「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.

創意商品的開發一般而言不但要兼顧新奇、效率而且還要面對較高的不確定性、較短的開發期。像工業設計，是一種需要不斷產生產品變異的同時，又要維持一定開發速度與產品風格的開發方式。由於創意商品的生產具有不確定性特徵，即投入產出之間的關係不再是簡單的線性關係，而是非常複雜的多元關係。 過去的產品開發研究，大都未考慮到不確定性問題，某些研究雖考慮到不確定性問題，但是卻沒有兼顧新奇問題的探討，更有一些研究強調過去經驗的重要性，但是進一步將過去經驗納入管理機制中的研究也不多見。由於創意商品開發的特性，有別於過去生產線式的產品開發，若以一般的管理型態並無法完全掌握這些特殊性，且在工業設計對企業的重要性和密切關係與日俱增之下，設計活動似乎有必要加以有效的管理。 基於上述原因，本研究主要是以演化觀點為理論基礎，透過演化因素的探討，並藉由創意產生機制(變異)、評價機制(選擇)與共同知識的結構及存量(保留)，以說明創意產業中知識或創意的變異、選擇與保留之管理，以及這些因素對於創意商品開發績效的影響。簡單地說，整個創意商品的開發過程，可以視為是一個創意元素受演化因素影響，達到改變其商品效果與開發速度的過程。而組織中經理人的角色便在於藉由操控演化影響因素，有意識地管理創意活動過程，進而提高組織生存與發展的機率。 本研究針對國內設計服務業為研究對象，進行問卷調查研究。從結果中發現，首先，在創意產生機制中的平行專案(水平變異)和團隊交換(垂直變異)的目的，前者是藉由加入複數之個人將創意之池擴大；後者是透過團隊交換的方式增加創意碰撞的機會，以擴大創意之池。而由統計分析可知，兩者在一定程度上都有助於擴大創意之池，進而提高產出符合品質要求的設計成果之機率。 其次，在評價機制部分，藉由設計過程中頻繁地查核及多重評價準則的篩選，有助於符合條件的設計創意加速脫穎而出，但是其彼此間的關係並不是單純的線性關係，而是先升後降的倒U型關係。再者，共同知識的精細化程度越高，越能促進創意產生機制中創意發想的開展，而知識存量越高，越能促進評價機制對於開發速度的正向影響。本研究的貢獻，在於補充了產品開發研究中，缺乏處理模糊前端的問題、對於創新與創造力研究，補足缺乏有效管理機制的問題、對於組織內層次演化觀點之研究，提供了可操作性的量化研究、對於設計產業的創意管理提供了初步的解答。 / Generally speaking the development of the creative products should not only give consideration to the novelty, efficiency and face higher uncertainty, shorter life cycle. Like the industry design, it is one kind of development way, while needing to produce the products and make a variation constantly, and also it is need to keep develop speed and products style. Because the production of the creative products has uncertain characteristics, that relation between the input and output is no longer simple linear relations, but very complicated multiple relations. Products developmental research in the past, not mostly considering the uncertain problem, some studies may consider the uncertain problem, but there is not discussion which gives consideration to the novel request, some studies may puts emphasis on the importance of experience even more, but they seldom put the previous experience into the mechanism of management. Because the development characteristic of the creative products, is different from the product development of the production line type, if with the general management type will be unable to completely keep the particularity, and under the circumstances that the industry design, more and more to the importance of enterprises, it need to manage effectively in design activity. As stated above, this research is mainly to regard the evolutionary view as the theoretical foundation, through the discussion of the evolutionary factors, and the mechanism of creative generation (variation), the mechanism of evaluation (selection), and the structure and stock of common knowledge (retention), in order to explain the creative management of variation, selection and retention in creative industry, and the influence of the performance on the creative products in these factors. To put it shortly, Development process of the creative products, it is a creative element that is influenced by the factor of evolution, and change the outcome of the product effect and developing speed. And the manager's role is to enhance the probability that evolutionary process will generate organizational survival and prosperity. This research carries on the questionnaire and makes investigations to design company as the research object at Taiwan. Find from the result, at first, the purpose of the parallel project (horizontal variation) and the team exchange (vertical variation) in the mechanism of creative management, the former expands the pool of idea by joining the plural individual; The latter offers more opportunities that the idea collides by way of team exchange, in order to expand the pool of idea. And can know by statistical analysis, the two both contribute to expanding the pool of idea, and then improve the probability of design achievement that the output accords with the quality request. Secondly, in the evaluation mechanism, the screening of frequently checking and multiple evaluation criterion in the design process, that promote the suitable creative to appear with higher speed, but its relation between each other is not the simple linear relations, but the inverted-U relation. Moreover, when the categorical degree of common knowledge is higher, can promote the expansion of the idea in the mechanism of creative generation, and knowledge is the higher in stock, can promote the influence of the mechanism of evaluation on developing speed. The Contribution of this research, is supplement to study on new product development, which lack the problem of dealing with fuzzy front, study with creativity and innovation, fill the gap which lacks the effective mechanism of management under study creativity and innovation, to the research that the intra-organization evolutionary perspectives, have offered effective quantity studied, offered the preliminary answer to the creative management in design industries.

