第五章 結論
第三節 研究限制與後續發展建議
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第三節 研究限制與後續發展建議
本研究在研究過程中，遇到的最大困難之一在於男性樣本非常難尋找。雖 說從訪談中也得知，高中男生像高中女生這樣玩弄照片的比例本就偏低，但並 非意味著不存在。不論是透過滾雪球或是招募，主動聯繫或者願意受訪的高中 男生可說是幾乎沒有，這也使得本研究僅能就高中女生作為研究對象；未來若 有人對高中生整體的後製行為有興趣，建議能將高中男生也列入討論，並能更 進一步討論性別是否在後製上有行為差異。
再者，訪談結束後，在追蹤高中女生的Instagram 時，觀察到升上大學後的 受訪者，相片的後製呈現也逐漸產生了變化；還有，不少人雖於訪談過程中提 及不會刪文，但我觀察到，有不少受訪者有刪除過去照片，或者修改文字內容 的痕跡。但礙於時間與資源上的限制，未能再一次約訪她們，了解她們的心境 變化。從訪談過程中，已發現大學生的後製手法與高中時期有些許差異，未來 研究說不定能夠拉長研究時程，討論高中女生於高中時期的後製，以及她們進 入大學以後的行為改變，以及她們是否反過來刪修過去的照片及文字內容。這 不僅僅是比較兩個族群的差異，藉由訪問同一批受訪者，能更了解環境的改變 對她們行為實踐之間的互動與影響。
Instagram 的照片呈現有其「規則」，乃透過軟體、圖像文本及作者等三方 互動後展現；社群默視的「規則」（如：拍攝角度好看與否、回文情況等），也 為新媒體文本之遊戲規則。上述這些都可視為藝術世界的規則，未來研究或也 可從此角度切入，例如探討模板提供了哪些科技機緣（敘事資源），如何協助敘 事者展現美感等，以更了解群體／社群形塑出如何的集體遊戲規則。
此外，Bolter 等人（2006）提及的「再媒介化」，或可呼應「軟體轉向」。
之前研究提到圖像轉向，而軟體轉向、軟體提供的工具／論述（如濾鏡、懷舊 美感等），未來研究或可再鑽研。
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