In recent years under the trend of globalization, how a locality with its cultural and institutional vantages managed to articulate global economies as a node of ¡¥global city¡¦ is considerably concerned in the academic studies. With the framework of global city, this study aims to examine the transformation of role and space to the Taiwan animation industry. This study examines the historical development of the Taiwan animation industry to map out the trajectories of local strength, technological evolution, and the policies led by the government. The examination also shows that the dynamics of the animation industry has put Taiwan as a spatial mediator of global cities by the spatial clustering. In the new technological paradigm and the marketing strength, this study argues that the Taiwan animation industry transforms organization structure and accelerates itself to move to the metropolitan node of global cities. The transformations pilot the appearance of flexible workers, and the dominant firms that master decisive technologies have risen in these kinds of circumstances. However, the Taiwan animation firms those moved abroad do not shrank the industry, instead of using the production network to benefit comparative technologies and talents to distribute the systematized assignments over the global production network in the nodes of latecoming places, i.e. China and South-East Asia. And the Taiwan ¡¥node¡¦ tries to connect the pre-production network of American, European and Japan to reach the opportunities of co-production by strategic alliance, sharing mutual technologies, and global presence of the domestic and international film festivals. Via these networked multi-geometries to articulate the global economies as a node of global cities, the metropolitan region of Taipei permeates into the global production networks and improves the adaptability of the hierarchy of the global city.

Abstract Taiwan government identified the Digital Content Industry (DCI) to be one of the ¡§Strategic Industries¡¨ in 2002, and the Animation Industry is the principal industry of the DCI. With the continuing changing industrial environment, Taiwan animation corporations are facing the business transformation from OEM to brand creation in recent years. This research focuses on finding out the development models of Taiwan animation corporations, investigating the industrial opinions to propose the development strategies of Taiwan animation industry, and examining the principal development strategies of the animation industry in U.S.A, Japan, Canada, and Korea. To implement this research project, I first propose two frameworks for research exploration and then interview the managers of the six representative Taiwan animation corporations which are WANGFILM, CGCG, SMEC, TVBEAN, CMPC, DIGIMAX as case studies. I propose a framework for exploring the development models of the animation corporation by integrating the interaction of four perspectives including the growth process of the corporation, the change process of the corporation, the position of the corporation, and the operational strategies on the important animation projects of the corporation in recent years. I collect the data of these cases to analyze the development models by examining the evolution of the corporations in last five decades. In the ending of chapter four, I examine these development models to find out existing corporate transformation problems and industrial constraints. I investigate the industrial opinions to propose the development strategies of Taiwan animation industry and corporations by an integrated framework examining native existing industrial resources and constraints, and native corporate sustentative competitions and challenges facing the business transformation from OEM to brand creation. In