本研究擬從個人空間體驗出發，從其角度研究松山文化創意園區空間實際所帶給進入空間的消費者體驗為何。期望藉由消費者的觀點，讓我們檢視個案的角度與發現較貼切、細緻解決問題的方式。進而可以針對現況提出建議與未來的方案參考。為回應上述的研究目的與問題，在研究方法上採取深度訪談與參與觀察法並行。本研究結果顯示，整體空間的利用與運用的感受是正面的。空間的規劃一次滿足不同消費者的需求與提供休憩地方。在空間的規劃是否適當上內容是主要決定因素。例如展覽性質與空間性質不符合、過於商業化。商業空間內容占用整體空間比例過高。其次，利用空間時，是否尊重空間本身歷史與原貌的態度。 在消費空間的佈局設計發現，整體園區中利用不同空間組合、搭配與混搭。創造出空間的層次與體驗。形成不同的消費空間形式。最後，消費者對於文化創意園區的期待與想像，對空間再利用抱持積極與正面的態度。可惜的是，對於松山文化創意園區所延伸出對文化創意產業的定位，與屬於我們的自身文化本質的討論是缺乏的。這也是未來可以再進一步深思研究的方向。 / This study is based on the personal spatial experience toward Songshan Cultural and Creative Park. From the consumers’ point of view, we depict and review the actual spatial experience, so as to find out more detailed and appropriate observations for space utility. It is hoped that this research finding can be used to make recommendations for the current situation and future modification. According to the above research object, the research methodology employs in-depth interview and participant observation at the same time. Major study findings are: 1.The overall experience of space usage is positive. 2.The space provides services and contents to meet different consumers’ needs. 3.The main concern of space evaluation depends on the space contents, for example, the feature of exhibitions is too commercial, and the proportion of space usage for the cultural related events is relatively low. 4.The space is designed for different functions and objectives and thus creates different forms of consumption space. Overall, the respondents have positive and proactive attitudes toward the Songshan Cultural and Creative Park space usage. However, we still need to keep in mind that, whether the true value behind the reused space reflects its cultural and historical contextual experience, is the subject to be pursued in the future.

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.

