公共部門的組織運作相較於過去，正處在更為不穩定和動盪的環境之中，公部門必須提高其「創新」的能力以為因應，並由於治理網絡形式的顯現，也更加強調公部門創新的重要性。面對當前許多充滿高度複雜與棘手的公共問題，我們不僅需要公共創新的新途徑，同時也要為許多問題的解決方案提出必要的工具。無疑地，吾人必須關注如何透過治理網絡中行動者間的協力，即是公共管理者、民選官員、企業、非營利組織等行動者的協力，用以強化公共創新，因此，「協力創新」可以說是當前公部門創新的重要議題，同時也是公部門面對網絡治理亟欲尋求的新方法。簡言之，欲探究的「協力創新」，則是指以網絡為基礎的協力，促進治理過程中公部門的創新。 本研究主要聚焦在公共部門協力創新的理論與實務的討論，以下述兩個關鍵重點做為討論的主軸：一、重點是針對「公共部門的創新」，而非一般所談論的企業創新；二、著重於「跨部門間或網絡協力」的創新，並非單一組織內部的創新。研究問題包括：何謂是在公部門的協力創新？協力創新的過程需要具備哪些條件？網絡中的行動者如何透過協力過程以導引出創新？協力創新呈現的樣貌或結果為何？對文化行政機關而言，文化創意產業政策之推動，對文化行政官僚的協力創新經驗有何特殊性？協力創新的過程有何困難？如何克服這些障礙，以驅動協力創新？ 儘管公部門透過跨部門、跨組織的協力創新研究還處在發展萌芽的階段。在實務上，公部門必須審時度勢，在協力過程中透過制度設計，與行動參與者進行有效溝通、建立信任，並證明展現其領導、協調和整合的能力。因此，本研究關注協力創新在公部門的應用，一方面提出整合自公部門創新、協力治理文獻而發展出來的理論架構，另一方面也針對文建會在推動文化創意產業政策運用協力創新的過程和經驗，進行質化的實證研究，以提供公部門有關協力創新應用之理論面與實務面相互印證的機會。 研究發現公部門創新必須致力於創造更多的公共價值；政治的推力、回應外部發展趨勢、核心職能外新增業務的壓力、尋求和匯集外部資源、創造有利創新的組織文化是公共組織內外環境中存在激發協力創新的驅動因素；而網絡治理的領導能力、多層次與橫向溝通平台、互惠的信任關係基礎、良性的創新循環等是影響協力創新過程的關鍵因素；公部門適當的制度設計有利於協力創新的發展；協力創新的多元價值結果亦呈現出不同的創新類型。最後，本研究也針對協力創新的實務應用、制度設計及組織運作、文化創意產業推動方面提出若干建議。 / The importance of strengthening innovation in the operation and organization of the public sector is highlighted by both today's increasingly variable environment and the emergence of governance networks. The many complex and wicked problems that are currently encountered in civil sector indicates a need not only to innovate, but also to come up with necessary tools for solving multiple problems. No doubt the primary focus should be on uniting efforts among actors in governance networks, namely civil sector managers, elected officials, businessmen, and non-profit administrators, in order to strengthen public sector innovation. For these reasons, collaborative innovation is an important topic in public sector innovation and an anxiously pursued new method as the public sector faces collaborative governance. Moreover, collaborative innovation is network-based collaboration that promotes innovation in the public sector governance process. This study primarily focuses on theories of public sector collaborative innovation and discussions of actual practice in the field. The study revolves around two key points: a focus on public sector innovation as opposed to commonly discussed business innovation, and innovation in cross-sector collaboration or network-based collaboration as opposed to innovation within a single organization. Questions addressed in this study include: What is meant by public sector collaborative innovation? What are the prerequisites for collaborative innovation processes? How do actors within a network lead innovation through collaborative processes? What are the features or results of collaborative innovation processes? What special experiences have administrators of cultural bureaus had promoting cultural and creative industry policies with collaborative innovation? What difficulties are encountered during processes of collaborative innovation? How can these difficulties be overcome in order to spur collaborative innovation? Research of cross-sector and transorganizational collaborative innovation in the public sector is still in its developmental stages. Each collaborative process must be assessed through system design to ensure effective communication and the establishment of trust, as well as to verify leadership, coordination and integration capabilities. Therefore, this study concerned with the application of collaborative innovation in the public sector first constructs its theoretical framework on extant literature in the fields of public sector innovation and collaborative governance, and secondly is directed at the Council for Cultural Affairs use of collaborative innovation in its policies that promote cultural and creative industries. This study employs qualitative empirical research to provide opportunities for mutually verifiable theoretical and practical collaborative innovation applications related to