日本內容產業在2003年因為「Cool Japan概念」的提出而逐漸被日本政府重視，小泉政府更有「文化立國」之目標，而後更在2010年開始積極推動「Cool Japan戰略計畫」，成立了內容產業成長戰略相關研究會，定期召開會議及成果報告。內容產業包含了電影、動畫、音樂、遊戲、出版、廣告等六項主要領域，而本研究所著重之內容產業領域為動畫及部分之印刷（漫畫）領域。以動畫領域來說，自日本動畫協會所公布的數據顯示，日本動畫產業市場為1兆4,913億日圓（2014年），顯示其重要性。在《Cool Japan戰略計畫》中，三大策略方向中的其中一項即為內容產業與消費財的共同提攜，當中流程的一環即為內容產業的輸出以及「二次利用」，即角色商品的授權，而二次利用的內容物主要以動畫與漫畫所創造的角色利用為主要手段。2014年的《コンテンツ海外展開の促進に向けた施策について》中，提到日本尚未在海外充分展現出其魅力，所以海外市場亦因此尚未真正拓展，於是想藉由能代表「日本魅力」，並在海外具高人氣的商品、服務等項目逆向吸引外國市場進入國內，也就是在世界製造「日本潮流」，而動畫產業即為當中被點名的項目之一，動畫產業對於日本之重要性可謂不言而喻。 　　1990年代後，利用動畫作品於日本消費市場的親和力與內容的靈活運用性與各種產品進行結合，將不同媒體的原作先行動畫化，利用動畫將作品內容進行擴大宣傳，進一步地提高作品知名度，最終目的在於刺激關聯商品的營收之跨體經營模式，在當今已成為動畫相關產業中廣泛運用之經營手段。究竟跨媒體營運模式為何？涵蓋何種類別的產業？其所帶來的優勢與劣勢為何？…等，為筆者欲於研究中欲探討之項目。而透過本研究能更進一步了解日本動畫產業於行銷策略面之運作方式，期許能成為我國內容產業界發展之助力，並提供將來欲從事相關研究之學術人員的研究參考，並期望能藉此為臺日內容產業的學術交流盡一份心力。 / After the "Cool Japan concept" was proposed in 2003, the Japanese government has begun to take the content industry seriously. Moreover, the Koizumi government started actively to promote the concept of “cultural nation” represented by projects such as the very “Cool Japan strategic plan”. 　According to the “Content Industry’s Status and Development” reported by METI (Ministry of Economy, Trade and Industry), the market of Japanese content industry is worth about 12 trillion yen, ranking second in the world as in 2010. A part of this content industry, the anime industry, is popular all around the world, as this art form has gained numerous followers over the years. Therefore, as Japanese government realizes that the anime industry may hold a huge market potential with international competitiveness, the anime industry started to obtain importance within Japan. 　Regarding the marketing schemes, differently from the American’s promotion strategies, Japanese anime industry uses multivariate mass media and transplanting platforms in order to make the content available in multiple forms, also the advertising is done as widely as it is possible, in order to make consumers desire more. This kind of business strategy works out satisfactorily in the domestic environment, and this model has also became a unique business model that belongs to Japan. 　This thesis starts with a description on the birth of the Japanese anime industry, pointing to the composition and operation of Animation Production Committee. Subsequently, it attempts to explain how the ‘Media Mix’ model’s composition and operation affects the market, and what kind of advantages can Media Mix model brings to affiliate enterprises. Lastly, it addresses the unresolved problems and how this model can be improved in the future.