the ending of chapter five, I integrate the results of the interview analysis to propose the integrated development strategies for Taiwan animation industry and corporations. I examine the principal development strategies on the animation industry of the four leading countries, such as U.S.A, Japan, Canada, and Korea. It will refer to how to develop a well-competitive animation industry for Taiwan government. Finally, I propose Taiwan animation corporations some suggestions to how to seek outside resources and to succeed in integrating these resources for achieving their business transformation purposes from OEM to brand creation. Key word¡GDigital Content, Digital Content Industry, Animation,Animation Industry, Development Models, Development Strategies

二十一世紀是知識經濟的時代，知識與創新是全球企業核心競爭力的關鍵。有鑑於知識內容產業在於數位經濟時代發展之重要性，行政院經濟部宣布將2002年訂為「數位元年」，並提出「新世紀兩兆雙星產業發展計畫」，其中，「數位內容產業」不但被選為新世紀全力發展的明星產業，其預期產值於2006年將達到3,700億新台幣。我國政府正積極推動數位內容產業的發展，但在資源與經費有限的情況下，目前選擇以「電腦動畫」及「線上遊戲」為我國的重點推動產業。在消費者日益重視視覺享受的今天，如果要發展內容產業，動畫產業的發展勢必成為關鍵之一。本研究即針對數位內容產業的「電腦動畫」作個案研究分析。 由於我國動畫產業之業務以往多為代工模式，缺乏內容授權、智財保護與行銷等相關知識經驗。故儘速發展我國動畫產業之智慧財產管理與授權業務，實乃當務之急。 有鑑於新興產業環境尚未成熟，因此本研究採取個案深入訪談法，個案對象之選取，乃從國內動畫產業中各選取具有代表性與業界口碑良好之廠商共三家。本研究針對「電腦動畫」廠商所涉及之智慧財產管理與授權管理，做一體系性的介紹並探討廠商目前之做法，同時探討動畫製作流程中可能會遇到之相關智慧財產問題。其研究建議茲分述如下： 一、國內動畫廠商應加強智慧財產觀念，妥善處理智慧財產問題，避免產生不必要之糾紛。 二、國內動畫廠商應建立動畫與其衍生商品之授權策略。 三、國內動畫廠商須依照自身能力、已有資源、關係與定位來選擇最合適的發展模式。 四、政府應檢討現行數位內容法案對於動畫廠商之實際效益，並參酌各國政府建立產業環境與機制之做法，衡量台灣目前之狀況，選擇合適之做法。 / The 21st century is the era of knowledge economy. Knowledge and innovation are crucial for global companies in order to enhance their core competency. Because of the importance of knowledge content industry in this digital economy age, the Taiwan government has announced the year 2002 “the First Digital Year,” and has formulated its "Two Trillion and Twin Star Industries Development Plan”. This plan indicated that the digital content industry is a promising area of which the expected production value will reach NT$ 370 billions in 2006. Right now our government are promoting digital content industry positively, but due to limited resource and money, choose ”3D animation” and “on-line game” as our country’s key industry. Nowadays, consumers pay more attention to enjoyment of vision, if we want to develop content industry; the develop of animation industry is the key point. Therefore, this study explores the current situation of animation companies in Taiwan. Because of the lack of content license, intellectual property protection, marketing, and other related knowledge and experiences, it’s the most important thing to expand intellectual property management and license of animation companies in Taiwan. As a result of the environment of oncoming industry has not matured as yet, this study uses ”in-depth interviews” of case study, selecting three representative and well-known companies from animation industry in Taiwan. This study explores the current situation of intellectual property management and license of animation companies in Taiwan, furthermore, searches for the related intellectual property problems in the course of animation creation. Major suggestions are stated as follows: 1.Animation companies in Taiwan should strengthen intellectual property concepts, and handle the related intellectual property problems properly, to avoid unnecessary conflicts. 2. Animation companies in Taiwan should establish licensing strategy of animated cartoon and derivative products. 3. Animation companies in Taiwan should select a suitable develop model according to their own capability, resources, relationship and position. 4.The government should review the actual benefit of current digital content law and deliberate about other countries’ methods of establish industry environment; Consider current situation of Taiwan and select a suitable method.

