本研究從探討台灣及韓國兩國目前為扶植文化創意、數位內容產業所推動之發展政策比較，介紹兩國目前的推動政策內容以及發展狀態，並探討為振興整體產業，如何運用相關政策而帶動產業發展，且從中國家力量在推動產業時所扮演的角色及力量。透過台灣、韓國對文化創意、數位內容產業之相關推動政策比較，試圖探討執行政策之優缺點，再進一步比較截至目前為止的發展成果。此外，本研究介紹了台灣、韓國兩國近期在相關產業發展過程中所引發爭論的智財議題，在比較分析兩國文化創意、數位內容產業所面臨的智慧財產議題後，探討兩國在知識經濟時代如何保護運用相關智慧財產，及其與產業發展的關聯。為了解台灣、韓國文化創意、數位內容產業界實際現況及對於政府輔助政策的意見，並探討相關推動政策的實效等，本研究在訪談兩國相關企業後，找出目前產業實際問題所在且蒐集來自產業界的意見，最終導出本研究結果，並依據韓國文化創意、數位內容產業發展的歷程，對台灣文化創意、數位內容產業發展提出本研究的建議。 / This study started from the comparison of the Taiwanese and Korean government policies that are intended cultivate the development of culture creative and digital content industry. By introducing the measures and activities taken officially, we can clearly see how each government acts in the development of their culture creative and digital content Industry, following by discussing the pros and cons of the policies and further comparison of the achievements until now in Taiwan and Korea. On top of the background analysis of the culture creative and digital content industry in Taiwan and Korea, this study introduced the intellectual property related issues that were raised during the development, and discussed how they manage to protect and commercialize their intangible assets and how this effects to the industry. Interviews of local companies were conducted in order to evaluate how the Taiwanese and Korean policies work and see if that really meet the demands of the industry. The conclusion of this comparative study comes from the opinions of the industry, and since the Korean had gone further in the development of culture creative and digital content field, the study came out a few suggestions for Taiwan for their future development in these industries.

研究旨在探討文化創意產業經紀人暨平台在促成供給與需求兩端所能發揮的價值，以及由個案去初探經紀人暨平台不同的樣貌等議題，盼能引起大眾對台灣美學大業支柱一端的經紀人的了解與重視。研究選擇非親屬關係的文化創意產業團隊個案進行探究，包括墨色國際、中子創新以及希嘉文化，藉由半結構式的深度訪談，輔以相關活動的實地觀察以及次級文獻資料的蒐集佐證，進行為期一年的研究。 本研究將「經紀人暨經紀平台」的角色定位為「擔任文創產業創作端與市場端的橋樑，建構文創市場的供給與需求」，研究問題及研究發現如下: 研究問題一:文化創意產業經紀人暨平台在供給端所能發揮的價值為何? 對應結論一: 文創產業經紀人暨平台在供給端所發揮的價值有四點，包括: 一、 辨識創作者潛力並予心理支持， 二、 原創作品商品化與延伸， 三、 決定合作對象並代為談判， 四、 打造並維護品牌。 研究問題二:文化創意產業經紀人暨平台在需求端所能發揮的價值為何? 對應結論二: 文創產業經紀人暨平台在需求端所發揮的價值有四點，包括: 一、 掌握趨勢並創造潮流， 二、 擴大目標客群， 三、 營造購物氛圍與情境， 四、 集結並經營社群。 研究問題三:文化創意產業經紀人暨平台有何不同的樣貌? 對應結論三: 文創產業經紀人暨平台的樣貌不同之處主要有三，包括: 一、 在「服務創作者數量的多寡」及「與創作者關係的緊密度」上的差異， 二、 品牌發展時程與作品延伸程度上的差異， 三、 兩種組合方式(Web 1.0與Web 2.0以及A型人)的差異。 共通點則在於除通曉「創意」與「產業」兩種語言外，對所經營的創意具有高度的認同與熱情。

文化是一種民族精神、社會價值、生命哲學與生活方式的體現，而創意是人類文化定位的重要成份，而以各式各樣的形式表現，兩者皆能透過產業流程與全球分銷去複製、推廣。文創產業是「那些以無形、文化為本質的內容，經過創造、生產與商品化結合的產業」，因此文創產業不僅涉及文化與創意，也包含由創意衍生之「文化商品及服務」（cultural goods and services）的經濟價值與商業運作。 我國為使發展文創產業之政策制度在施行上於法有據，經濟部乃多次召集會議邀請各部會及學者專家討論研擬《文化創意產業發展法》（以下簡稱《文創法》），並於92年9月24日函報行政院審核修訂，經過多年的推動與研議，該法終於2010年1月7日三讀通過，完成立法程序，並於2月3日以華總一義字第09900022451號總統令制定公布，相關子法亦陸續公布施行。 然而《文創法》內立意甚佳的產業措施，因台灣加入世界貿易組織(World Trade Organization, WTO)而不得不受到WTO相關協定的規範。作為掃除關稅與非關稅貿易障礙、確保自由貿易之WTO，經由多回合的貿易談判逐步開放市場，並藉由對關稅與補貼之約束以及服務業市場准入、國民待遇之承諾等建立市場開放之可預測性。文化商品與服務在其規範下並無例外，同樣必須接受WTO上述原則，即最惠國待遇、國民待遇與市場准入等義務的檢驗。鑑於《文化創意產業發展法》所具備產業扶植之本質，及其涵蓋之16種文化創意產業多屬服務部門，本文遂將檢驗重點聚焦在該法之獎補助及租稅優惠措施與GATS的互動關係上，尤其是《文創法》在服務業補貼暫行定義、第17條國民待遇、國內規章第6.1條與第23.3條非違反協定控訴之適法性分析，以作為日後執法或修正之參考。 但值得注意的是，相對於WTO以降低貿易壁壘，促進貿易自由化為職志，文化商品與服務之雙重特質在WTO無法獲得特殊之待遇或保障，2005年10月UNESCO通過之《保障及促進文化表現多樣性公約》(以下簡稱《文化多樣性公約》)卻主張國家有促進與保護文化表現多樣性之權利，並具有採行其認為適當之政策與措施達成該目的之主權。若《文創法》有其適用《文化多樣性公約》之可能，則我國在採行諸多文創產業推展措施卻有違WTO內括協定所涉及之貿易原則或義務時，是否得根據《文化多樣性公約》正當化該等爭議措施? 