors from different countries do remember differently in the museum. This study starts from the discovery of nostalgia and then includes a historical museum as the research platform and different cultural backgrounds as independent variables in order to discover the relationship among these three subjects. It is expected that this study will be regarded as a reference for the strategy development and consumer research of the culture and creativity industry, especially in the current trend of globalization.