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在我國近來大力推展的各項數位內容核心產業當中，電腦動畫產業具有相當龐大潛在產值及經濟效益，為主要發展重點。但我國動畫產業在過去長期代工的背景之下，面臨極大的瓶頸。本研究希望藉由深入觀察與剖析目前國內已獲得初步成果的動畫公司之智慧資本建立與累積過程，來萃取出適合於我國動畫事業發展的一條途徑，從智慧資本的觀點來探討我國動畫事業經營與建立競爭優勢之關鍵為何，提供產界與學界作為參考。 本研究採取個案研究方式，選擇一家目前國內已經獲得相當成果的動畫公司－甲馬創意股份有限公司，深入剖析其智慧資本建立與累積過程，希望能夠回答以下幾個問題： 1. 動畫事業的智慧資本內涵為何？ 2. 在個案公司發展的過程中，智慧資本各構面間的相對比重有何變化？形成變化的原因？各智慧資本構面內容的變化又是如何？ 3. 各項智慧資本構面對個案公司而言，有著如何不同的重要性？最為關鍵的是何種智慧資本？ 4. 個案公司所從事的各種智慧資本建構活動及其原有智慧資本如何影響智慧資本的建立與累積？ 本研究之結論可摘要如下： 一、 動畫事業的智慧資本可為分四個構面具體描述其內涵 1. 人力資本：大致可分為動畫製作與經營管理兩方面。亦包含組織成員的創新能力、思考靈活度、人格特質、工作熱忱、互動情況、學習能力、抗壓性等。 2. 關係資本：大致可分為業務開發、動畫製作、原創者整合、行銷資源與資金來源等五種。 3. 流程資本：主要包含動畫創製作、動畫專案管理、動畫創作成果管理及動畫產品行銷規劃等方面之工作流程、原則、制度、採用的工具及特殊方法等。 4. 創新資本：包含有助創新的公司文化、經營策略與人員訓練方式，提升創作潛力的創作模式或原則、管理方式、以及開發新動畫產品的潛力與效率等。亦包含創新成果本身，及管理、運用與保護創新、創作成果之能力。 二、 智慧資本構面的比重與內容會隨事業的發展而變化 5. 個案公司剛成立時，人力資本與關係資本佔智慧資本總量的最大比例。發展的歷程中，關係與流程資本成為比重最大的兩項智慧資本。 待發展漸趨成熟，四種不同智慧資本的比重趨於平均。 6. 由各智慧資本構面的比重變化可以看出在個案公司的發展過程中，組織能力由人力與關係等基本的資源，擴散到深植於組織的流程與組織價值，形成較為深厚的創新能力。 7. 隨著個案公司的發展，人力、關係與流程等智慧資本的內容，朝向企劃、管理與行銷方向發展。而創新資本的累積也將受到組織對創新與創意之管理能力的影響。亦即對個案公司而言，強大的企劃、管理、行銷與資源整合能力成為事業持續成長的關鍵。 三、 不同智慧資本構面之重要性有所不同 8. 人力資本在個案公司發展初期具有較大的影響力，但關係資本與流程資本才是支持整體事業不斷成長的重要關鍵。 9. 人力資本與關係資本對於個案公司而言，扮演著刺激各項智慧資本建立與累積的重要角色。 四、 不同智慧資本建構活動及組織原有智慧資本，會對智慧資本的建立與累積產生不同的影響 10. 人力資本的建立與累積主要靠著「實驗」與「輸入智慧資本」兩種智慧資本建構活動，又受組織原有人力資本與關係資本影響最大。 11. 關係資本主要靠著企業「解決問題」的過程來建構，而又受組織原有關係資本與創新資本之影響最大。 12. 維持與繼續深耕關係資本的關鍵，在於組織的創新與執行能力。 13. 流程資本的建立與累積主要靠著「解決問題」與「執行與整合」兩種智慧資本建構活動，又受組織原有人力資本與關係資本影響最大。 14. 建立與累積流程資本時，較難直接從組織外部輸入既定流程加以套用，必須在公司開發專案的過程中逐漸摸索出最適合本身組織運作方式與組織文化的創作及管理流程。 15. 創新資本主要靠著企業「解決問題」的過程來建構，而又受組織原有人力資本之影響最大。 16. 在個案公司發展初期，創新資本的建立與累積相較於其他智慧資本來說較為緩慢，但各項智慧資本累積充足後之相互加乘效果，使得創新資本加速成長。 17. 「解決問題」與「實驗」兩種智慧資本建構活動容易產生「創造」的建構效果；「解決問題」與「執行整合」則容易產生「改良」的建構效果；「解決問題」、「實驗」與「輸入智慧資本」三種建構活動，都容易產生「增長」的建構效果。 / Due to its great economic potential, computer animation is a main focus in the digital content industry. But for long, most of the animation companies or studios in Taiwan have been focusing on animation manufacturing which only brings little profit rather than on creating their own original content; this has greatly limited the development of the whole computer animation industry in Taiwan. Luckily, there are still some animation companies in Taiwan which have been trying hard to develop their own content. JAMAR IDEA PRODUTION Ltd. is one of these animation companies and has made some remarkable achievements. From the perspective of intellectual capital, this research digs deeply into JAMAR and wish to find some useful clues to help effectively and efficiently build up an animation company’s intellectual capital and competitive strengths. The objective of this research is to answer the following questions: 1. What are the components of an animation company’s intellectual capital? 2. How did the relative weight and the composition of each intellectual capital dimension change along with the development of JAMAR? 3. How different was each intellectual capital dimension regarding its importance to JAMAR? What were the most critical dimensions? 4. How did JAMAR’s company activities and intellectual capital affect the development of each intellectual capital dimension? The conclusions of this research can be summarized as below: A. The components of an animation company’s intellectual capital can be described according to the following four dimensions. 1. Human Capital: An animation company’s human capital can be divided into two categories, that is, animation production and management. Also, company members’ enthusiasm for work, personality, attitudes, ability to innovate, to think creatively, and to learn new things altogether form the company’s human capital. 2. Relational Capital: An animation company’s relational capital can be divided into five categories including business development, animation production, the cooperation with artists, marketing channels, and the sources of capital or investment. 