博物館的趨勢從過去以「物」為主--重視物品收藏展示，轉變為以「人」為主--重視顧客的體驗，坊間出現大大小小與民眾生活貼近的生活型博物館，其中許多是由企業所成立與企業產品、產業或理念相關的企業博物館。本研究以創意生活產業的三大要素「核心知識」、「深度體驗」、「高質美感」，並輔以經營要素檢視現代新興的生活型企業博物館。 本論文採質性研究法，從台灣遴選出三家成功個案（獲選為創意生活產業者）—郭元益糕餅博物館、進益摃丸文化會館、阿聰師糕餅生活館，透過深度訪談、參與觀察及二手資料搜集，檢視其經營要素的特色為何、創意生活營造的特色為何，及經營要素如何影響創意生活營造，經由歸納探討獲得相關之研究發現。 另外亦從創意生活產業發展成熟的日本遴選三家產品類似的優秀個案—新橫濱拉麵博物館、鈴廣魚板博物館、俵屋吉富京菓子資料館，透過二手資料搜集分析，探討其創意生活的營造，獲得包括如何提升體驗的積極感與沈浸感以豐富體驗、商品美感如何營造及核心知識如何深化等等的啟示。 本研究最後綜合三家台灣個案的研究發現，及三家日本個案獲得的啟示，從三個面向提出生活型企業博物館的結論及建議包括： 一、生活型企業博物館之體驗營造與思考 1.核心知識運用再深化。2.訂定明確的體驗主題。3.提升體驗的豐富度。4.向主題樂園學習。5.生活型博物館可從商品、紀念品、餐飲、DIY、藝文講座等的提供增加收入及體驗。6.產品美感的提升。7.大量的複製、抄襲將失去創意產業的本質。 二、生活型企業博物館之經營與思考 1.運用多方資源。2.重視顧客導向。 三、母企業之經營與思考 1.企業博物館是一種行銷效益大的文化贊助型式。2.生活型企業博物館可讓企業累積跨足休閒旅遊業的資源和能力。3.生活型博物館是創意產業，母企業應培養鼓勵冒險的文化。4.企業成立博物館趨向文化傳承面出發，不會降低行銷價值，反而化行銷為無形。5.應以獨立事業視之。6.創意產業是深度經濟而不是規模經經濟。

21世紀，在全球化浪潮之下，文化創意產業成為顯學。根據聯合國數據資料顯示，近十年來，文創產業產值平均年成長率為8.8%，在開發中國家平均年成長率更高達12%，歐洲與亞太各國政府無不視文創產業為新金源或翻身的絕佳機會，文化創意產業已成為未來20年全球發展的主力引擎！ 台灣自2002年正式將文化創意產業視為國家發展級重點產業，但近十年產值成長率卻始終落後各國平均，尋找台灣發展文創產業發展的方向，將是台灣經濟發展與產業轉型升級的關鍵力量。 在分析文創產業發展卓著的歐美國家相關文獻後發現，創意產業之所以成功，乃是利用長久積累的在地文化底蘊作為根基，加以創意應用至不同產業，本文遂以田野調查法與訪談法，針對西方主流國家，如義大利、荷蘭、奧地利以及亞洲日本與拉丁美洲的祕魯，參考相關文獻之後，進行實地訪查與調查分析，探討在地文化對一個國家的文創產業發展有何助力與影響。研究最終可得以下結論:這些國家運用其豐富特色的在地文化，且人民對自身文化的強烈認同感，將在地文化落實於日常生活之中，以在地文化作為核心，結合創意與科技，輔以商業模式的思維，形成一種文化產業或是創意產業的成功模式，國家再以鼓勵文創產業相關政策的助攻，進而造就出強有力的國際競爭力。 / The cultural and creative industries have become a significant part of the mainstream economy in the 21st century under the tide of globalization. According to UN data, the average annual growth rate of cultural and creative industries was 8.8% worldwide in the past decades, and as high as 12% in developing countries. Countries in Europe and the Asia Pacific region consider the cultural and creative industries to be a source for new funding as well as a great opportunity for revival. These industries have become a main engine pushing the global economic development forward in the next twenty years. Since 2002, Taiwan has recognized the cultural and creative industries to be one of the key industries to develop at national level. However, their growth rate over the past decade has always been lagging behind the average growth rate when compared to other countries. Identifying the direction of their development in Taiwan will be crucial for economic development as well as business upgrade and transformation. Analysis of relevant documentations concerning the development of the cultural and creative industries in Europe and the US shows that those countries have achieved significant success in these industries due to their solid foundation in local cultures and creativity. This paper therefore aims to discuss the influences and the impact which local cultures have on the cultural and creative industries in a given country, taking the examples of Italy, Netherlands, Austria, Japan and Peru. The surveys were conducted through field research and interviews. In addition, relevant documentation was analyzed. From the research concluded by this paper, the author found the reasons why these countries are successful in the cultural and creative industries can be summarized as follows: These countries have been utilizing their profound local cultures with their specific features, and their people’s strong cultural identity, to implement the local cultures into daily life. With their local cultures at the core, the cultural and creative industries have established a successful business model in which creativity and technology are combined together. Meanwhile, favorable policies from governments have added strong competitive advantages to their respective industries in the global market.