the public sector. Results of this study suggest that innovation in the public sector should be directed at creating more public value. Governmental influence, response to external trends, pressure added by work extrinsic to core functions, the collection of external resources and organizational culture cultivating beneficial innovation are all factors that drive collaborative innovation in and around public organizations. Network governance leadership ability, forums for both horizontal and vertical communication, foundations of mutually beneficial trust, and healthy innovation cycles are all influential factors in collaborative innovation processes. Appropriate organizational design in the public sector spurs the development of collaborative innovation, and the manifold values of collaborative innovation result in different innovative forms. Finally, this study aims to make recommendations for the practical application, organizational design and operation of collaborative innovation, and the promotion of cultural and creative industries.

台北都會區正在面臨轉型，由於老舊建築的生活機能不佳、公共設施也不足，加上安全防災不齊全，所以民間和政府都積極參與都市更新，讓市容煥然一新。這不單只是硬體上拆除重建或建築翻新而已，而是要展現各地方獨特風格形式與魅力，進一步帶動經濟活力，提供下一波成長的競爭力，讓城市每個角落呈現更多創意的嶄新面貌。面對此一目的，本研究希望從此一方向進行探索性研究，探討在都市重生過程中，有時限的閒置空間如何再作利用，帶給企業或機關學校延展性的資源，產生競爭優勢，並且讓空間到期之後，還能順利讓空間重生，提供城市成長的競爭力。 關於再生空間，國內外均有許多實例以文創產業活化閒置空間的案例，但此類再生空間都是以永續經營發展為目標，對於有時限的空間再利用，則鮮少著墨，因此本研究希望了解(1)空間經營組織該如何以文創事業導入都市再生過程中的閒置土地? (2)以文創事業導入都市再生過程中的閒置土地再生空間樣貌為何? (3)空間經營組織在經營再生空間之後，如何建立核心資源?本研究藉由文獻次級資料與報章雜誌的回顧分析，並以都市再生空間為基礎發展出個案研究的基礎架構。選擇之代表研究對象為尚處初步階段的案例，包括城中藝術街區和127公店，希望透過本研究，能給台北都會區發展轉型實務與學術的發展。 本研究初步結論包括：(1) 各組織在動態網絡中，擷取彼此優勢，互賴繁衍生長。(2) 對於使用有年限的再生空間，文創事業不以一般營利為主要導向，給予產業更多靈感。(3)文創事業體的成長是空間經營組織的核心資源。本論文最後進一步提出實務上待克服之地方及後續研究上的建議。 / Due to poor life function of the old buildings, including shortage of public facilities, incomplete security disaster prevention system, and Taipei metropolitan area is force to face urban regeneration which is encouraged by local government and locals. As to the process of urban regeneration, this does not just demolish the old building or reconstruction on the renovation itself, but to show the form of local unique style and charm, to further promote economic vitality by providing growth competitiveness. Therefore, this study wants to be a base for following research in this topic. There are lots of examples of reusing vacant spaces among domestic and foreign countries, but the goal of managing these spaces is making them sustainable. As for reusing time-limited space, the discussion is not mentioned a lot. The purpose of this study is to understand (1) how do organizations that run the vacant spaces cooperate with culture creative industries during urban regeneration process? And what are their relations? (2) What are the space characteristics during culture and creative industry into urban regeneration process? (3) What are the benefits for the organization participating in urban regeneration, and how can the organizations build core resource such as core competence? Through reviewing of secondary data such as literature newspapers and magazines, this study derives the research structure. The cases of this study are still in the initial stage, including UrbanCore Arts Block and store no. 127. This study is hoping to give Taipei metropolitan area practical and academic development in urban regeneration process. The study finds: By cooperation with culture and creative business, companies and organizations learn to develop human resources as the main target. Also, as for time-limited space, cultural and creative business is not lean to consumer-oriented, but to give industry more inspiration. Finally, the growth of cultural creative business is also the core resource for the organizations that run the vacant space. In the end, this paper further proposes difficulties on local practice and recommendations on the follow-up study.