3. Process Capital: An animation company’s process capital mainly includes the working processes, principles, institutions, tools and methods taken in the company regarding the following four categories: animation creation and production, animation project management, animation works management, and the marketing of animation products. 4. Innovation Capital: An animation company’s innovation capital includes the company culture, the strategies, and the training programs that help build an innovative atmosphere in the company. Also, innovation capital includes the approaches that can enhance company’s potential to innovate. And of course, an animation company’s innovative animation films, products, or honors obtained for its innovative works are part of its innovation capital. B. The relative weight and the composition of each intellectual capital dimension changed along with the development of JAMAR. 5. In the early stage, human capital and relational capital had the biggest relative weights among all four dimensions. In the mid stage, relational capital and process capital became the most important two dimensions. And in the last stage, when the company was more matured, the distribution of these four dimensions’ relative weights tended to be more balanced. 6. From this relative weight change we can see the company’s ability shifted from the more basic human capital and relational capital to the process capital, which better embedded within an organization, and finally stimulated a greater ability to innovate. 7. The compositions of human capital, relational capital, and process capital developed towards a direction more focused on project planning, management, and marketing. And the development of innovation capital was also affected by the company’s ability to manage innovations and creativities. C. The importance of each intellectual capital dimension was different. 8. Human capital had a greater importance in the early stage of the company, but relational capital and process capital were more critical to sustain the continuous growth of the company. 9. Human capital and relational capital acted as an important stimulant to the development of the company’s intellectual capital. D. The company’s activities and intellectual capitals differently affected the development of each intellectual capital dimension. 10. Human capital was mainly built up through “experimenting and prototyping” and “importing intellectual capital” and was mostly affected by the company’s human capital and relational capital. 11. Relational capital was mainly built up through “problem solving” and was mostly affected by the company’s relational capital and innovation capital. 12. The ability to innovate and execute is critical to sustain and reinforce relational capital. 13. Process capital was mainly built up through “problem solving” and “implementing and integrating”and was mostly affected by the company’s human capital and relational capital. 14. It was not easy to import process capital directly from other organizations. Process capital was usually built up gradually over the course of running animation projects. 15. Innovation capital was mainly built up through “problem solving” and was mostly affected by the company’s human capital. 16. Innovation capital grew relatively slow in the early stage of the company, but was then simulated to accelerate its development when all the other three capitals were accumulated to a certain amount. 17. “Problem solving” and “experimenting and prototyping” tended to generate an effect of “creation”. “Problem solving” and “implementing and integrating”tended to generate an effect of “improvement”. “Problem solving”, “experimenting and prototyping”, and “importing intellectual capital” tended to generate an effect of “increase”.