二十一世紀是知識經濟的時代，知識與創新是全球企業核心競爭力的關鍵。有鑑於知識內容產業在於數位經濟時代發展之重要性，行政院經濟部宣布將2002年訂為「數位元年」，並提出「新世紀兩兆雙星產業發展計畫」，其中，「數位內容產業」不但被選為新世紀全力發展的明星產業，其預期產值於2006年將達到3,700億新台幣。我國政府正積極推動數位內容產業的發展，但在資源與經費有限的情況下，目前選擇以「電腦動畫」及「線上遊戲」為我國的重點推動產業。在消費者日益重視視覺享受的今天，如果要發展內容產業，動畫產業的發展勢必成為關鍵之一。本研究即針對數位內容產業的「電腦動畫」作個案研究分析。 由於我國動畫產業之業務以往多為代工模式，缺乏內容授權、智財保護與行銷等相關知識經驗。故儘速發展我國動畫產業之智慧財產管理與授權業務，實乃當務之急。 有鑑於新興產業環境尚未成熟，因此本研究採取個案深入訪談法，個案對象之選取，乃從國內動畫產業中各選取具有代表性與業界口碑良好之廠商共三家。本研究針對「電腦動畫」廠商所涉及之智慧財產管理與授權管理，做一體系性的介紹並探討廠商目前之做法，同時探討動畫製作流程中可能會遇到之相關智慧財產問題。其研究建議茲分述如下： 一、國內動畫廠商應加強智慧財產觀念，妥善處理智慧財產問題，避免產生不必要之糾紛。 二、國內動畫廠商應建立動畫與其衍生商品之授權策略。 三、國內動畫廠商須依照自身能力、已有資源、關係與定位來選擇最合適的發展模式。 四、政府應檢討現行數位內容法案對於動畫廠商之實際效益，並參酌各國政府建立產業環境與機制之做法，衡量台灣目前之狀況，選擇合適之做法。 / The 21st century is the era of knowledge economy. Knowledge and innovation are crucial for global companies in order to enhance their core competency. Because of the importance of knowledge content industry in this digital economy age, the Taiwan government has announced the year 2002 “the First Digital Year,” and has formulated its "Two Trillion and Twin Star Industries Development Plan”. This plan indicated that the digital content industry is a promising area of which the expected production value will reach NT$ 370 billions in 2006. Right now our government are promoting digital content industry positively, but due to limited resource and money, choose ”3D animation” and “on-line game” as our country’s key industry. Nowadays, consumers pay more attention to enjoyment of vision, if we want to develop content industry; the develop of animation industry is the key point. Therefore, this study explores the current situation of animation companies in Taiwan. Because of the lack of content license, intellectual property protection, marketing, and other related knowledge and experiences, it’s the most important thing to expand intellectual property management and license of animation companies in Taiwan. As a result of the environment of oncoming industry has not matured as yet, this study uses ”in-depth interviews” of case study, selecting three representative and well-known companies from animation industry in Taiwan. This study explores the current situation of intellectual property management and license of animation companies in Taiwan, furthermore, searches for the related intellectual property problems in the course of animation creation. Major suggestions are stated as follows: 1.Animation companies in Taiwan should strengthen intellectual property concepts, and handle the related intellectual property problems properly, to avoid unnecessary conflicts. 2. Animation companies in Taiwan should establish licensing strategy of animated cartoon and derivative products. 3. Animation companies in Taiwan should select a suitable develop model according to their own capability, resources, relationship and position. 4.The government should review the actual benefit of current digital content law and deliberate about other countries’ methods of establish industry environment; Consider current situation of Taiwan and select a suitable method.

近年來電腦計算能力的進步使得3D虛擬環境得到廣泛的應用。本研究希望能在虛擬環境中結合人體動畫和音樂的特色，以人體動畫來詮釋音樂。我們希望能設計一個智慧型的人體動作產生器，賦予虛擬人物表達音樂特徵的能力，讓動作會因為“聽到”不同的音樂而有所不同。基於人類聽覺的短暫性，系統會自動抓取音樂特徵後將音樂切割成多個片段、對每一片段獨立規劃動作並產生動畫。過去動畫與音樂相關的研究中，許多生成的動作都經由修改或重組運動資料庫中的動作。本研究分析音樂和動作之間的關係，使用程序式動畫產生法自動產生多變且適當的詮釋動作。實驗顯示本系統能通用於LOA1人體模型和MIDI音樂；此外，透過調整系統中的參數，我們能產生不同風格的動畫，以符合不同使用者偏好和不同音樂曲風的特色。 / In recent years, the improvement of computing ability has contributed to the　wide application of 3D virtual environment. In the thesis, we propose to combine character animation with music for music interpretation in 3D virtual environment. The system proposed in the thesis is an intelligent avatar motion generator, which generates expressive motions according to music features. The system can extract music features from input music data, segment a music into several music segments, and then plan avatar animation. In the literature, much music-related animation research uses reconstruction and modification of existing motion to compose new animations. In this work, we analyze the relationship between music and motions, and then use procedural animation to automatically generate applicable and variable motions to interpret music. Our experiments show that the system can accept LOA1 models and midi as inputs in general, and generate appropriate expressive motions by modifying parameters according to users’ preference or music style.