隨著全球化的發展，不論有形的資源、商品或者無形之文化、智慧資本產生劇烈的流動，使的原本受限於地理因素的時間與空間而形成的差異性逐漸降低，而過去因為差異而具有的優勢也因此而失去競爭力。因此，勢必在全球化變動與在地性發展之間再次尋求平衡，將世界關係緊密的特性轉化為助益地方發展之要素。 而「terroir」（風土條件）一詞係源於法國紅酒產製條件及其所衍生出的人文風情，涵括了從土地、氣候、技術、經驗與管理、至工藝與文化等形成階段，其亦可視為由自然資源、智慧資本（人力資源、關係資本與結構資本）、社會資本與文化資本等之組成。 其中，對於最根本之土地、生態等自然條件，其係源自於大自然（而非人為）而具有強烈的在地特質，使的因其所發展出的技術、經驗、藝匠、生活風格等人文風情同樣地擁有濃厚的在地色彩，共同產生屬於之地方之風土條件。地方透過地方居民、社群集體性且長期地經營與創造力投入，將使地方文化隨著時間的演進而持續擁有魅力。因此，藉由社區營造將地方發展為觀光城鄉，並將那份屬於社區或地方之認同感（社區感或地方感）作為發展觀光事業對內的動員力以及對外的吸引力。 由下而上地由地方發起進行風土資源盤點與整備，將風土資本之自然地理與人文社會特質藉由學習、體驗等見學活動，將以地方居民最原始的生活風貌呈現並使地方社群與到訪者近距離互動之形式發展「創意觀光」。此外，地方以風土特色吸引外地到訪者，另一方面也透過觀光使風土條件透資本轉化帶動地方經濟，並讓地方之人文風情藉由外地到訪者的參與，由文化學習與創意體驗中瞭解地方之風土，並藉此使風土間接地傳承、與宣揚而永續發展。

自英國於1997年首度提出創意產業，讓創意的附加價值藉由無形或文化性的特質融入到產品與服務創新中，文創產業已然是後知識經濟時代的指標；基於台灣文創環境的無形資產鑑價制度尚處於建構期，整體機制尚不成熟，因此相關企業在面對成長躍進中常因資金受限，也間接影響了整體產業發展，而此種現象尤以藝術經紀授權產業為甚。 「無形資產」是藝術經紀授權產業營運模式的核心。而國內對於如何將無形資產轉換為有形之概念性商品，而且又能使商品成本與企業價值被量化之議題的論述探究甚少，因此本研究將以藝術經紀授權產業為主體架構去進行鑑價模型之分析，冀望為文創產業注入更大的延展空間。 本研究整理現今無形資產、智慧資本、智慧財產之相關鑑價理論與方法流程，並就藝術經紀授權產業現況進行質化的分析，並冀望從理論出發含概實務觀點的去建構適合此產業的鑑價機制，並挑選P個案公司去驗證本研究所提出運作模型，以實現其價值轉化過程。 本研究結果可以幫助文創產業中之無形資產鑑價分析較為貼近產業之真實面貌，亦可讓文創產業經營者引為借鏡，以期盼提升台灣整體文創產業的競爭力。最重要的是藉由檢視相關產業的發展歷程，本文獻進而讓政府在制定相關產業政策時，更能以全方位的角度衡量產業政策，降低產業投入者資金進入門檻，讓更多的創投基金及金融機構投入，以促進產業發展與提升產業競爭力。 / Since the introduction of creative industry in Great Britain in 1997, which allowed the merge of value-added creativity into product and service innovations via intangible or cultural features, cultural creative industry has apparently become the index of the post-information economy. However, the intangible asset valuation system in the cultural creative industry in Taiwan is still under construction, yet immature, and the lack of capital inflow is usually the key restriction to the development and progress for many relevant enterprises, which in turn influenced the development of the entire industry; such phenomena is especially apparent in the industry of art 、agency、 licensing. “Intangible asset” lies at the core of the operation of art 、agency、and licensing industry. But there is not enough discourse analysis domestically on issues regarding how to turn intangible asset into conceptually tangible products or to further quantify the product cost and enterprise values, therefore, this study conducts analyses of valuation model based on the scaffolding of the art 、agency、 and licensing industry, hoping to introduce greater room for expansion in the cultural creative industry. The study has compiled valuation theories, methodologies and procedures regarding intangible asset, intellectual asset, and intellectual property, conducted qualitative analysis on the current status of art agency、 licensing with the expectation to develop a valuation mechanism suitable for this industry based on the theories and practical aspects, selecting company P as example to verify the operation model proposed in the study and to realize