在過去毛澤東時代，中國人耳熟能詳的民生用品，如回力球鞋、飛躍鞋、梅花牌運動服、海鷗相機、永久自行車等等。在中國面臨到一個消費社會下，這些中國國貨在2008年北京奧運的時候大規模地回潮。它的流行和受矚目的程度遠過於海爾（Haier）、聯想（Lenovo）、李寧這些中國品牌、中國製造的產品，也超越90年代初紅遍一時的毛澤東和其文化大革命的紅色產品。回溯這些中國復古國貨的歷史，多半是在改革開放後因敵不過跨國品牌而淡出了主流市場，卻在北京奧運的時候因受到以中國80後為主的年輕人的喜愛而逐漸回潮，運用得當的話可形成一種復古風格的Look，成為時下最流行的配件。 　　這些中國復古國貨是怎麼從90年代後的明日黃花到今日的重生？這說明了怎麼樣的中國社會變遷？本文從消費文化在中國扎根與發展，以及透過回力球鞋作為例子來探討這樣的轉變。發現這些中國復古國貨之所以能夠起死回生，主要的原因就在於，以80後為主的群體重新賦予這些產品現時的意義，透過了復古風格的包裝來提高產品的價值，區隔了中國國貨與中國「復古」國貨的不同。不僅如此，北京奧運的舉辦恰好匯合了90年代後中國社會所發展的消費主義和國族主義，無形中也造成這股流行得以持續發燒的原因。最後，在討論這樣的過程和結果時，發現中國國貨復古潮不僅替中國官方連結了市民社會的意識形態，穩定中國官方的文化霸權之外，也給中國企業激發出了消費族群和提高產品價值的方式，並為中國發展文化創意產業提供了必要的創意人才和創意資源。

「簡單生活節」是個自2006年底開始、每兩年舉辦一次、位於台北市中心華山1914文創園區的大型活動，以城市的生活風格為主軸，「做喜歡的事，讓喜歡的事有價值」為號召，內容涵括音樂、市集、論壇等，多元且具創新。活動為期兩天，三屆下來每屆均有超過三萬人入場，更創下上千萬元的消費，不論規模、經營模式在國內皆可說是首見。 在國內開始注重文化創意產業之際，究竟簡單生活節的經營模式為何？活動能持續舉辦的核心能耐為何？需要哪些利害關係人的資源投入？國內對於大型文創活動的價值經營研究較少，本研究以價值共創的角度，探討簡單生活節（1）由哪些人共創，創造了什麼價值，（2）為各利害關係人帶來什麼價值。另外也由主辦者的角度，去探討（3）如何和各利害關係者進行價值共創，以及（4）要讓活動長期經營、價值極大化需要哪些要素。 本研究發現，（1）參與簡單生活節共創的角色有參與者（演出者與擺攤者）、贊助者（最大宗為統一超商）、場地提供者（華山文創園區）、支援平台（StreetVoice），彼此因認同簡單生活風格而集結，其創造的價值為風格型態的品牌價值以及宣傳平台價值，而活動讓（2）參與者得到金錢效益以及增加曝光度、贊助商得到金錢效益和品牌效益、場地提供者得以累積能耐以及增加曝光度、StreetVoice網路平台增加使用者的黏著度。（3）主辦者透過四大基石與利害關係人共創價值：設立支援平台以累積創意能量、讓利害關係者參與設計互動方式、互動密切頻繁、雙方相互提供價值，（4）組織層面須要能體察社會趨勢的領導者，以及藝術和商業頭腦兼具的A型團隊；營運層面需要明確的商業模式，不只在共創過程中和各利害關係者累積長期良好的合作關係，還要能將關鍵資源運用至關鍵流程中，而發展背後的支援平台更是活動長期經營的關鍵。 / SimpleLife festival, a big cultural two-day event in Taipei Huashan1914 Creative Park every two years since 2006, which attracts more than 30000 people and generates considerable income. It is a collaborative creation on lifestyle aesthetics which combines music, markets, exhibitions and lectures, and the scale and business model are very innovative in Taiwan. Hence, what are the values from this event and how to co-create it are the precious issue. This research explains: (1) What values do SimpleLife festival create and who are the stakeholders? (2) What are the values for stakeholders? (3) How does conductor co-create with stakeholders? (4) For conductor, what are the key factors to maximize value of holding SimpleLife festival? The findings of this research demonstrate：(1) Participants, sponsors(7-ELEVEN), place provider(Huashan1914 Creative Park), and internet platform(StreetVoice) are the stakeholders of SimpleLife Festival, they gathered by identifying the same lifestyle concept. It creates brand value of lifestyle and promoting value. (2) Participants get income and promoting value; sponsors get income and generate branding; place provider gains awareness and core competence, and backup platform increases stickiness from users. (3) The conductor co-creates with stakeholders by utilizing four powers: build platform, enhance engagement of stakeholders, interacting frequently, and provide values. (4) For organizations, leaders with trends investigation and a team with both commerce and art brain are needed. For operation, clear business model is needed, not only define clear key resources and key process, but build the backup platform is the key factor of operating in the long run.