[pt] Concept art: design e narrativa em animação tem o objetivo de investigar se existe clareza nas funções que compreendem a atividade do concept art, particularmente na relação entre design e narrativa. A motivação e objetivo geral da pesquisa é ampliar o entendimento a respeito do campo e delinear melhor os contornos da atividade. A referência para a construção deste perfil é o cinema de animação comercial norte-americano. Divide-se a pesquisa em três partes. Na primeira, faz-se uma investigação bibliográfica sobre questões etimológicas, históricas e de linguagem pertinentes ao concept art. Na segunda parte, avalia-se a posição do concept art na indústria a partir de três aspectos: como se difunde o conhecimento a respeito do campo; o contexto de produção do concept art no esquema de grandes estúdios; e quais as características de produção do concept art à luz da metodologia projetual do design. A terceira e última parte concentra-se no profissional da área, investigando o que a indústria busca desse profissional e o que ele pensa sobre concept art. Primeiro, analisa-se o relato de um concept artist atuante na indústria cinematográfica norte-americana, para depois ouvir profissionais que trabalham ligados à função no mercado nacional. Concluiu-se ao final deste trabalho que existe certa clareza nas funções que compreendem o concept art, mas ainda há a necessidade de se definir melhor estas funções. Exatamente por isso não se verificou consenso entre os profissionais entrevistados na relação entre concept art e narrativa, que neste trabalho julgamos como sendo a base do campo. / [en] This work aims to investigate whether there is clarity on the roles that constitute the Concept Art, especially with regard to the relation between the design and the narrative. The motivation and main objective of this research is to enlarge the understanding concerning the field and to define the contours of the practice. The construction of this profile is based on North American commercial animation movies. The research is divided into three parts. The first one illustrates a bibliographic investigation about etymological and historical issues and the specific language concerning Concept Art. The second part assesses the position of the Concept Art in the industry from three aspects: how the knowledge concerning the field is disseminated; the context of the Concept Art production according to the major studios scheme; and which are the features of producing Concept Art in the light of design projective methodology. The third and final part focuses on the professional, investigating what the industry seeks and what the professional thinks about Concept Art. Fist of all, it analyses the report of a concept artist active in the North American film industry, and the professionals related to the practice in the national market then. Finally, the conclusion of this work is that there is certain clarity about the roles that constitute the Concept Art, but it is still imperative to better define those functions. For that reason, there was no consensus among the interviewed professionals concerning the relation between Concept Art and narrative, which is, according to this work, the basis of the field.

從本質上來看，動畫產業屬於創意內容產業，具有巨大的經濟潛力。動畫影片除了播映產生的直接收益外，還蘊含了龐大的週邊產品授權市場。往昔研究日本動畫產業的文獻，內容多著重描述產業的發展歷史，而在產業運作模式的整體分析部分，往往著墨較少。基於個人對日本動畫產業的興趣，以及創意內容產業與日遽增的重要性，希望能透過一個整體性的架構，剖析日本動畫產業的運作方式，找出產業價值鏈發展的關鍵因素，供產界、學界往後研究日本動畫產業參考。 本研究依照產業價值鏈的研究架構，從次級資料中整理、分析日本動畫產業的發展歷程，希望能夠回答以下的研究問題： 1. 從價值鍊理論的觀點，探討日本動畫產業從1950年代到2000年代的發展歷程以及歷史背景因素的影響。希望能建構出一整體性的日本動畫產業價值鏈。 2. 藉由產業價值鏈的建構過程，釐清日本動畫產業內的重要價值活動，以及彼此之間相互影響的關係。 3. 綜合以上研究，希望能找出日本動畫產業發展的關鍵因素。 本研究之結論可摘要如下： 一、 日本動畫產業的價值鏈的內涵，可分為五個環節來描述 1. 原始創意：「原始創意」乃是動畫作品製作流程中，最早期投入的「原料」。包含動畫作品故事的題材選用、各項設定如人物、場景、美術設定、以及說故事的表現手法。 2. 資源募集：原料備妥後，為了要進入製作動畫的階段，還必須要有資金、人才、以及技術的到位，稱之為「資源募集」。資源募集包含了資金的籌措方式、人才培育的制度機構、以及動畫技術的創新突破。 3. 動畫製作：動畫製作的階段可再細分為許多的細項，但是對產業發展的過程來說，關鍵點不在於製作流程中某一項活動的創新，而是整體製作流程的演進，包含：垂直整合、專業分工、以及動畫製程的改變。 4. 內容流通：動畫作品製作完成後，需要經由種種的通路，將作品的影響力傳播出去。