the process of value transformation. The study aims to help bring the valuation analysis of intangible asset in the cultural creative industry closer to the reality, and also serve as a reflection for operators of the cultural creative industry with the expectation of promoting the overall competitiveness of the cultural creative industry in Taiwan. Most importantly, by inspecting the process of development in related industries, this study may in turn provide an all-rounded evaluation for the government when drafting relevant policies of the industry to lower the investment threshold, allow the introduction of more venture capitals and financial institutions, and facilitate the development of the industry and improve competitiveness.

「兩人」是團隊組成的最小單位，回顧人類社會經濟活動的發展，許多重要的創新，經常是從兩人團隊開始。特別是以創意為核心的任務或作為，更易於以兩人為基礎，個別尋覓契合自我價值觀、專業能力，和人格特質的合作搭檔。雖然兩人團隊是人類社會經濟活動的常態，存在著重要的學理和實務意涵需要探討；但是，目前有關兩人團隊的文獻仍不多見。本研究的目的，即在回應此一文獻缺口，探討兩人團隊創意交融的系絡。 研究採取比較個案研究法，以八個兩人設計團隊進行半結構的深度訪談，正式研究前則進行了兩個前導個案的研究。經彙整訪談逐字稿之文本分析內容後，本研究有三個主要發現。第一，兩人設計團隊創意協作的歷程，從成員對產品核心概念的探索開始，之後會經歷共同建構創意、精緻化創意和實踐創意等過程。而產品核心概念的頓悟，通常是兩人在相近的問題意識下，從參與共享的情境當中浮現。此一情境浮現之頓悟並不專屬哪一方，但又必須仰賴兩人共同參與情境而獲得。第二，友誼是促進兩人設計團隊發展交融記憶系統的重要因素，友誼不僅帶動了兩人從玩票接案到正式形成團隊，同時也在團隊運作過程中，增強交融記憶系統本身的能量。第三，成員會透過不同形式的溝通互動，促進資訊的交流並精緻彼此的創意，這些形式包括了競爭型互動、合作型互動，和基於玩興的互動。 整體而言，本研究拓展了吾人對於兩人團隊及其創意交融的理解，也對團隊經營和團隊創意管理的實務有所貢獻。團隊發展實務上，可培養交融記憶系統成為團隊賴以運作的核心能耐，並透過成員共同參與情境的方式，營造有利於兩人從事創意交融活動的場域。 / ‘Two person’ is a basic unit of the composition of a team. Looking back on the historical development of the social and economic activities of the human, many radical innovations were often invented by two-person teams. Especially, creative workers, based on the two-person team structure, are more likely to search for the right partner that whose vision, value, expertise, and personality are best fit with each other. Despite the research on two-person team could provide valuable theoretical and practical implications for team literature; very little attention has given to such phenomena. Using a multi-case of eight two-person design teams, this dissertation explores the creative collaboration within the two-person teams. Through the qualitative analysis of the data, this dissertation provides three major findings. First, the creative collaboration processes within the two-person team contain four stages which begin exploring the core concept of the product. Then, team members collectively co-construct, elaborate and execute the core concept of the product. The insight of core concept of the product usually emerges from the two persons who have similar problem awareness and collectively engage in a shared context. This insight is not exclusive which party, but must rely on both sides to collectively engage in the shared context to develop. Second, friendship plays an important role for facilitating the development of the team’s transactive memory system (TMS). Friendship not only helps the two persons to build a team, help the team’s TMS function well in the team development processes. Third, members within the two-person team use three kinds of dialogue communication for exchanging information and elaborating creative ideas of the members. The three kinds of dialogue are: competitive dialogue, collaborative dialogue, and playfulness dialogue. Overall, this dissertation extends the current knowledge in management area about the creative collaboration within the two-person teams. Results of this dissertation also contribute to the management for two-person teams and the management of team members’ creative ideas. This dissertation suggests the two-person teams can build TMS as a team’s core capability and engage in shared contexts where beneficial for the creative collaboration.

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

本研究透過研究影像創作者創作歷程，分析其創意和創造力的面貌，最後歸納出影像創作者進行創作時之共同/相似脈絡。 本研究的對象是兩位資深影像創作者，他們擁有豐富的創作經驗以及數量不少的影像作品，本研究進行的方式是透過鑑賞兩位影像創作者的影像作品、並確認其中有創意/創造力的地方，其次則是請他們敘說當時創作那些影像作品的歷程，隨後再將影像創作者的「創作歷程」與「作品呈現創意/創造力」之處進行比對與分析，藉以找出上述兩者之間的關聯性。 本研究參照Amabile的「創造力成份模式」論述，重新提出一個分析影像創作者創作歷程的「影像創作者創造力成份模式」，模式中顯示影響影像創作者的創造力表現之各種「元素」。研究針對創造力被啟發的過程中模式裡之「元素」對影像創作者的影響進行分析，藉以解釋那些「影像創作者的創造力成份」 在一個創作者身上所扮演的角色與作用，並歸納出本研究目的：尋求「影像創作者處於創作狀態時的創作脈絡」。 經過分析與比對，本研究從兩位資深影像創作者的創作歷程中所找出的共同/相似脈絡如下： 創作的歷程都由「動機」開始，舉凡創作者所具有的「內在慾望」；或受到「外來的期待」的刺激；或受「信仰文化力」之影響；或被心中一股「仁愛心」所推動等，都可解釋為影像創作者受創作動機的推動而開始創作的事實。 「個人特質」在影像創作者創作時成了影響創作成果的重要因素，包括「個人經驗」、「聯想力」等個人特質，時刻左右影像創作者的創作歷程。 影像創作者的「領域知識與技術」在其創作歷程中扮演舉足輕重的角色，本研究發現如「領域知識」、「精進的技術」等影像創作者本身具有的學能條件足以決定其作品的成果。 影像創作者「與環境遭遇」所碰撞出的創意/創造力火花是其創作歷程中不可或缺的助力，本研究整理發現兩位影像創作者與「週遭環境」或「心境」的遭遇均牽引出豐盛的創意/創造力。 本研究在研究過程裡發現「專注力」對創作歷程的影響，這項因素雖沒有在考據文獻時注意到，但是它的確對影像創作者在創作時產生特定的作用力，因此將它列入本研究發現的最後一項脈絡。 本研究受限於研究規模，從兩位資深影像創作者的創作歷程裡所歸納出的共同/相似脈絡，雖無法道盡所有影像創作者的創作全貌，然而本研究成果應對相關創作歷程的學術研究有參考價值。 / This study conducts an analysis of creation and creativity, through deeply investigating the process of image generating from creators, and concludes with some common/approximate contexts from different creators. Two senior image creators are interviewed in order to examine their individual image artworks by comparing and analyzing their different process of creation and the ways of idea presentations. This study also tries to identify correlations and features from their image creating process, building up contexts from creators’ ways of thinking and their original creativity. This study proposes a new analytical model, referring to “the componential model of creativity” by Amabile (Amabile, 1996). The new “componential model of creativity from image creators” outlines critical factors (e.g., motivation, domain-relevant skills, concentration, and encounter), referring to the interviewees’ creating process and performance. The components of creativity and their impact to the creators are also analyzed to find the contexts from