數位科技蓬勃發展所帶來的數位浪潮，無遠佛屆影響每個人生活與行為，重視與善用科技已是未來產業發展之重要趨勢之一，而文創業者如何因應變千萬化的數位環境，並藉藝術、人文與科技如何整合，並創造更多的能量，是本研究關心的話題。 本研究探討web2.0自2005年興起後至2012年3月七年間之數位科技新趨勢，對文創產業帶來的加值與影響，以內容分析法為主，個案研究法為輔，總共蒐集38個文創營運模式創新中英文個案，利用營運模式四大支柱—營運面、產品面、顧客面、收益面—作為交叉分析的依據，進而歸納出四大構面下，受科技所激發之文創營運模式創新行為(what)，此外並更進一步探究其中兩創新個案之轉型過程與經營策略(how)。 本研究共有下列幾點發現： 1. 營運面—數位科技驅使文創業者異業結盟或跨足科技領域經營/網路平台拉近產業上下游距離，造成合作夥伴改變/設計新思維/網路效率提高產品替換率。 2. 產品面—加深消費者體驗/融入趣味化元素/更豐富多元與實惠之產品/創造新型態藝術作品。 3. 顧客面—產品通路不斷創新/社群經營提高顧客互動性與黏著度/創造精準行銷新管道/行銷工具多媒體化並無所不在/開拓年輕新族群/服務升級。 4. 財務面—降低成本/改變內容業者獲利模式/延長產品生命週期，增加獲利能力/集體行銷，創造群聚效應/累積小眾市場，發揮長尾經濟。 欲成功藉科技之力成功推動轉型爭取競爭優勢，文創業者必須了解數位環境經營的特殊性、爭取上層支持、聆聽消費者聲音、保持獲利模式彈性，並搭乘科技轉型列車，不斷解決問題與創新。本研究希冀幫助文創業者深入了解數位科技所帶來之創新與加值，提供其在思考現狀突破以及數位時代下經營之參考。 / Rapid technology advancement brings overwhelming influences on people’s lives and behaviors in digital era. The use of technologies becomes more and more crucial to the development of business. The purpose of this study is to find out how companies in cultural and creative industries improve core competence by leveraging Information and Communication Technologies. This study focuses on latest ICT that is used within 7 years from the beginning of Web2.0 until March 2012. The study includes 38 business model innovation cases with content analysis as the primary research method, to conclude the influence of technologies on 4 business model pillars in cultural creative industry---Infrastructure, product, customer, finance. The thesis also delves into progress and insight of how two cases successfully transform business by using technologies. The finding shows that in order to transform successfully by leveraging ICT, company leaders need to understand the different requirements in digital business environment, to gain as much support from company superiors as possible, to listen to customers, to keep flexibility, and to keep solving problems. The purpose of this study is to help companies in cultural creative industry have better understanding of the digital environment, grab opportunities in time, and keep competitive edges in digital era.

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.

