| Summary: | 碩士 === 淡江大學 === 歐洲研究所碩士班 === 100 === The concept of ‘creative industries’ was first taken up by the British government under the premiership of Tony Blair in 1997. After the Blair government was formed, the Department for Culture,Media and Sport (DCMS) is responsible for creative industries. The DCMS defines the creative industries as, “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property”. The creative industries are referred to culture-based creativity, in which do not only emphasize the ''creative'' artistic component but also the impact to the national economy. Due to the industries has become a particular strength of the British economy, the concept has also been widely adopted by other countries. As a result, knowledge-based and labor-intensive cultural and creative industries become one
of the most potential industries in the 21st Centuries.
This paper is based on Michael Porter''s diamond model to analyze the demand conditions, factor endowment, related and supporting industries, and strategy, structure and rivalry, and the role of government of British film industry in the history frame.
The key success factors of British creative industries focus on the collaboration for industries, academia and government agencies. The British film industry has experienced periods of boom and bust. Despite the industry has been profoundly influenced by the American film industry, British film industry has an outstanding performance and a strong international reputation. Since the interaction of industries and academia, and government agencies work out to create an environment for film support, the film industries make an important contribution to the British economy.
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