當《文化多樣性公約》與WTO內括協定產生規範衝突時，兩者之適用與解釋是否有互補或調和之可能? 在文化產業與貿易活動上，《文化多樣性公約》若能正當化違反WTO規範之政策措施，則我國《文創法》所擬定之政策措施在GATS框架下之解釋與義務即有所不同。因此在檢驗《文創法》與GATS之互動關係前，本文將先簡單介紹《文化多樣性公約》之優劣特性，及公約與WTO規範競合之解決與適用結果。 關鍵字：文化創意產業發展法、世界貿易組織、文化多樣性公約、國民待遇、非違反協定控訴 / Culture is the embodiment of a national spirit, social values, people’s worldview and life style, while creativity in all its manifestations presents an essential constitution of human culture. By way of industrialization and global distribution, the two are allowed to copy repeatedly and promote worldwide. Cultural and creative industries are “those industries that combine the creation, production and commercialization of contents that are intangible and cultural in nature”, which involve not only abstract culture and creativities but also material economic value and commercial operations of cultural goods and services derived from human ingenuity and originality. To make sure the policy and measures implemented in Taiwan to promote and flourish cultural and creative industries are legally based, the Ministry of Economic Affairs had invited the relevant ministries, scholars and experts in the field to deliberate and prepare the Cultural and Creative Industry Development Act (hereinafter referred to as "the Act") since mid-‘90s, and finally submitted the draft Act to the Executive Yuan for review and approval on September 24, 2003. After years of promotion and negotiations, the Act was passed its third reading in the Legislative Yuan on January 7, 2010 and promulgated on February 3 by Presidential Decree Hwa Zong Yi Zi No. 09900022451. The related rules and regulations were also proclaimed in effect one after another ever since. However, as a WTO (World Trade Organization) member, it is our duty to keep the deliberately constructed measures set in the Act in line with the WTO-related disciplines. WTO, acting as an international forum calling for free trade, vows to eliminate tariff and non-tariff trade barriers, facilitate further market opening by multiple rounds of trade negotiations, and increase the predictability of market dynamics through the establishment of binding tariff rates, subsidy disciplines, specific commitments and various requirements such as most-favored-nation treatment, market access and national treatment. The same principles and obligations mentioned above apply to goods and services with culture in nature equally with no exception. In this regard, the paper will examine how the Cultural and Creative Industry Development Act, especially its subsidy and tax preference measures legally interact with the articles related including Article 15 Subsidy, Article 17 National Treatment, Article 6.1 Domestic Regulation and Article 23.3 Non-violation complaints (in view of the measures adopted in the Act are industry-supportive oriented and most industries categorized in the same act are belonging to service sector) in General Agreement on Trade in Services (GATS) for reference of law enforcement and further amendments in the future. But it is worth noting that, while WTO (the organization and covered agreements) are dedicated to exterminate trade barriers, promote trade liberalization and ignore cultural goods and services have both an economic and a cultural nature, the UNESCO Convention on the Protection and