商業競爭日益激烈，企業間不再只是以房地產、機器、廠房設備等有形資產以及股票、定存等金融資產作為衡量企業價值的基礎；品牌、商標、專利、關鍵技術等無形資產，已轉化成企業的核心資源，成為企業競爭的利器。學者Aaker更進一步認為，未來行銷的戰爭是一場品牌的戰爭。而品牌究竟值多少錢？Interbrand與Business Week自2001年開始，每年都發表全球品牌價值排行，都受到媒體以及企業的高度重視。在台灣，為了得知台灣品牌在世界舞台的相對重要性，經濟部外貿協會從2003年開始透過與國際最具公信力的品牌價值顧問公司Interbrand的合作，進行台灣品牌的評估與調查，並公佈台灣十大國際品牌品牌價值與排行。 但有鑑於外貿協會花大錢與Interbrand合作，買到了鑑價結果，卻買不到核心know-how，而在台灣品牌鑑價還是一個相當模糊的概念，不如外國研究普及，缺乏類似Interbrand如此專門且具公信力得品牌顧問公司，可定期為企業衡量其品牌價值，亦尚未有一套專門且合理的鑑價標準或方式可供參考，故建構國內的品牌鑑價制度，發展一套完整且合理的鑑價機制來評估企業、以至於文化創意產業的品牌價值，確保企業或團體的品牌價值不會任意被鑑價或錯估，在台灣是有需要及迫切的，乃引發本研究進行深入探討的動機。 歷來有許多學者將衡量品牌價值的方式分為許多不同的作法，雖然學者們嘗試以各種角度切入來衡量品牌價值，但是衡量方式不但眾多且繁雜，亦不夠具有全面性。因此，本研究歸納分析並整理各學者及各國品牌鑑價模式，設法建構發展一套結合財務、會計、行銷、管理等綜合觀點的系統化且適合台灣國情之品牌價值評價模式。本研究先從文獻調查及現今各種品牌鑑價方法中整理出重要的品牌強度評鑑指標，並採用層級分析法（The Analytic Hierarchy Process,AHP），從行銷與品牌學者、專業經理人中，作專家調查，得出評鑑指標的權重值，發展成基礎品牌強度評鑑指標表。將此品牌強度評鑑指標做成品牌強度專家意見調查問卷，以便求出台灣知名品牌品牌強度換算出乘數，再依據品牌財務及行銷資料求出年度品牌貢獻度，與品牌強度乘數相乘後加上平均品牌授權金，再利用乘數權重估算所面臨的財務風險，以反映預估現金流量的風險程度進而取得折現率，最後利用現金流量折現法，計算累加未來十年內現金流量，而計算得出整體品牌價值。並將此品牌評價模式用以評價台灣十大品牌之品牌價值，再與Interbrand做出的結果做相似性比較，以驗證本研究品牌評價模式是否準確及合理可行。 本研究亦認為文化創意產業的品牌價值評價可能性與其他一般產業並無重大差異，故在本研究最後品牌評價實例執行中，舉一在台灣具有特別代表性的文化創意產業、表演藝術團體「雲門舞集」，做為本研究品牌評價模式實例說明，以驗證文化創意產業品牌價值評價的可能性，並提出文化創意產業品牌產業化建議。 / Brand valuation is still a very vague concept in Taiwan, and researches conducted are not as popular as other countries. So far, we are still lacking in professional and credible brand consulting companies such as Interbrand, which helps enterprises to conduct regular valuation of their brands, and we also lack in a professional and reasonable valuation standard or methods for reference. Therefore, it is very essential and urgent to establish a domestic brand valuation system, and to develop a complete and reasonable valuation mechanism for brand valuation of enterprises and even the entire cultural & creativity industry, which will ensure that the brand value of enterprises or groups will not be randomly or lowly valuated. This is what motivated this research, which is aimed at exploring this issue in depth. This research starts from formulating an important brand strength valuation index using literature survey and various present brand valuation methods. By applying the Analytic Hierarchy Process (AHP), the weight of valuation index is formed from professional surveys conducted among marketing and brand scholars and professional managers, thus a basic brand strength valuation index is developed. A brand strength expert opinion questionnaire is created from this brand strength valuation index to find out the strength of famous brands in Taiwan, and it is then converted into a multiplier, and with brand financial and marketing data, we have the annual brand contribution. The annual brand contribution is then multiplied by the brand strength multiplier, then added by the average brand licensing fee, and along with discount rate and discounted cash flow mode (DCF), we can work out the cash flow over the next ten years, the overall brand value. This brand valuation pattern is then used to valuate the brand value of Taiwan Top 10 Global Brands, and the results compared to Interbrand for similarities to verify the accuracy and practicability of the brand valuation pattern in this research. Key words：brand value, brand equity, brand valuation, cultural & creativity industry.

