本文嘗試通過「出資人身份」與「公共政策」兩個層面，區辨八種影音圖文等內容的財政來源，探討公共政策與這些（新）媒介財政的實然與應然關係。作者進而介紹與討論「付費牆」模式的引入，最早是財經與菁英報紙，近年已有一般報紙採納這個作法，但其得失尚難定論。最後則是思考在數位技術的匯流背景下，媒介財政與媒介硬體及傳播平台的可能稅捐關係，以及傳統公共服務「廣播電視」在公共政策的導引下，可能出現的變化樣貌，重點是它應否及能否蛻變，成為公共服務「媒介」，從而就得決斷其相應的財政來源，是否需要師法歐陸國家如法國、西班牙、德國與芬蘭已經採納的模式，或是另作創新。

With a view to exploring existing and normative relationships between public policy and media finance, this article takes ‘financer's status’ and ‘public policy’ as two differentiating dimensions, and proceeds accordingly to identify eight types of financial resources for producing media contents. To begin with, advertising as the most relied resources of media funding is discussed, its pitfalls exposed, and as its consequence, ideas and practices arising to amend weakness of advertisement-supported media are evaluated (taking Swedish newspapers as one key example). This is followed by contrasting the advertisement-financed press to the pay-wall model that has in recent years spread from the financial and the elite press to general newspapers. Drawing on various fresh financial experiences many a continental European countries have introduced for reforming their media in this digital convergence era, the final section of this paper assess the desirability and feasibility of copying or revising their policies, and accordingly whether traditional public service ‘broadcasters’ should be transformed into a more full-fledging public service ‘media’