《神隱少女》是宮崎駿少數以日本本地為背景的故事，極富日本文化色彩，且連連獲獎，文化獨特性似乎成為它致勝的元素之一。宮崎駿曾提到：「《神隱少女》與其說是一般描寫異世界的故事，還不如說是日本『昔話』中出現的『麻雀之家』(雀の家) 或是『老鼠的宮殿』(鼠の御殿) 的『直系子孫』」。日本「昔話」乃為日本文化重要的一環，以日本「昔話」為參考文本的《神隱少女》，必然包含了豐富的日本昔話與日本文化元素。此外，日本學者間宮史子曾提到，日本昔話中的主角出發前往的地方，最常見的就是「異界」；而《神隱少女》即是一段人類踏上「異界」所發展的故事。因此本文將以日本民間故事的「異界」作為分析項目，分析《神隱少女》動畫文本中的「異界」形象意義，以及與日本民間故事的連結關係。

動畫，具有跨越文化和語言的魅力，也能產生極大的經濟效益。本研究著重於台灣原創動畫如何在全球市場發展，動畫產業發展到世界的意義，不只是擴展動畫產業本身的市場，同時也讓全球的許多國家聽到台灣人的故事、看到台灣人的創意。 本研究的研究問題包括： 一、 經營原創動畫有哪些挑戰？ 二、 個案兩個台灣原創動畫的設計元素是什麼？ 三、 台灣動畫廠商組織內部文化與能量如何過度到動畫？ 四、 企業主推動電視動畫至全球通路時，會面對哪些不確定性？ 五、 國際合作有哪幾種作法？如何克服主流國家的勢力？ 本研究指出，台灣廠商要發展動畫品牌首先遇到四個困境：(1)主流國家的壟斷；(2)市場限制；(3)國際形象；(4)有限的財務通路資源。 本研究採個案研究法，以台灣目前最具全球知名度的兩部卡通「卡滋幫」、「水火108」為研究個案。本研究發現，台灣廠商要將動畫品牌推向全球，需透過國際合作，進入主流市場。台灣廠商透過不同的國際合作模式，克服高風險，將自己的原創動畫品牌推向全球，同時也藉由國際合作學到許多知識與主流市場創新的力量。

2009年底，台灣蘋果日報推出【動新聞】，因為其以3D動畫的方式詳述性侵、暴力等社會新聞，引發輿論批評，而且國家傳播通訊委員（NCC）也明白指出，電視新聞使用3D動畫非真實呈現，換句話說，民間與官方都一致認為電視新聞使用3D動畫恐怕有損新聞的專業性。有鑑於新聞媒體最重要的價值就是「新聞可信度」，因此，本研究遂將一般閱聽眾視研究對象，採取實驗法進行社會新聞使用3D動畫有無，進行新聞可信度差異研究。 　　受測者總計52人，依社會新聞次分類分別為突發新聞、犯罪新聞，又依3D動畫有無，共計分為4組，採t檢定檢驗發現，3D動畫有無不會影響新聞可信度，而且突發、犯罪新聞的新聞可信度也無差異；又採二因子變異數檢定發現，新聞可信度不會因為「社會新聞次類型」、「3D動畫有無」或其交互作用產生差異。此外，二因子變異數的檢驗發現，閱聽眾對於3D動畫的既有態度不會影響新聞可信度評估，最後，人口學變項也不會影響新聞可信度評估。 　　即便本研究初步證實社會新聞使用3D動畫有無，在新聞可信度上並無差異，但相較於沒有使用3D動畫的，有使用的反而獲得較高的平均數。 / At the end of 2009, Taiwan Next Media introduced Animated News, which induced considerable public criticism due to its use of 3D animation to portray social news containing acts of sexual assault and violence. Furthermore, the National Communications Commission (NCC) has clearly pointed out that the 3D animation used in TV news is not a real representation. In other words, both the public and government believe to a large degree that 3D animation used in TV news may harm journalistic professionalism. In view of the fact that the most important value of news media is "news credibility," the study employs experimental methods to determine the difference in the credibility of news in the eyes of research subjects consisting of ordinary viewers that results when social news adopts 3D animation. The total of 52 respondents were divided into four groups viewing news in the two subcategories of breaking news and crime news either with or without 3D animation. Inspection employing the t-test revealed that the presence of 3D animation does not affect the credibility of news, and no effect was observed in the case of either breaking news or crime news. Two-way ANOVA further discovered that the credibility of news does not vary due to "social news subcategory," "presence of 3D animation," or their interaction. In