Promotion of the Cultural Expressions (hereinafter referred to “the UNESCO Convention”) adopted by the General Conference of the United Nations Education, Scientific and Cultural Organization (UNESC) on October 20, 2005 recognizes member countries have their sovereign right to formulate and implement their cultural policies and to adopt measures to protect and promote the diversity of cultural expressions when necessary. If the rules and principles of the UNESCO Convention apply to the Cultural and Creative Industry Development Act, then is it possible for the Convention to justify the measures we adopt to nourish the cultural industries, but somehow in violation of WTO principles and obligations? And if the answer is “Yes”, all the interpretation and obligations derived from the Act will not be the same as those covered by GATS only. Therefore, the potential conflicts and the harmonization between the UNESCO Convention and WTO covered agreements (GATS in particular) will be explored before the legal relationship between the Act and GATS is examined. Keywords: Cultural and Creative Industry Development Act, World Trade Organization, UNESCO Convention on the Protection and Promotion of the Cultural Expressions, National Treatment, Domestic Regulation, Non-violation complaints

隨著文化創意產業的興起，傳統的宗教信仰如何結合數位互動科技，以輔助參與者加深對宗教信仰文化的理解與體驗，是數位內容產業值得研究的議題。月下老人是華人傳統信仰中的姻緣之神。本研究因此將針對月老文化內容，設計一多人互動體驗情境，以探究月老文化內容以傳統和數位化的形式呈現，對參與者體驗感受的影響程度。 在設計研究方法上，包括創作概念發想以及互動裝置雛型實作兩部分。首先透過文獻探討，歸納出互動體驗設計原則，接著針對月老文化進行數位化設計與互動體驗流程設計，並以Unity 3D遊戲引擎結合Kinect體感科技與Android系統平台，實作一數位化月老文化互動體驗情境，以兩大體驗主題：數位化月老之參拜體驗與體感互動之繡球牽線等情境，以呈現月老文化創意設計概念。 針對參與者對月老文化內容的理解程度與體驗感受，進行問卷與訪談分析後發現，本研究設計之互動體驗情境能有效提昇參與者對文化內容起源與意義的理解。再以Schmitt 提出之策略體驗模組（Strategic Experiential Modules, SEMs）進行分析，發現此體驗情境皆有助於提昇參與者於感官、情感、思考、行動、關聯體驗的感受程度與認同感，進而創造深刻的互動體驗感受。最後，期望此互動體驗情境的設計過程與雛形的實作經驗，能轉移到同性質的文化體驗情境設計的應用上，並提供建議給後續研究做參考。 / With the advent of the cultural and creative industry, it is worth to investigate the integration of traditional religious culture with the interactive technology to improve the participants' understanding of culture. The Matchmaker, the old man of the moonlight, is the god of marriage and love in Chinese traditional religious culture. In the thesis, the design of a multiplayer interactive experiential environment for the integration of the Matchmaker culture with the interactive technology is investigated and developed to improve the participants’ experience. For the design methodology, the creative concept design is performed and the interactive device prototyping is implemented. We draw out the related interaction design principles and used Unity 3D game engine along with the Kinect somatosensory Technology and Android platform to implement the Matchmaker interactive environment. Two themes of the developed environment are the digital prayer experience of the Matchmaker and the interactive embroidered ball throwing. To evaluation the user experience of the developed environment, the questionnaire analysis and interviews are performed based on the Schmitt’s strategic experiential modules. The result showed that the developed environment can enhance the participants' understanding of the culture of the Matchmaker and improve participants’ perception and recognition towards the experience of sensing, feeling, thinking, acting and relating.