政府為促進文化創意產業之發展，在租稅政策上，依受惠對象之不同，可分為對文化創意產業本身的租稅優惠以及對投資文化創意產業之企業的租稅優惠，兩者皆足以影響企業投資文化創意產業的意願。本研究將焦點放在探討政府對投資文化創意產業之企業所提供的租稅優惠與企業投資文化創意產業意願間之關係，以作為政府是否提供投資文化創意產業之企業更多租稅優惠的參考。 本研究以發放問卷的方式，詢問692家於台灣證券交易所上市之公司有關投資文化創意產業意願的問題，共回收69份有效問卷。研究結果顯示，由「投資抵減」與「投資損失準備」所構成之稅制群，投資意願顯著高於「無任何租稅優惠」自成一群的稅制群。表示提供投資文化創意產業之企業投資抵減與投資損失準備的租稅優惠確能增加企業投資文化創意產業之意願，惟其仍未使受訪公司的投資意願由不願意轉成願意。在十三類的文化創意產業中，受訪公司僅對「數位休閒娛樂產業」有較高的投資意願。在十六類的受訪公司所屬產業中，「橡膠業」、「汽車業」、「百貨業」等三種產業對文化創意產業有較高的投資意願。 / In order to bring an advance in the cultural & creative industries, the government grants preferential tax treatment to the cultural & creative industries and enterprises investing in these industries. Both of these preferential tax treatments will influence investment inclination of enterprises to the cultural & creative industries. The goal of this research is to investigate the relation between the preferential tax treatment offered to enterprises investing in the cultural & creative industries and investment inclination of these enterprises to the cultural & creative industries, in order to offer some useful reference to the government for promoting the cultural & creative industries. The population of this research is 692 companies listed on Taiwan Stock Exchange Corporation (TSEC), and the sample is the 69 companies which send back the questionnaire. The result shows that there is significantly higher investment inclination in the group of “tax credits“ and “tax deductions for loss from investment“ than the group of “non-preferential tax treatment.” Namely offering preferential tax treatment to enterprises investing in the cultural & creative industries can significantly increase investment inclination of these enterprises, but it still can not change investment inclination of these enterprises dramatically, from unwilling to willing. Among 13 categories of the cultural & creative industries, the sample companies only have significantly higher investment inclination to “the digital recreation amusement industry.” The sample companies are divided into 16 categories of industries. Among these categories of industries, “the rubber industry,” ”the automobile industry,” and “the wholesale & retail industry” have significantly higher investment inclination to the cultural & creative industries.

文化創意產業與體驗行銷乃近年來熱門討論與研究之主題，政府於2002年提出之「挑戰2008，國家重點發展計畫」，將文化創意產業列為重點發展項目之一。不少廠商進行行銷策略規劃時，也開始以消費體驗的角度研究如何帶給消費者非產品功能性上之體驗。但國內以體驗行銷為架構，以文化創意產業為對象的研究並不多，因此本研究試圖藉著文化創意產業與體驗行銷之探索性研究，瞭解兩者之關係。 故本研究之目的包括：(1)以文化創意產業為對象，針對廠商實務作法，來分析研究個案在體驗行銷上之運作狀況與關聯性。(2)釐清目前文化創意產業廠商執行體驗行銷時可能遭遇之問題，並給予未來體驗行銷規劃上之建議。 本研究採質性研究，以文化創意產業內之工藝產業的代表性廠商：法藍瓷、琉園、大東山等三家台灣自創品牌廠商為本研究個案對象。先由文獻與參考資料中歸納工藝產業之特性，接著運用Schmitt(1999)之策略矩陣和Holbrook(1999)之體驗價值，分析個案廠商於體驗行銷之實務作為。 本研究之命題發現有幾項：(1)愈不是以功能性價值為訴求的文化產品，使用商業廣告等傳播媒介的溝通效果愈不佳。(2)愈是情感性訴求的文化產品，使用感官行銷中的實體(空間)展示方式愈能傳遞產品價值。(3)傑出的文化產品需要各功能部門間緊密互動，配合狀況愈好，愈將文化抽象性的概念傳遞出來。(4) 設計師本身的文化涵養愈高，愈能為產品注入文化價值，愈能使消費者感受深刻的情感體驗。(5) 設計師愈能將材質特色結合設計呈現出來，愈能在產品呈現之中展現其文化訴求。(6) 消費者擁有之產品知識愈多，使用分散式思考行銷策略，愈能提升消費者對產品或文化特色的認識；反之，使用集中式思考行銷策略效果愈佳。(7) 愈能塑造多樣化體驗價值的文化創意廠商，消費者愈可以真實地感受到體驗背後所要傳遞的文化意念。(8)愈能將文化使命感融入品牌主張中的廠商，愈能運用思考行銷，從而成為該廠商的品牌競爭優勢。 針對未來廠商執行體驗行銷時，本研究建議：(1)廠商必須瞭解目標顧客所處之文化特徵與熟悉度，藉以將文化價值融入產品中。(2)工藝廠商必須對產品材質有一定瞭解。(3)展示空間需營造多樣化之體驗。(4)增加直接與消費者互動體驗。(5)強化網際網路之體驗行銷作為。 未來研究可再擴大研究對象的範圍、對消費者端進行體驗知覺上之研究，或是單獨深入研究公司部門與體驗行銷上之關係，都是後續在對相關主題進行研究時，可繼續加以探討的部分。 關鍵字：體驗行銷、文化創意產業、工藝產業、策略體驗模組、體驗價值、消費體驗