本論文探討主題為文化創意產業之國際化，首先透過文獻探討方式，了解文化創意產業、企業國際化、新創事業、企業核心資源能力等議題內容；第二階段則透過個案訪談與次級資料的搜集與整理，對研究個案企業之發展歷程與國際化相關策略作一介紹；第三階段則將先前探討之文獻、研究與研究個案之國際化模式作分析、比較，歸納出命題並提出本研究之結論。 2002年行政院提出「挑戰2008：國家發展重點計劃」，明確將「文化創意產業」列為台灣未來重點發展產業，然綜觀目前國內有關文化創意產業之研究多以整體產業發展、文化創意產業與地方/社區經濟發展等相關主題為多，甚少有研究以文化創意產業為主體，針對其國際化議題做探討。本研究針對此議題，選擇以獲得行政院文建會所遴選之文化創意產業成功企業之法藍瓷有限公司為研究個案。法藍瓷成立至今僅有五年歷史，然憑藉著優異的設計創意與產品品質，產品上市不久即榮獲海內外各項大獎肯定，目前在海外市場約有五千多個銷售點，遍及美國、歐洲、紐澳地區、大中華地區與日韓等市場，年營業額約一千兩百多萬美金，是目前台灣文化創意產業裡，海外市場發展相對較成功者。 本研究結論簡述如下： 一、文化創意產業進入國際市場時，應考量本身資源能力，彈性地選擇最適合的 進入方式。 二、文化創意產業國際化的過程中，仍然適用於一般產業依各地比較利益不同而 將價值鏈各環節活動安排在不同地區之模式。 三、文化創意產業進行國際化時，除了研發、創意的掌握，亦應同時強化品牌行 銷能力培養與通路的建立。 四、國際化的資源能力可以在企業經營活動的動態過程裡逐步累積，企業若能 將國際化過程所習得的知識與經驗整理吸收，未來踏入一個新的國外市場 時，對於經營業務的推動與策略的形成將有相當幫助。 關鍵字：1.文化創意產業 2.國際化動機 3.國際市場進入模式 4.新創事業 5.工藝類文化創意產業 6.核心資源能力 / The cultural industry has been considered as the most promising industry for the future economic energy sources for many countries. However, with the limited market size in Taiwan, Taiwanese cultural industry also needs to go international for a bigger market. The purpose of this research is to understand the internationalization of cultural industry in Taiwan. As an exploratory research by case study method, the research consists of four aspects：（1）the characters of cultural industry；（2）the internalization of business；（3）the newborn business；（4）the core competence of a company. Through primary data collection, such as in-depth interview and secondary data collection from other researches and publications, the research chose Franzcolletions as the study focus. Conclusions drawn from this research results are： 1. When going globalization and entering into a foreign market, the cultural industry should take account of its own resources and capability, and thus being flexible choosing the most suitable entry mode. 2. During the process of globalization, the cultural industry will arrange the value chains activities which following the comparative advantage theory like other industries. 3. In addition to R&D, the cultural industry should also strengthen marketing ability and building up the distribution channels. 4. The cultural company can accumulate its resources and train up the core competence through the internalization process. Learning from the previous experiences, a cultural company can form a thorough strategy when entering a new foreign market in the future. Key Words：Motivation of Internationalization；International market entry mode；the cultural industry；Newborn business；Core competence.