傳播的管道不限於一般的播送通路如電視、電影，也有可能是通過參加影展、參加專為動畫作品設置的競賽、接受某些動畫獎項的評審。此外，在內容流通的過程中，政府法規所扮演的角色，可能是助力，亦有可能是阻力。 5. 價值回收：經過內容流通的階段後，動畫作品的影響力傳播出去，這時候廠商開始透過許多不同的管道，進行價值回收的活動。除了直接針對傳播媒體收取播送的權利金、透過電影院的票房分紅外，透過肖像授權的方式所衍生出來的周邊事業，更是龐大的商機所在。 二、 價值鏈上的各環節存在著互相鏈結的現像 6. 「原始創意」環節的改變，會影響「內容流通」、「價值回收」等環節。 7. 「資源募集」環節的改變，會影響「原始創意」、「動畫製作」、「內容流通」、「價值回收」等全部環節。 8. 「動畫製作」環節的改變，會影響「原始創意」、「內容流通」等環節。 9. 「內容流通」環節的改變，會影響「原始創意」、「價值回收」。 10. 「價值回收」環節的改變，會影響「內容流通」環節。 三、 日本動畫產業發展的關鍵因素，在於完整價值鏈的建立，以及價值鏈內不同環節之間鏈結的強固 11. 在「原始創意」部分，日本動畫題材與表現手法的豐富，是發展歷程每個階段不斷累積的成果。 12. 「資源募集」部分，資金的來源多元、人才的培育制度化、技術不斷的創新，使得日本動畫產業在這部份相當具有競爭力。 13. 「動畫製作」部分，隨著流動通路的改變能夠採用不同的模式；並且發展出兩大軸線：虫製作的「有限動畫」和吉卜力工作室的「精緻製作」。 14. 「內容流通」和「價值回收」部分，新的動畫放映通路不斷的出現，伴隨著各種價值回收的手法開發出來，使得日本動畫產業在周邊商品的行銷上具有相當的能耐。 四、 日本動畫產業價值鏈的分析方式，不僅可應用於動畫產業，更可應用於其他相關之文化創意產業範疇 15. 本研究乃是依據Porter所提出之價值鏈理論作為建構產業價值鏈之工具，並輔以文獻探討中關於文化創意產業經濟特性以及電影產業價值鏈的回顧，將原先Porter之「製造業」思維之產業價值鏈，轉化為「軟體產業」思維之產業價值鏈。 16. 凡是文化創意產業中具有與動畫產業類似之創意投入、內容產製、流通、價值回收之產業，諸如電影產業、遊戲產業、音樂產業……等，都可以本研究所提出之產業價值鏈之分析模式，作為產業發展分析之工具。 / Essentially, animation industry, as a category of creative industries, has great economic potential. They include direct revenue from exhibitions and and there is a big market of related products. Most documents about Japanese animation industry focus on the history of industry development; total analysis of industrial operation is relatively less emphasized. Based on my personal interests in Japanese animation industry and the increasing importance of creative industries, this research will analyze the operation of Japanese animation industry and figure out the key factors in its value chain development. The objective of this research is to answer the following questions: 1. From the viewpoint of value chain theory, to study the history of Japanese animation industry between 1950 to 2000 in order to build a complete industrial value chain. 2. Through the building process of industrial value chain, identify the key value activities and the mutual effects among them. 3. Upon analysis, identify the key factors of Japanese animation industry development. The conclusions of this research can be summarized as below: A. The contents of the value chain of the Japanese animation industry can be described as five core elements. 1. Original creativity: Original creativity is the raw materials of the animation film production which are injected at the early stage, including the story, characters, scene, and art. 2. Resources collection: Before entering the stage of production, some resources are essential, such as capital, human resource, and technology. 3. Production: From the industrial viewpoint, we focus on the change of production process, including vertical integration, specialization and division of labor. 4. Contents distribution: Through various kinds of channels, the influences of animation films are spread out. The channels include television, theaters, exhibitions, contests, and awards. Also, the government and laws play the roles as help or blockage. 5. Value recycle: After the influence of animation films are spread out, enterprises begin to gain value recycle through several ways, such as premium, distribute profits, and especially the sales of related products. B. The five elements of the value chain are connected with different chains. 6. Changes of “Original creativity” have effects on “Contents distribution” and “Value recycle”. 7. Changes of “Resources collection” have effects on “Original creativity”, “Production”, “Contents distribution“ and “Value recycle”. 8. Changes of “Production” have effects on “Original creativity” and “Contents distribution”. 9. Changes of “Contents distribution” have effects on “Original creativity” and “Value recycle”. 10. Changes of “Value recycle” have effects on “Contents distribution”. C. The key factors of Japanese animation industry development are the construction of complete industrial value chain and the strong connections among the chains of different elements. 11. In the part of “Original creativity”, the rich contents about stories and performances of Japanese animations are the results of long-term accumulation. 