image creators’ origination. Through the analysis and comparison, this study identifies several common / approximate originating contexts from these two image creators: 1. Creativity comes from motivation. Creators’ desire inside, stimulus from outside expectation and cultural difference, are the key factors affecting creators’ origination 2. Personality is the most important factor during creating process, such as personal experience, imagination, and education etc. 3. Professional knowledge and domain-relevant skills play critical roles to affect image creators’ performance and their creativity. 4. Creativity inspiration also comes from real world. This study shows strong correlation between environment and creators’ rich creations. 5. This study also finds the importance of concentration component during creation. The more concentration the creator pays, the more creativity he gets. This study generalizes some findings and research results; however, it’s still not enough to cover whole picture of image creators’ creativity process due to the limitation of research scale. Continuous study may help people with creating images.

當社會進入以創意為主的經濟型態，如何促進豐沛創意快速衍生，是大眾關注的焦點，也為企業興衰的關鍵。創意泉源始於創造新構想的個人。許多文獻多以探究創意者出發，卻忽略創新實為創意者、守門者、社會系統互動所建構。因此，過去創新管理，多以創意者角度思考，鮮以守門觀點探討；創新、研發、創造力理論脈絡，也甚少直接研究守門內涵。 因此，本文以Lewin守門理論為基礎，整合演化、技術守門、創造力系統、體制理論，推衍何為創意構想守門，提出其運作包含：守門能耐-贏取信任基礎的能力、提供動機誘因的能力、具備專業能力；體制規則-評估標準、互動程度等二構念五因子。之後，依此多構念架構，Hinkin（1998）嚴謹發展程序，以三群不同獨立樣本，發展具信效度的量表，驗證專案團隊內創意構想守門概念結構模型的合宜性；接著，本研究進一步嘗試以上述整合性的守門觀點，探討其內涵與創新績效的關係，釐清篩選構想的守門活動，是否真為阻礙創新的絆腳石，或其實為促進創新的關鍵；最後，本研究釐清篩選創意構想的守門活動，是阻礙創新的絆腳石，或為扶植創意構想成長，催化創新的關鍵後，探討創意構想守門是如何促進創新的發生。 本研究以結構方程模式，分析專案團隊創意構想守門之守門能耐及體制規則、創新實踐作為與專案團隊創新績效的關係，以具創意構想守門經驗之專案團隊為研究對象，自433家公司回收111份團隊有效問卷。 結果發現，創意構想守門能耐及創新型體制規則與專案團隊創新績效呈正相關，且體制規則調節守門能耐與創新績效之關係，且創新實踐作為亦中介創意構想守門與創新績效之關係。而本文除強調以守門角度思考對管理創新的重要性；也提出創意構想守門內涵供經理人設計創意構想守門時，一個有系統的思考框架；而所發展具信效度之量表及創意構想守門與創新績效關係的實證結果，亦可作為後續研究的基礎。 / Nowadays, the raise of economy in our society is from creative ideas. Thus, people care about how to promote abundance creative ideas growing fast. In addition, firms also get survive in serious competitions by these creative ideas. The sources of creative ideas are from brilliant creators. So, researchers of innovation management often begin their studies from the creator’s perspective. There are rarely researchers starting their researches from another actor’s view. However, this perspective ignores that the creativity is the interactions among creators, gatekeepers, and whole society. Therefore, this study tried to clarify what the gatekeeping is. The study follows the logic of Lewin’s gatekeeping theory, introduces the evolution perspective, and integrates the technology gatekeeper, Csikszentmihaly’s system model, and institutional theory to approach the gatekeeping in selecting creative ideas. This study proposes there are five key factors, the abilities