我國「文化創意產業發展法」於2010年三讀通過，根據第3條之定義，文化創意產業共計15類產業，及一款經中央主關機關指定之產業。法令規章所建構之文化創意產業類別體制，於文化創意產業政策實務推動中之執行完整度，扮演著極為重要角色。 本研究爰從文獻分析，針對文化創意產業政策計畫演變，比較我國與韓國文化創意產業制度設計。在個案選取上，以珠寶產業為例，探究文化創意產業政策執行實務，說明官僚組織設計，對文化創意產業政策執行影響的情形，並提出若干省思及相關建議。 / Taiwan's "Cultural Creative Industry development act" was adopted in 2010 after the third reading. According to the definition in article 3, there are a total of 15 types of industries that are classified as part of the "Cultural Creative Industry" , as well as other industries designated by the Central Competent Authority. The classification system of the Cultural Creative Industry decreed in the regulations plays an extremely important role in implementing the promotion of practical Cultural Creative Industry policies. The present study aims to elucidate the changes in policy planning of the Cultural Creative Industry through a literature review and compare the design of Taiwan's Cultural Creative Industry policies with those of South Korea. The jewelry industry was selected as a study case to investigate the practicality of policy implementation of the Cultural Creative Industry, explain the influences on the policy implementation by the design of the bureaucratic organization, and propose a number of reflections and related suggestions.

華山創意文化園區的產業化發展受到一個由國家、藝術社群與企業三方構成的社會結構影響，藝術社群、國家與企業三者在不同階段扮演了關鍵的角色。此轉型過程經歷文化創意產業化的價值張力現象和政策磨合，揭示了上述行為者對於空間規劃與產業發展的不同主張，一方面造成其不同的信任與競合關係；另一方面也造成空間功能的轉向－此地區由一個位於前端的藝術創作聚落轉變成為靠近後端的大眾文化消費園地。 本文認為文化創意產業化的過程將引發行為者不同的價值取向，其原因為：一、精緻藝術與通俗文化的特性不同；二、創作前端與市場後端的需求與運作邏輯不同。而為了尋求文化與產業的永續發展，政府必須回應這種特殊的產業特性，扮演彈性的平台角色，一方面能夠觸動行為者的相互交流、理解與信任關係，使其自由溝通並跨界合作，誘發各種創新的可能；另一方面需要釐清空間的角色與功能，讓有效的補助與保護機制連結網絡關係及群聚效應。如此一來，這樣的制度環境能夠鼓勵創新，不因產值思維而壓抑創意，而創作前端與市場後端能夠充分活化與溝通，進一步完整價值鏈機能。 / The industrialized development of Huashan Creative Park was influenced by the social structure, composed of the state, the community of artists and the enterprise. These three factors played crucial roles within different phases. The Industrialization of culture and creativity resulted in tensions between discrepant values as well as policy modification within the transition, which displayed diverse positions toward spatial planning and industrial development from different factors. The tensional phenomenon not only altered the relationships of trust and contention among factors but also brought about functional change of the space－this cluster of art creation near the front end of value chain turned into a pop culture consuming park near the back end. This paper argues that industrialization of culture and creativity will lead to dissimilar value orientations of factors because of two reasons：the first, distinct features of fine art and pop culture；the second, different needs and logic of creating front end and consuming back end of the value chain. In order to build up sustainable development of culture and industry, the government is suggested to deal with this kind of special industrial feature and take a role as a flexible platform. On the one hand, this platform should induce interaction, understanding, and trust between factors as well as generate free communication, synergies among multi-fields, and all possibilities of innovation, on the other hand, it can clarify the significances and functions of spaces as well as connect network and cluster effect to complete the function of value chain by an appropriate protective system and subsidies. As a result, this institutional environment can encourage innovation and interaction between creation and market instead of oppressing creativity due to output value requests.