addition, two-way ANOVA also revealed that viewers' existing attitude toward 3D animation does not influence their assessment of the credibility of news. This study not only found that the use of 3D animation and social news does not affect the credibility of the news, but also discovered that compared with news not employing 3D animation, news using animation in fact received relatively high average credibility scores.

讓數位演員能夠在虛擬場景中自主的規劃路徑並且移動，一直是一個富有挑戰性的問題。近年來已有相當多與此相關的研究，數位演員已能夠在高低起伏的分層地形中做路徑的規劃。我們的目標是除了能處理更一般化的場景外，對於場景中障礙物的定義，也會隨著數位演員的能力而有所不同。本研究為數位演員所擴充的新的能力包含了翻越過障礙物的能力以及搬移障礙物的能力。在以往藉由搬移障礙物而抵達目的地的研究中，都是以先決定欲搬移障礙物的順序，再為數位演員以本身擁有的運動能力規劃出一條合理且無碰撞的路徑。而本研究的特色則是將搬移障礙物這項能力與數位演員其他的運動能力一併考量，將各種運動能力以一致的觀點來規劃數位演員的行走路徑。我們將以數個模擬的例子說明此運動計畫器的有效性。 / Enabling a digital actor to move autonomously in a virtual environment is a challenging problem that has attracted much research attention in recent years. Many researches have been also to generate the motion of a digital actor in an uneven layered environment. In this thesis, we have extended our previous work to enable the digital actor to have the ability of jumping over a barrier and the ability of manipulating obstacles in order to make room for passing. Most previous work in generating manipulation plans for obstacles must first decide the order of manipulation and then manipulate obstacles in accordance with the sequence. In this thesis, we design a motion planner that can take all motion abilities of the digital actor into account in generating a collision-free path in a layered environment cluttered with various types of obstacles. This planer takes a unified view to consider all types of motions including manipulating objects that could change the system configuration. The experimental results will be demonstrated with several simulation examples to show the effectiveness of the system

公司技術鑑價現今仍是有許多爭議，很多專家學者借用財務或者是會計的理論工具來作為技術鑑價的應用。但技術本是不是一個靜態的存在，持不同觀點的學者則認為技術是一個動態且不停的在變化的過程。技術本身所內涵的知識與智慧成分很高，這又更加強了它的易變性；在訪談的過程當中，國內鑑價的業界人士們普遍認為技術在不同的運用方式與經手的技術和經營團對手中，其產生的價值是有明顯的不同；此外一般人會認為評估技術大都用橫斷面的角度來看待技術的價值，不過現在有越來越多的學者會把市場面的管理因素置入技術價值的評估。也有專家或者是學者往上端去探究，認為技術預測以及整個綜觀面的技術生命週期都是技術價值產生中，不可或缺的影響因素。 本研究想著重的就是以智慧資本的概念來衡量技術真實的價值，承續著Skandia的五個焦點；Edvinsson與Malone有強調其中在『流程焦點』的精神就是「在處理技術工具在支援整體企業價值創造時，所扮演的角色」。由此一個更細部以及深入的探究，即本研究想要著眼的地方。 本研究結合技術鑑價以及智慧資本觀點來衡量技術的真正價值。回顧前人在技術鑑價以及價值評估的各種方法，再試著引入智慧資本的衡量模式，予以修正以及改良，發展出另外一種新的技術鑑價模式。這種模式並非偏離先前學者與研究的腳步，而是試著引入更新以及更有效的管理工具得以不斷的補足先人的模型，所以本研究並非標新立異而是採用既有鑑價模型基礎，輔以新近管理評估概念與理論，發展出一種更加完備的模式來進行技術價值的評量。總之本論文之重點在於以下幾點： 一、回顧既往技術鑑價或評價之理論 二、引入智慧資本之概念作為補述以及分析之架構 三、分析現今動畫產業現況以及其特殊性 四、由具代表性之個案驗證智慧資本在企業的評量之意義