本研究針對幼稚園園長為對象，旨在瞭解創意人格特質與創新經營之內涵與現況，探討其關係，進而建構及驗證其互動模式，並依據研究結果提出建議。 首先進行文獻探討，作為架構研究之理論基礎；接著，邀請八位教育專家填寫專家意見問卷、問卷調查750位幼稚園園長（區分為北中南三區域，共發出750份問卷，有效卷481份）、訪談三位教育現場實務者，以分析現況，驗證理論；最後，依據研究果進行討論與結論建議。本研究主要發現如下： 一、幼稚園園長知覺創意人格特質對創新經營具重要性 二、不同背景變項的幼稚園園長在創意人格特質及創新經營達顯著差異 三、知覺創意人格特質不同程度對創新經營表現上有顯著差異 四、創意人格特質與創新經營具有關連性 五、驗證創意人格特質對創新經營模式佳 / The main purpose of this study was to investigate the creative personality and innovative management of kindergarten principals in Taiwan. The study included literature analysis, survey method with an interview, and survey method with a questionnaire.The purpose of literature analysis was aimed to explore the creative personality and innovative management of kindergarten principals. The purpose of survey method with 8 specialists were aimed to explore the opinions of specialists. Questionnaire of survey based on opinions of kindergarten principals about the creative personality and innovative management of kindergarten principals. The subjects of the questionnaire included principals of the kindergarten in Taiwan.

公共服務的來臨，政府單位不斷用心發展更積極創新的作為以提升各項業務服務品質，創新的政策對於政府效能與國民福祉的提升有非常重要的地位，然而優質的政策並不容易提出，在創意開發的運用實例上，不乏國際大企業利用預測市場的網路平台開發公司員工的集體智慧或匯聚眾人資訊協助企業進行決策，因此本文欲以創意市場運用在高雄市政府開發創新政策，探究此機制是否有助於提升市府的施政品質。 本研究內容主要根據政治大學童振源教授與高雄市政府合作之「高雄市發展政策創新與評鑑計畫」，從旁觀察紀錄，事後以質性研究法與量化研究法，檢證創意市場在政府部門的可行性，期能將創意市場機制應用在公部門體系，成為促進政府創新改革重要方法之一。計畫透過提案階段、書審階段、初選階段、決選階段，以虛擬貨幣的方式交易評鑑，判斷提案之優劣，選出最佳創新政策。 研究結果發現獲選之最佳創新政策提案在可行性、創新程度、預期效益、符合市民需求、對高雄發展有利、建議市府採用等指標均獲得相當程度認同，值得高雄市政府深入檢視與評估，進一步規劃相關的政策配套與執行方案。政策創新市場提供基層同仁參與政策產生與決策的機會，營造一個可溝通、討論的平台，使政策在眾人的互相激盪與琢磨之下，能夠更多元、更豐富。而未來有更健全的配套措施與實施辦法後，期望能開放一般民眾加入政策的開發與評鑑，以增加市民對市政議題的關注、參與及認同，提升高雄市政府在市民心中的認同感。 / The coming of public service causes that the government agencies continuously develop more positive and innovative conducts by heart to improve service quality for various businesses. Innovative policy occupies an important place in the promotion of government effectiveness and national welfare. However, it’s not so easy to put forward a good quality policy. For living examples applied in creative development, there is no lack of large-sized international companies using collective intelligence of employees in network platform development companies engaged in market predicting, or collecting people’s information to assist company’s decision-making. Therefore, this article intends to use idea marketplace in Kaohsiung City Government to develop innovative policy and explore if this mechanism contributes to the improvement of city government’s administrative quality. The contents of this study mainly based on “Innovation and Assessment Program for Kaohsiung City’s Development Policies” under the cooperation between Professor Tung, Chen-Yuan of Chengchi University and Kaohsiung City Government, recording and watching from the sideline, using qualitative and quantitative research methods afterwards to verify the feasibility of idea marketplace in government sectors, which is expecting to apply the mechanism of idea marketplace in public sector system and become one of important ways to improve the government’s innovation and reform. The best innovative policy will be selected from this program through the stage of proposal, written review, primary selection and final selection to judge the strength and weakness of the proposal with the assessment of virtual currency trading. Research results found that the selected proposal for the best innovative policy in the feasibility, degree of innovation and predicted effectiveness complies with the demand of the citizens and benefits to the development of Kaohsiung City. This study proposed the city government to adopt such indicators to obtain a considerable degree of identification, which is worth of Kaohsiung City Government’s deep review and evaluation for further planning of the relevant policy set and implementation scheme. Policy idea marketplace provides colleagues at the basic level with the opportunities to participate in policy generating and decision-making, building a platform for communication and discussion, and enabling the policy to be more multiple and plentiful under people’s mutual brainstorming and study. After more healthy supporting measures and implementation methods in the future, this study hopes to open the development and assessment of policy for general public so as to increase citizen’s concern about, participation in and identification of municipal issues and improve the acceptance of Kaohsiung City Government in citizen’s heart.