台灣整合行銷產業受限於市場規模小及與市場景氣連動性高的因素下，面臨利潤被壓縮的挑戰，提出創新服務勢必為未來發展的趨勢。另一方面，雖然政府大力投入資源於文化創意產業，民國一百年甚至被馬總統宣告為台灣設計年，但多數的創意品牌設計卻無法面臨市場機制的挑戰。本研究試圖探討能否導入整合行銷傳播模式於文化創意產業鏈，發揮以市場為導向的價值建置跨業資源整合平台，改變過往的產業開發商品模式。 　　本研究架構以「新視紀整合行銷集團」及其建置的「有藝氏創意商品整合平台」為例，綜合交易成本理論分析和透過與「有藝氏創意商品整合平台」實際運作成效，分析整合行銷傳播模式應用在文化創意產業的可行性與綜效。 　　研究結論發現，導入整合行銷傳播模式的「有藝氏創意商品整合平台」有效降低整體現在文化創意產業鏈開發商品過程中發生的交易成本，除提高創意商品化的可能性之外，亦加快商品從研發到上市的速度，而消費者則是整體產業鏈交易成本降低的最大受益者。 / The integrated marketing industry in Taiwan faces a low gross-profit challenge because the limited market share and its growth is highly relevant to the worldwide economy. Providing a creative service becomes a trend for the industry to respond those tough situations. Although the Taiwan government has been putting a lot of resources into the cultural and creative industry and President Ma Ying-Jeou announced that the year of Taiwan centenary (2011) is “Taiwan Design Year,” most of Taiwanese design companies could not cross through a marketing chasm successfully. Most creative products could not been accepted by mass consumers. Thus, this research seeks to explore the application of integrated marketing communications in cross-disciplinary and then analysis the feasibility of changing creative product developing processes with the integrated marketing communications model. This research uses the transaction cost theory and takes New Vision Integrated Marketing Communications Group and its subsidiary company, Unique Art Integrated Platform of Creative Products, as case study to evaluate the efficiency in creative product developing processes. This research concludes that “Unique Art Integrated Platform of Creative Products” which applied the integrated marketing communications model into the cultural and creative industry in Taiwan, indeed increased the possibility of developing creative products, decreased transaction costs in developing creative products, and shortened the whole developing process, from searching for a design to launching a product. Most importantly, consumers are beneficiaries, spend less money to buy creative products, because of this new business model.

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.

「溫羅汀」指的是台北市大安區的溫州街、羅斯福路以及汀洲路的區域，在七、八零年代開始，隨著台灣大學為核心的運動氣息和自由氛圍，聚集著人文氣息濃厚的主題書店、獨立音樂及咖啡館所構成的文化地景，擁有著獨立、非主流、自由的精神。「溫羅汀」的獨立音樂場景也由著這樣的文化與歷史脈絡而於此落葉生根。 透過論文的整理與分析溫羅汀在地的獨立音樂的歷史、環境與文化，再以這個為背景，來討論台灣獨立音樂在台北的群聚與社會網絡，並觀察與分析溫羅汀做為台北獨立音樂場景的重要基地其主要的因素。最後，再從外部的政策環境以及內部的獨立音樂發展方向的矛盾，來討論台灣獨立音樂發展的限制。 研究認為，溫羅汀會成為台北獨立音樂的重要音樂場景主因是因為，溫羅汀的音樂人力聚集形成一種「創意型群聚」，而這樣密集的社會網絡提供了經濟機會，而且，這樣的群聚是集合了包含生活圈、社會網絡以及產業鏈的「生態圈」。因此政府在做相關產業政策時，絕對不能忽視獨立音樂場景之中，生活圈以及社會網絡對於獨立音樂發展的重要性。並且，政府在做獨立音樂產業政策時，各部會層級的溝通也都該有「文化」的思維，並且，部會間的橫向與縱向的溝通與協調機制也必須要能夠發揮。

「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。

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.