因應時代的改變，構成國家實力的資源也跟著改變。不同於自然資源、軍事力量、經濟或科技實力等有形的力量，文化資源以價值觀念為核心，是經濟發展的要素之一，也是柔性權力發展的重要基礎。創意產業，是目前全球新興的產業，透過創意產業對於外交上的幫助能強化國家的柔性力量，為國家塑造良好形象，並促進國家經濟利益。 本文以「創意產業作為俄國一項柔性權力」的角度為出發點，思考電影與文化觀光中所體現出的俄國價值與俄國文化，結合文化創意產業創新的概念，如何提升並發揮作用影響國家品牌形象。 透過國家品牌指數及相關國際指標可以得知，俄國成功藉由電影與文化觀光對外國公眾展現文化吸引力，傳達文化精神並提升國家品牌形象。因此，本文研究發現有以下幾點：第一，俄國創意產業作為一種柔性權力，以俄羅斯文化為因子散播並影響著世界。第二，文化吸引力為俄羅斯重要資產。俄羅斯的電影及文化觀光的文化吸引力使得外國公眾能受到吸引而心生嚮往，產生認同感；第三，國家扮演創意產業發展的關鍵推手。藉由俄國政府的主導，使得俄國創意產業能順利與國際接軌，發揮柔性力量；第四，柔性權力可建構出國家品牌形象，讓外國公眾對於俄國的印象不再只有軍事與核武等剛性力量，俄羅斯文化在國際上也具有不容小覷的影響力。 / In respond to the era of changes, the resources that constitute a nation's strength change accordingly. Unlike tangible forces such as natural resources, military power, economic or scientific technological strength, etc., cultural resources have sense of value as its core, and is one of the elements in economic development and also the important basis for the development of soft power. The creative industry is currently an emerging industry around the globe. Through the creative industry, the diplomatic assistance can help strengthen the country's soft power by adding a good image of the country and promoting national economic interests. This paper uses the perspective of "Creative industry as one of Russia’s soft power" as the starting point to reflect on how Russian values and culture expressed in film and cultural tourism, combined with the concepts of the innovation in cultural creative industry, can enhance and influence its national brand image. Through Nation Brands Index and the relevant international indexes we can have learned that Russia successfully exhibits its cultural attraction to the foreign public through cinema and culture, conveys its cultural spirit and enhances its national brand image. Therefore, this paper is meant to study and discover the following: First, Russia’s creative industry is used as a soft power to spread Russian culture as a factor and influence the world; Secondly, cultural attraction is an important asset for Russian. The cultural attraction of Russian films and culture tourism can attract the foreign public and create a sense of longing and a sense of identity; Thirdly, the country plays a key force behind the development of the creative industry. Being led by the Russian government, the Russian creative industry can thereby successfully connect with its international counterparts and bring soft power into play; Fourthly, the soft power can construct a nation’s brand image. It gives the foreign public an impression of Russia not only about hard power like military and nuclear weapon etc.; Russian culture also has influences, which are not to be underestimated internationally.

