全文約三萬五千字，共一冊，分為五章。第一章為國片市場的歷史與概況介紹，以及 研究動機。第二章為文獻探討：回顧生活型態，市場區隔及因素分析等研究文獻。第 三章為本文研究架構及研究假設：以人口變數、社經變數和生活型態因素（由活動、 興趣、意見變數抽取因素）作為市場區隔之基礎，試作市場區隔；並探討各區隔中大 專學生對國片之偏好，觀賞行為，觀賞動機及評估準則有無差異。第四章為抽樣設計 、步驟、分析程序及發現。第五章為個案分析、綜合結論及建議：以市場研究及本文 分析所得之結果，配合廠商本身條件，為廠商作策略的建議；同時為爾後之研究者作 研究方向之建議。

國片海角七號的賣座創造台灣影壇近年來的奇蹟，其劇本的內容結構乃七封情書加上一個劇情片內容的故事所構成。針對電影類型與結構的探究是研究者剖析劇本受歡迎可能的出發點，因而本研究從敘事角度出發，探討海角七號的敘事問題。本研究的研究方向包括：探討海角七號的影片結構與敘事；探討海角七號影片中的劇情人物元素；探討海角七號的對白與劇情；探討海角七號影片畫面的元素和場景的設計。並透過半結構式的訪談，訪問理論與實務界人士，使研究敘事結構層次與海角七號賣座的市場效應能有一對照性探討。 研究結果發現：（一）影片敘事與結構容易使觀眾產生共鳴；（二）人物元素多元、角色個性鮮明，有助激發觀眾與影片之間的互動；（三）對白活潑生動、具創意且貼近生活，有助觀眾對情節的記憶、回顧，甚至引起市場效應；（四）電影場面生動，兼具懷舊與現代感，吸納多元觀影者。 可見，劇情能輕易讓觀眾深刻與記憶，甚至造成口碑效應，是該劇本最引人入勝之處。其背後所隱含的情感性或中日情懷是塑造人物與對白最能使台灣觀眾產生親近性的方式。因而，敘事結構對該片的市場成功影響較深。

長久以來台灣電影一直積弱不振，這有歷史的脈絡因果，也有現實的市場背景，所幸從2008年《海角七號》的票房奇蹟，開始帶來國片復甦的契機，2010年起接連幾年，國片每年都有「票房佳作」的出現，可惜量都還太少，但這也已經證明國片不是不會賣座，而是要怎麼「賣」？ 於是本研究以《海角七號》、《艋舺》、《那些年，我們一起追的女孩》、《陣頭》、《大尾鱸鰻》歷年台灣賣座國片為分析對象，探討對內：本身行銷預算不足，商品又不具備市場吸引力，對外：又要面對有高預算做行銷宣傳，產品又有市場吸引力的強大競爭者下，如何在困境中突破重圍，透過對其實務的行銷作為的研究分析，建構可以依循複製，能逆境轉勝的劣勢行銷的方法，以期讓後續其他台灣國片業者，更甚讓同樣處於困境劣勢的企業體、創業家有所依循，共創台灣產業新未來。 / Movie market has been in a down term for long time in Taiwan. It was due to historical context and market practical reasons. But fortunately, “Cape No. 7” brings hope to Taiwan Movie industry after it created a miracle with unbeatable broken record of box office in 2008. Taiwan Movie was booming since then, it is not the matter of whether there is a market or not, but how to “Sell”? Here we used five successful movies in recent years as our research targets, including “Cape No. 7”, “Monga”, “You Are the Apple of My Eye”, “Din Tao: Leader of the Parade” and “David Loman”. By researching and analyzing their original ideas of how to identify the target market with low budget, and unattractive productions which have to face the strong competitions who have strong budget support for market promotions as well as strong market appearance. How do they break the plight? Thus developed a methodology of constraint marketing, providing a way to the other Taiwanese films industry, even more, to those beleaguered companies and entrepreneurs to follow! Eventually, create a brighter future to Taiwan Movie industry!

台灣電影產業發展至今，經歷了查禁、控制、國際競爭等艱辛的階段，一直以來，本土產製的電影很少有出現轟轟烈烈的商業成績。所謂的「國片」縱有不少智慧財產的產出，往往亦盤旋於台灣電影市場邊陲，極難成為大眾消費者眼中的主流商品。由此可知，台灣電影人豐富的創意價值，雖然在本質上是由層層智慧財產緊扣而成，卻在電影市場中缺乏創新的營運機制，使得藝術文化與市場的配合失去平衡，總體效益不了了之。 　　一部電影，本質上往往仰賴各方面創意為基礎，而創意的具體化則該透過適當的法律制度，以「智慧財產 (Intellectual Property)」的形式呈現，並加以應用於商業策略之中。換句話說，「商業策略」才是電影創意能否在大眾市場發揮價值的主要概念。過分注重法律保護、政策支援；或過度將票房表現視為電影創意人的價值，恐非台灣本土電影起死回生的好方法。 　　2008年，被視為台灣電影奇蹟的《海角七號》以亮眼的票房紀錄讓眾多台灣電影圈的人士看見了未來的希望，然而《海角七號》的製作團隊本身卻沒有積極利用電影產出的智慧財產。之後，一系列本土電影接著《海角七號》之勢上檔，不僅票房結果差強人意，智慧財產的運用更是闕如。故本論文以《海角七號》為個案，分析各項電影智慧財產的產出與應用情況，以探究如此空前的票房與其智慧財產價值發揮的關聯性。 　　本論文亦以「智慧財產商品化 (Commercialization)」及「智慧財產行銷」的概念為基礎，探求國片當前面臨的智財商品化問題與可能調整的方向，最後結論各項發現，建立智財觀點下的「電影市場價值組成」與「階梯式電影價值產生模型」，嘗試為台灣建立創新的電影智慧財產行銷運用方式。 / In the past one hundred years, the development of Taiwan film industry has gone through many arduous and crucial stages, including politically planned prohibition, bridles from government, and global competition. Ever since then, there are hardly successful cases. The so-called "Taiwan Cinema" might provide very much IP (intellectual property) to the film industry; however, the value of IP could not be merchandised well at all. It's difficult to make the IP of "Taiwan Cinema" be consumed by audience or consumers. Today, the creativity of Taiwan cinema production is absolutely sufficient, and properly conjugated to IP, nevertheless, the realization of creativity value still fails to get the balance between art, culture and marketability. A "movie" intrinsically consists of multiple creativity, and which is concretized with legal system to make intellectual property rights (IPR) come into being. And then, the IP can be applied to business strategies. Therefore, the business strategies ought to be critical to the IP value in mass market. In other words, paying to much attention on the legal protection and administrative policies may not be proper. In 2008, the movie "Cape No. 7" achieved many expectations of many people. Despite the demolished box office records, the film production team seems not to actively commercialize the IP from this movie, and so do many Taiwan cinemas after "Cape No. 7". In order to clarify the commercial relationship between the box office performance and the value of IP application, this study is going to discuss the situation of IP commercialization of movie "Cape No. 7". On the other sides, this study will also point out the challenges Taiwan film industry is just undergoing at present, and try to provide appropriate suggestion based on the views of IP commercialization and IP marketing. Finally, this study will conclude the findings and comments to establish the “Compositions of Market Value of Films with Value Generation Model” and innovative means of IP operation in Taiwan film industry.