常春藤創意學院 / Ivy Creativity Institute (ICI) is designed for children from 2 to 6 years-old before they attend elementary school. ICI provides many classes for parents and children to take during the week and weekend depending on their schedule and need. We offer indoor activities and outdoor activities such that parents and children can pick the subjects is more interesting to them to spend their wonderful days together. Our classes are creative for parents and children that they won’t see in the traditional pre-school or private learning center. Each class has its own credits so parents can just purchase credit money and register for classes they want to join. ICI also provides children education consulting service so we can observe based on children’s interests and designs a series of classes for them to attend and enjoy all the activities. Ivy Creativity Institute helps you and your children to win at the beginning not only in scholarship, but also in relationship and have a great time in parenting.

2011年初，中國大陸把“推動文化產業成為國民經濟支柱性產業”列入《國家“十二五”規劃綱要》中，許多城市紛紛制定創意產業發展戰略，並把它作為城市未來的支柱產業進行培育。在地方政府為主導體系下的發展策略，文創產業成為新的獲利支柱，許多文化創意產業園區便如雨後春筍。從許多既有文獻上來看，中國大陸文創產業園區的發展，行動者非常多，但是主要的掌控者依舊在地方政府，本論文將透過城市企業主義的論點為基礎，分析北京、上海四個文化創意產業園區個案，觀察文創園區形塑的參與者與地方政府之間的互動，從地方政府的視角切入，探討地方政府的治理模式與利益分配，並試著歸納中國大陸文化創意產業園區的建構過程與發展模式。

近年來，文化創意產業已經成為全球各國競相發展的軟實力重要產業，特別是在英國引領全球風潮，韓國異軍突起之後，臺灣近十年來也積極將施政重心放在文創產業的發展與提升之上。然而，文創中小微型新創事業基於先天本質上具有需求不確定性高、創作者重創意而忽略經濟性、不易與資金持有者溝通等特性，加上臺灣市場規模較小，新創事業失敗風險較高，且政府的政策、法規，亦未能充分發揮作用，故普遍面臨籌資困境。經本研究從證券化可分散風險、利潤共享、增加宣傳機會、提供穩定長期民間資金之角度出發，參考外國立法例及進行個案比較分析，本研究認為股權型群眾募資較適合臺灣文創中小微型新創事業，建議除了現行相關籌資政策、法規仍應進行調整外，也應鬆綁民間成立股權型群眾募資平臺，並採取風險控管之機制。最後，就長遠來看，兩岸應可考慮就股權型群眾募資進行合作，俾使臺灣業者利用現有之軟實力優勢，能夠結合中國大陸的市場及資金，共同邁向雙贏。 / In recent years, cultural and creative industries have become an important soft power around the world, especially after UK leading the global trend and South Korea’s emerging success. Taiwan is also actively focusing on the development of cultural and creative industries over the past decade. However, the micro, small and medium-size startups in cultural and creative industries are usually characterized with high uncertainty for demands, creators ignoring the economy, and hard to communicate with the capital holders. In addition, given Taiwan’s smaller markets, high risk of startups, and the ineffective government’s policies and regulations, fundraising difficulties are generally confronted. This study aims to focus on the securitization for its benefits: risk arrangement, profit sharing, more promotional opportunities and long-term private fund. By referencing to foreign regulations and conducting comparative analysis of related cases, this study concluded that the equity crowdfunding is the better solution for Taiwan’s cultural and creative startups. As a result, it is recommended that the financing policies and regulations should be modified, and should allow the establishment of private equity crowdfunding platform and adopt risk control mechanisms. Moreover, in the long run, Taiwan and Mainland China should consider seeking cooperation for equity crowdfunding to combine Taiwan’s soft power advantage with the fund and market of Mainland China, jointly moving towards a win-win situation.