台灣文化創意產業經營之研究

• Main Authors: Lin, Yufu, 林奎佑
• Other Authors: Lee, Jen-Fang
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/03294587543508911025

碩士 === 國立政治大學 === 經營管理碩士學程 === 93 === The idea of developing cultural and creative industries has been putting forward by the government in recent years even though the arguments of culture being as a service or an industry remains disputable. However, policymakers in more advanced countries have moved beyond the debate and recognized the importance of the industries at different level: The United Kingdom sets up the Department of Culture, Media and Sport as the solo division in charge of policy formulation. Part of the income from National Lottery is devoted to encourage creation; Being aware of the differences between business professionals and creative talents, Denmark educates students with the know-how of cultural industry management, including the skills of negotiation and conflict solving and the abilities to deal with budget, copyright, contract and royalties. It also urges business schools to enhance entrepreneurial potential by adding more topics, classes and so-called “tertiary education” to their curriculums. Australia, on the other hand, has extended the core value of culture and creative industries from elite and community arts to recreation and entertainment. It has moved from the phrase of debating cultural citizenship into cultural consumption. With reference to the experience of other countries, we can conclude that culture and creativity sectors should be considered as “industries” rather than “services” for policy measures. On contrary, the business environment has become difficult for the cultural and creative sectors in Taiwan. There’s no one single government entity to take account of cul-tural factors and attach greater importance to promoting the development of cultural indus-tries in the course of policy formulation and implementation; Ministry of Education has not partake in studying the vision for development and direction for the industries; Lacking of completion guarantees leaves investors with big doubts and consequently hider the estab-lishment of finance resources. To solve the above-mentioned issues, this research will fo-cus on: 1.The characteristics of cultural/creative industries. How are they different from the value chains and business models of manufacturing that has dominated Taiwan's industrial sector? 2.The gaps between current policies and the real needs of the industries. What can be done to favor the development of the sectors? Any adjustment to make or ap-proach to establish? 3.The role of decision makers in cultural/creative industries as “gatekeepers.” How do they control the above and below the line costs and utilizing the concept of flexible specialization to manage their businesses? 4.The sales and marketing of creative products. Traditionally, creative talents have little knowledge on risk control. How to develop new products or services in the context of existing provision in the market? How to avoid risk and raise money by bringing in the notion of “high concept” and “co-production” in filmmaking?