「東港迎王平安祭典」作為台灣王爺信仰的重要代表儀式，受限於三年一科的舉辦週期與特定地域性，一般大眾往往難以親身參與並體驗其深厚的文化內涵。面對此傳播限制，數位科技提供了嶄新的解決途徑。本研究旨在探討屏東王船文化館之360 度沉浸式影片《生命的長河》，其所誘發之「觀看臨場感」對於觀眾「宗教認同感」與「捐獻意圖」的具體影響路徑。同時，本研究進一步檢驗觀眾的「過去參與經驗」，包含實體祭典參與次數與捐香油錢頻率，是否會對上述影響關係產生調節作用。
本研究共計回收265份有效問卷，採用結構方程模型進行路徑分析、中介效果檢定及被調節的中介效果分析。研究結果首先驗證「觀看臨場感」對「捐獻意圖」具有顯著的正向直接影響（β=.32, p<.001），支持觀看影片產生的臨場感能直接驅動捐獻意圖。其次，分析結果確認「宗教認同感」在兩者之間扮演顯著的部分中介角色（β=.15, p<.01），意即觀看臨場感亦能透過提升觀眾對宗教文化的認同程度，進而增強其捐獻意圖。
以及，在調節效果方面，原本預期「過去參與經驗」會正向強化影像體驗的假設多未獲支持。數據分析顯示，「捐香油錢頻率」之調節效果皆未達顯著水準；而「實體祭典參與次數」在「觀看臨場感到宗教認同感」的路徑上呈現顯著的負向調節效果。此統計結果表明，相較於經驗豐富的資深信眾，過去參與經驗較低或從未參與過的民眾，在觀看影片後所產生的宗教認同感提升幅度反而更為顯著。
綜上所述，本研究證實360度沉浸式影片不僅能直接作為驅動捐獻行為的有效媒介，亦能透過認同的中介機制強化支持意願，為傳統民俗文化在數位時代的推廣策略與博物館展示應用，提供了具體的實證依據。

The "Donggang King Boat Ceremony," a representative ritual of Wang Ye belief in Taiwan, faces accessibility challenges due to its triennial cycle and geographical limitations, making it difficult for the general public to personally experience its profound cultural significance. Digital technology offers a novel solution to these constraints. This study investigates the impact of "viewing presence" induced by the 360-degree immersive video Flow of Life at the Pingtung King Boat Cultural Museum on viewers' "religious identity" and "donation intention." Furthermore, it examines the moderating role of "past participation experience," specifically the frequency of physical festival attendance and monetary donations.
Data was collected from 265 valid respondents. Structural Equation Modeling was used to evaluate the hypothesized paths, as well as the mediation and moderated mediation effects. The results verify a significant positive direct effect of viewing presence on donation intention (β=.32, p<.001), demonstrating that the immersive experience can directly drive tangible support behaviors. Additionally, religious identity was confirmed as a partial mediator (β=.15, p<.01), indicating that presence also enhances donation intention by fostering cultural identification.
Regarding the moderation effects, the hypothesis that past experience would positively moderate the relationship between presence and religious identity was not supported. The analysis showed no significant moderation for donation frequency. However, a significant negative moderating effect of physical participation frequency was found on the path from viewing presence to religious identity. This suggests that the enhancement of religious identity via video exposure is more pronounced among individuals with lower prior participation compared to seasoned practitioners.
In conclusion, this study confirms that immersive video serves as an effective medium for driving donation behavior, both directly and through the mediating mechanism of identity. These findings provide empirical evidence for digital promotion strategies and museum applications in the preservation of traditional folk culture.

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