本研究採實驗研究法，旨在探討電子童書中，動畫與文本一致性及年齡對幼兒閱讀理解的影響。實驗採用的研究工具為Living-books系列之「小馬斯特上學去」的電子童書，研究樣本以台北縣市四所公私立幼稚園中大班幼兒為實驗對象，中班受試樣本30人，隨機選取各班人數分派至實驗二中；大班受試樣本60人，隨機選取各班人數分派至實驗一與實驗二中，實驗一分為實驗組（30人）與對照組（30人），實驗組閱讀動畫與文本一致之電子童書，對照組閱讀動畫與文本較不一致之電子童書。 本研究之實驗研究分為實驗一與實驗二，實驗一旨在分析大班幼兒閱讀動畫與文本一致性與否對閱讀理解的影響；實驗二旨在探討中班與大班幼兒閱讀電子童書時，其閱讀理解的差異。 閱讀理解評量以個別施測方式進行故事回憶測驗及故事理解測驗，其中故事理解測驗分為文意理解測驗及推論理解測驗。將所得的資料以單因子變異數及二因子混合設計變異數進行統計分析，以了解研究之結果。 研究結果顯示： 一、在閱讀動畫與文本一致性高之電子童書時，對於故事回憶測驗的得分，實驗組得分顯著高於對照組得分。 二、在閱讀動畫與文本一致性高之電子童書時，對於故事理解測驗的得分，實驗組不論在文意理解或推論理解上，得分皆顯著高於對照組得分。 三、大班組幼兒在故事回憶測驗上的得分顯著高於中班組幼兒的得分。 四、大班組幼兒在故事理解測驗上的總分顯著高於中班組幼兒。在文意理解測驗中，大班組得分顯著高於中班組得分，而推論理解的得分則未達到顯著性的差異。 五、故事回憶與故事理解的相關，在實驗一與實驗二中，不論是文意理解或推論理解，與故事回憶皆呈現顯著正相關。換句話說，閱讀動畫與文本較不一致之電子童書時，故事回憶量低，故事理解得分亦較低；而閱讀動畫與文本一致之電子童書時，故事回憶高，故事理解得分則較高。 研究者根據研究結果與限制，提出對教師、父母、出版商及未來研究方面的建議。 關鍵字：閱讀理解、動畫與文本一致性、電子童書、幼兒 / This study has two parts: one is to research the impact of coherence between text and animation on children’s reading. The other is to analyze the effect of ages on children’s reading comprehention while they read electronic story books. The research adopted one of a series of Living-books, called Little Monster At School. 30 aged 4 and 60 aged 5 children from public and private kindergartens of Taipei city and County participated in the study. There were 2 tasks. Tesk one was coherent text for experimental group. Task 2 was incoherent text for control group. The content of the two tasks was the same. After reading the electronic book, all children took memory test and comprehension test which was devided into 2 sub-score: fact comprehension and inference comprehension. Results are: 1. Memory test’s scores of experimental group is obviously higher than that of control group. 2. Reading comprehension scores of experimental group is also higher than that of control group. 3. Memory test’s scores of age 5 children is higher than age 4 children. 4. Age 5 children get higher total reading comprehension scores than age 4 children. Furthermore, they get higher score on fact questions. Scores of inference questions however, do not show age difference. 5. Memory and story reading comprehension scores have positive correlation. It reveals that children reading coherent animation and text have higher memory scores and higher comprehension scores. On the other hand, children who had the incoherent text had poor scores of both. Based on the results, researcher provides suggestions for teachers, parents and book publisher. Key words: reading comprehension, animation of electronic storybooks, coherence of text, kindergarten children.