12. In the part of “Resources collection”, multiple sources of capital, systematic education of human resource and continuous innovations of technology make Japanese animation industry very competitive. 13. In the part of “Production”, variable production processes are adopted according to different exhibition channels. There goes two major production processes: “Limited animation” and “Refined animation”. 14. In the part of “Contents distribution” and “Value recycle”, continuous invention of new exhibition channels and methods of value recycle make the Japanese animation industry very proficient in marketing the related products. D. The analysis methods of this research can apply to not only the animation industry, but also to the other fields within the creative industries. 15. This research transforms the “manufacturing” industrial value chain model mentioned by Michael E. Porter into the “software” one, based on the reviews of documents. 16. The analysis methods of this research work on those industries with similar creativity injection, production, distribution, and value recycle as the animation industry, such as movie, music, video game industries.

[pt] O propósito deste trabalho é demonstrar como opera o mercado de animação nacional, dentro disso que se denomina o Boom da animação brasileira, incluído aos ditames do capitalismo flexível e da indústria criativa. Para tal, nos distanciamos da noção de gênio criador, em proveito de uma visão da animação como um universo onde os saberes e procedimentos são coletivos. Inicialmente nos aprofundamos na definição disso que é animação, relacionado-a à hibridação dos meios de produção e as consequências da evolução das técnicas digitais em relação ao conhecimento e prática dos animadores. Em seguida, utilizamos farto material empírico, através de entrevistas com animadores das mais diversas posições dentro do Campo da Animação brasileira. Priorizando a voz do animador mediano, que luta anonimamente no mercado de trabalho. Acreditamos que assim, conseguimos retratar como opera a animação nacional, além do que é mostrado ou dito pelos agentes privilegiados do Campo da Animação. Revelando: i) a precarização do trabalho como prática comum entre os estúdios de animação no Brasil; ii) uma produção nacional voltada a atender às necessidades dos canais exibidores, seguindo suas convenções estilísticas, o que denominamos estilo internacional; iii) a fragilidade das empresas brasileiras produtoras de animação, dependentes de incentivos governamentais e com graves problemas financeiros e administrativos. Assim, passamos à limpo os mitos que regem a profissão de animador, mostrando como e com quais ferramentas trabalham os animadores brasileiros, como são recrutados, treinados e como são remunerados. Também discutimos os resultados práticos realizados por este arranjo produtivo (Boom). / [en] The purpose of this work is to demonstrate how the market of the national animation operates, in which one denominates the Boom of Brazilian animation, including the precepts of flexible capitalism and of the creative industry. To do so, we distance ourselves from the notion of the genius creator, to give preference to a view of animation as a universe where the skills and procedures are collective. Firstly, we will examine the definition of that which is animation, relating it to the hybridization of the means of production and the consequences of the evolution of digital techniques in relation to the knowledge and experience of the animators. Subsequently we utilize a vast amount of empirical material, through the interviews with animators of the more diverse positions within the Field of Brazilian Animation. Prioritizing the voice of the average animator, who struggles anonymously on the work market. We believe that in this way we ll manage to describe how the national animation operates, beyond what is shown and said by the privileged agents of the Field of Animation. Revealing: i) the job instability/insecurity as a common practice between the animation studios in Brazil; ii) a national production aimed at attending the needs of the exhibiting channels, following their stylistic conventions, which we call the international style; iii) the fragility of the Brazilian companies, producers of animation, which depend on governmental incentives and that has serious financial and administrative problems. In this way we put an end to the myths that dominate the profession of animation, showing which tools the Brazilian animators work with, how they are recruited, trained and how they are remunerated. We also discuss the practical results that a realized by this productive arrangement (Boom).

[pt] Esse trabalho pretende através de uma revisão bibliográfica, análise documental, entrevistas e a própria experiência do pesquisador, identificar aspectos que o contexto atual da animação valoriza ou negligencia, traçando caminhos para se compreender o momento atual da produção brasileira, sua trajetória histórica e possíveis desdobramentos.O trabalho é divido em três partes.Na primeira, faço uma revisão bibliográfica do campo da animação no Brasil e contextualizo essas publicações com a prática e a história da animação no país. Na segunda, utilizo a forma dos duplos para conduzir e organizar uma reflexão sobre a animação. O duplo pode ter o sentido de duplicado, de substituto. Igualmente pode representar parceria e oposição. É a alternância desses significados que conduzem o dialogo entre a animação e o cinema de filmagem ao vivo; as técnicas tradicionais e digitaisde animação; o trabalho artesanal do animador e o trabalho industrial nos estúdios de animação; e a produção autoral com a comercial. Na terceira, realizo entrevistas com animadores brasileiros, de caráter qualitativo. Relaciono os discursos dos animadores, com o conteúdo levantado e procuro entender como esse momento de viragem do campo da animação no Brasil é percebido e como poderá afetar o desenvolvimento da animação no país. Assim, pretendo refletir sobre a relevância do cinema de animação de autor e do curta metragem, dentro do campo do design e do cinema como modelo de produção fundamental para a preservação de técnicas tradicionais de animação e simultaneamente renovador da linguagem, importante formador de profissionais e de público. / [en] This work aims, through a literature review, document analysis, interviews and the researcher s own experience, to identify aspects that the current animation context values or neglects, and to plot ways to understand the present situation in Brazilian production, its historical background and possible outcomes. The work is divided into three parts. The first is a literature review of animation in Brazil and contextualizes the selected publications within the practice and history of animation in the country. In the second I use pairs to lead and organize a debate on animation. These pairs may have the feeling of being duplicates or substitutes, or may represent partnership or opposition. It is this alternation of meanings that leads the dialogue on the differences between animation and live-action cinema; comparing traditional with digital animation techniques, the animator s craftwork with industrial work carried out in animation studios, and authorial production with commercial production. In the third I describe qualitative interviews undertaken with Brazilian animators. I compare the opinions of the animators with there searched content above and try to understand how the turning point in the field of animation in Brazil is perceived, and how it can affect the development of animation in the country. Therefore, I intend to reflect upon the relevance of authorial animation and short films, within the field of design and cinema as a fundamental production model for the preservation of traditional animation techniques and at the same time a renovator of language, an important factor in the growth of both professionals and their audience.