自金融風暴之後，不論是政府或是企業，皆意識到產業結構轉型之重要與迫切性，而產學合作於其中扮演不可或缺之角色。事實上，政府推動產學合作多年，過去產學合作之投入與產出、衍生效益不符，經探究，發現主要原因在於大學研發成果與市場端中間存有缺口（Gap），研究與技術對企業來說不具誘因，中間需要商管知識協助技術之商品化；此外，隨著產業結構之轉型，很大契機來自於商業模式之創新。 然而，過去學術界與實務業皆鮮少談論商管領域之產學合作，成功案例更是少之又少。商管知識相對無形，要執行產學合作勢必有所困難，但是，一旦成功將對企業甚至是社會作出貢獻。 是以，本研究透過文獻回顧探討促成產業界與學術界成功合作之主要因素，以及影響產學合作績效之重要要素，並藉由個案研究組織之分析提出關於商管領域產學合作之關鍵成功要素，作為未來執行商管產學合作之參考。此外，本研究更以關鍵成功因素為基礎，由現行產學合作相關績效評估模式中選取適合之模式，以商管學者於文化創意產業之產學合作為例，探究合作過程中商管學者應有之功能與角色，據以說明績效評估構面與關鍵績效指標應如何訂定，希冀架構一系統化之商管領域產學合作之績效評估模式，驅動更多之商管學者投入產學合作，為台灣產業之突破與創新做出貢獻。 / After the financial crisis，both government and enterprises are aware of the importance and urgency of industry structure transformation, and the industry-university collaboration in which plays essential roles. In fact, the government has promoted industry-university collaboration for many years. However, there is a discrepancy in the inputs and outputs of industry-university collaboration. From related researches’, the main problem is the gap between universities’ R & D results and market side. In other words, enterprises have no incentives to buy universities’ research results. Indeed, business and management knowledge can minimum the gap. In addition, with the transformation of industry structure, there’s a huge need for innovation of business model. However, academic and industry rarely talk about the managerial industry-university collaboration. And there are few success cases about it. In fact, managerial knowledge is more invisible than technology. It is difficult to implement managerial industry-university collaboration cases. But, if it succeeds, it will make great contribution to enterprise and industry. Therefore, this research is to explore the key success factors and performance evaluation of industry-university collaboration from literatures review, and to establish the key success factors and performance evaluation of managerial industry-university collaboration by case study. Hope of the research is to provide some guidance for related parties. Moreover, this research takes the key success factors of managerial industry-university collaboration as a basis of building up performance evaluation. Because of a lack of industry-university collaboration in cultural and creative industries, the research explores managerial scholars’ function and role in it, and then designs the structure and index of performance evaluation. The main object of the research is to systematize performance evaluation for managerial scholars in implementing managerial industry-university collaboration cases. Without right performance evaluation, managerial scholars have no incentives to help industry improve and solve practical problems.

快速時尚為目前服飾零售業的主流經營理念，快速時尚服飾零售業者自時裝週伸展台上的華服汲取靈感，透過對供應鏈的設計與改良，縮短產品自設計、生產到上架的時間，販售高度客製化的流行服飾產品。同時，隨著網路購物市場持續膨脹發展，網路購物模式不斷新生，如團體合購與代買、代下標、連線等突破跨國購物障礙的中介服務。快速時尚的即時生產概念與暢通的網路通路，彷彿仿製時裝的雙翼，使之如蒲公英的種子般輕盈地飄落全球、遍地開花。 　　在仿製時裝的態樣及規模皆與過往顯著不同的當下，智慧財產權相關法律制度是否賦予原創時裝設計師保障？在專利權與商標權方面，由於時裝設計的流行性本質與新式樣專利之創作性要件有所矛盾，亦不易符合立體商標之識別性要件，且專利權與商標權須申請註冊獲核准始受保護，設計師得花費大量時間、費用及作業勞力成本，所費不貲，設計師與欲藉該二種智慧財產權維護其權益，既有難度也不適合。而在著作權方面，本研究一一檢視著作權取得要件後，則認為時裝設計為得受現行著作權法保護之客體，且不限於平面形式之時裝設計圖，立體形式同受保護，原創時裝設計師得依該法主張權利。 　　我國司法實務見解及近期行政函示亦肯定時裝設計受著作權法之保護，認定抄襲改作屬侵害他人時裝設計作品著作權之行為，就此本研究擇我國時裝設計侵權訴訟中的代表性案例，分析法院判決理由。本研究另挑選美國最新時裝設計侵權訴訟二案，進行個案分析，自該二案例顯見於法律並未明文保護時裝設計之情況下，訴訟並非有效對抗仿製時裝之手段。 　　最後，本研究以產業分析、法律分析及個案分析之研究結果為基礎，分別對政府與企業經營者提供建議：政府應釐清時裝設計產業政策走向，選擇較適我國之快速時尚服飾零售業扶植之，繼而朝有利發展快速時尚服飾零售業之方向解釋著作權法；我國快速時尚服飾零售業者應穩固基礎建設、善用網路通路，前進大中華市場；我國原創時裝設計師則應注意各國法制動態，提升商品與服務品質，並把握利用侵權訴訟宣傳行銷品牌之機會。