3D動畫企業之營運結合藝術、科技與管理，本研究選擇D公司、P公司進行個案研究，希望透過研究的過程，找到我國專注於原創的D公司的優勢，以及與國外重要的原創動畫公司P公司相比，能否有我國動畫公司可以學習的地方，整合訪談與量化研究作出結論與建議，為我國動畫產業發展、為我國管理領域發展盡一份心力。 D公司為我國動畫原創公司中規模最大者，因此本研究選擇D公司進行研究。探討原創動畫公司如何能夠成功，除了經營理念、人才、科技等等因素之外，經由文獻回顧的過程，發現P公司在組織創新氛圍方面亦是有其獨特之處，評估正向組織創新氛圍可能對其創造力有正面助益，因此針對D公司之組織創新氛圍進行研究，利用哈佛大學Amabile的組織創新氛圍量表KEYS量表(政大修正版)作為量化研究工具，並透過訪談進行質性研究。 研究範圍則是涵蓋D公司所有與3D動畫創作有直接關連的部門，計有Layout、Lighting、TD、RD、MIS、Surface、Prop design、Animation、SFX、compose、model、Rigging、APM、音效等十四個部門。在實務面可以探討3D動畫領域相關之管理議題；在學術面可以為我國組織創新氛圍之研究開創新猷；也提出如何優化組織創新氛圍的模型，未來可以更進一步深入研究。 / When talking about art management, we cannot ignore 3D animation industries. The art management in the past did not involve technology, but right now technological aesthetic gradually becomes the mainstream.Technology and art are two discrete fields, but nowadays the upgrade of people’s aesthetic and taste allows the combination of the two. Both in the art and industrial sectors, domestic and foreign scholars start to focus on art management. Also, because the 3D animation's art management is a field that combines art, technology and management, using the 3D animation company as the case study is the first choice. This research will use this industry as case study to discuss the issue of art management and how Taiwan can break away from the limit of agent manufacture and become innovative and creative. The company I choose in this research is D company which emphasizes originality and has the largest scale in Taiwan. I hope through the process of the research to find the advantage of Taiwan’s animation industry. I will also compare with P company, an important foreign animation company, to analyze whether or not we can copy their mode. After all, because of the cultural factors, there may be some problems if we just copy everything. I combine interview and quantitative research to draw a conclusion and make some suggestions, and hope to devote to the development of Taiwan’s animation industry and art management. To discuss how an originative animation company succeeds, aside from the business philosophy, experts, technology, through reflecting on the literatures, I found that there is also some unique part of P company’s organizational innovative atmosphere which can enhance creativity. Thus focusing on the organizational innovative atmosphere, I will also use statistical analysis to assess its influence. With “organizational innovative atmosphere scale” as a tool, improved by NCCU from KEYS of Amabile, we can evaluate the members’ perception of the organizational innovative atmosphere and their confidence in engaging in the innovative activities. The organizational innovative atmosphere perceived by the members will activate their innovative motivation, creativity, and promote the innovation of the organization. Also, through the interview we conduct quality study of D company's organizational innovative atmosphere, and compared that with P company. The scope of the study cover all the fourteen departments related to 3D animation making in D company, including Layout, Lighting, TD, RD, MIS, Surface, Prop design, Animation, SFX, compose, model, Rigging, APM, sound effect, and so. To sum up, this research touches on the art management especially on the part of animation originality. It can also apply the “organizational innovative atmosphere scale” to the other animation-related or art-related industries. It provides the model for how art management can improve the working atmosphere which allows further research.