of earning creators’ trust, raising creator’s motivation, selecting ideas’ professional abilities, evaluating standards, and the degree of interactions in the gatekeeping construct. Then, according to the Lewin’s gatekeeping theory, this study classifies these five factors into two dimensions, the gatekeeping capabilities and institutional routines. Then, basis of this theoretical model and Hinkin’s (1998) procedure, this study develops and tests the questionnaire of the gatekeeping creative ideas inside the project teams. After that, the aim of this article explores how and why the gatekeeping and the innovation performance are related. This research involved a survey, comprised of four sets of questionnaires concerning the gatekeepong capabilities, institutional routines, innovative enabling behaviors, and innovation performances. 111 project teams participated in the study. The quantitative analysis of the questionnaires was conducted through descriptive statistics, Pearson correlation, and structural equation modeling in order to indicate the direction and relationships among the four sets of variables. The result proves the concept theoretical model of gatekeeping creative ideas is reasonable and the questionnaire has fair reliability and validity. Furthermore, results of this study also showed a medium level of consistence among the four variables of the gatekeeping capabilities, institution routines, innovative enabling behaviors, and innovation performances. To conclude, this study may be of importance in explaining the relationship between gatekeeping and innovation performance, as well as in providing the researchers and managers with a better understanding of how and why gatekeeping in creative ideas relate to the innovation performances. Therefore, this research can be the foundation of creative ideas’ gatekeeping for innovation studies in the future. It also reminds the managers the importance of gatekeeping and provides a thinking model in managing innovations.

臺灣從解嚴以後到八０年代末期，社會運動極為興盛，大學生也在這種氛圍下開始校園民主運動，並聲援校園外風起雲湧的民間自力救濟運動。但是在九０年代以後，臺灣的社會運動逐漸沈寂，但是其中有許多都化為正式立案的非營利組織，以延續過往的運動能量；而過去年少輕狂的學運份子，有的後來進入體制，也有的後來走向基層、推動人民自主結社，由下而上地以各種社會力量繼續有組織地提出訴求。而這「理性化」的過程，也延續到其後發生的社會運動上。 但是在這個國家與企業都在使用廣告行銷與公關手段，導致公共領域再封建化的時代裡，非營利組織應如何在公共領域中奪取議題的詮釋權？本文從行動者的角度，以青年勞動九五聯盟的創意行動與媒體策略為例，在事件的參與和行動中再回頭進行反思與分析，並回應到原先的問題意識：有關作為「知識人」的傳播者，如何能更積極地為社運組織帶來力量和影響？ 本研究發現，非營利組織若要在公共領域上搶奪議題的詮釋權，除了組織化的內部分工，並解決財務問題以外，還必須以人民的「生活世界」作為其論述的底蘊，來挑戰被國家與企業所把持的「系統世界」，進而促成改變。而非營利組織之所以能提出人民的「生活世界」，則是建立在組織者平日與他們的群眾同在的過程裡。而非營利組織以創意行動與媒體策略推展議題，並以「影像紀錄」作為其提出論據的管道之一，則是建立在各非營利組織的發展脈絡與生存策略上，形成一種內在鑲嵌的關係。 本研究發現，非營利組織若要在公共領域上搶奪議題的詮釋權，除了組織化的內部分工，並解決財務問題以外，還必須以人民的「生活世界」作為其論述的底蘊，來挑戰被國家與企業所把持的「系統世界」，進而促成改變。而非營利組織之所以能提出人民的「生活世界」，則是建立在組織者平日與他們的群眾同在的過程裡。而非營利組織以創意行動與媒體策略推展議題，並以「影像紀錄」作為其提出論據的管道之一，則是在各非營利組織的發展脈絡與生存策略上，而有不同的呈現方式，形成一種內在鑲嵌的關係。

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.