近年來台灣設計實力漸漸在國際間嶄露頭角，根據經濟部「設計產業發展旗艦計畫」統計，在2002 至2008 年間，台灣在德國iF 設計獎、Red dot獎、美國IDEA獎和日本G-Mark獎等全球四大工業設計獎中囊括651 項獎項，2010年台灣在Red dot獎的表現僅次於地主德國，而2011年台灣也將舉辦台北世界設計大會，台灣的設計實力將向全世界發光。 在台灣設計實力備受肯定之餘，好的設計卻須經過商業化的過程，並通過市場的考驗，而設計產業中的「競賽」是將作品推向市場端的守門機制之一，因此本研究以守門機制的理論，探討台灣設計產業競賽。 本研究的核心問題為台灣設計類競賽機制是否適當？選人才與選作品競賽設計機制有何差異？本研究之研究架構為投入流程和產出(Input-Process-Output Model)模型，並輔以競賽架構去分析台灣最具影響力之競賽，分別為「光寶創新獎」和「國際青年設計創業家獎」。經過文獻探討和個案田野訪談後，有以下的結論： 1. 設計競賽宗旨的訂定，主要與主辦單位背後動機相符。良好的競賽設計，其競賽宗旨、競賽成果和評選重點具有一致性。 2. 競賽流程中之邊界設定將影響參賽作品/參賽者的輪廓。選作品之邊界設定較廣泛，而選人才之邊界設定限制較嚴謹。 3. 競賽流程中的評選機制，對競賽成果的樣貌具有決定性的影響。良好的競賽設計應在評選機制的設計，朝向完整審查和開放式的互動設計。選人才之評選機制比選作品較為多層次變化，因選到「對」的人需要較複雜的評選機制。 4. 在競賽流程的獎勵設計上，主辦單位應思考如何在有限的預算下，創造包含參賽者、主辦單位和競賽三方最大的價值。同時也須思考此獎勵設計是否能吸引主辦單位想要的參賽者，和篩選出來的競賽成果是不是能與競賽宗旨契合。 5. 競賽流程的加值效果可以運用在競賽每一個環節上，讓參賽者、主辦單位和競賽三方獲得加值效果。競賽的加值效果來自於主辦單位對於競賽的重視程度與努力有關，與選人才或選作品之競賽類型較無關。 6. 競賽之成果會隨著競賽宗旨而決定，但競賽過程中，會產生其它如對主辦單位和台灣設計產業的附加價值。 / In recent years, Taiwanese design ability has gradually been out-standing. According to “The flagship project of the development of design industry” by the Ministry of Economic Affairs (R.O.C.), from 2002 to 2008, Taiwanese designers have won 651 awards in the four main worldwide industrial design awards, iF Awards, Red dot Awards, International Design Excellence Award (IDEA) and Good Design Award (G-Mark). The number of awards Taiwanese designers got in 2010 Red dot Awards is even only after the hosting country, Germany. In 2011, Taiwan will also be the hosting country of the “2011 IDA Congress Taipei & Taiwan Int’l Design Expo”, from which Taiwanese design ability will be promoted to the world. While the ability of Taiwanese design has been approved from these competitions, a good design product must go through the process of commercialization and the numerous trial of the market. As “Competition” in design industry is one of the gatekeeping that pushes the product to the market, this study attempts to explore the design competition in Taiwan based on the theory of gatekeeping. The core issue of the study is to examine the suitability of competing mechanisms in design awards in Taiwan and the difference between the competition of choosing designers or design products. Utilizing the Input-Process-Output Model and the structure of competition as the theoretical framework to analyze the most influential design competitions in Taiwan, two Taiwanese design competitions, Lite-On Award and International Young Design Entrepreneurs Awards (IYDE), are included in this study. Conclusions of this study can summarize as the following: 1. The purpose of the design competitions mainly corresponds with the motivation of the organizers. The purpose of the awards, competition outcome, and the point of evaluation should be consistent in a good design competition. 2. The bounding condition of the competition process will influence the profile of the designers/works. The bounding conditions of competitions that choose works are wider than the competitions that choose designers. 3. The evaluation mechanism in the competing process will have decisive influence on the outcome of the competition. A great competition should be oriented toward a complete verification and an open interactional design. The competitions of choosing designers have more variation in their evaluation mechanism than the competitions of choosing works as it is more difficult to choose the “right” designer(s). 4. The organizers should think about how to maximize the value of the designers, the organizers, and the competition itself under the limited budget. At the same time, they should also consider if the design awards can attract the attention of the type of designers the organizers would like to have, and if the outcome of competition is consistent with the purpose of the competition. 5. The value-added effects of the competition can be applied to every part of the awards, which will benefit the designers, organizers and the competition. The value-added effects of the competition have correlation with the endeavor of the organizers but are irrelevant with the competition of choosing designers or choosing works. 6. The outcome of the design competition may be decided based on the purpose of competitions. However, it will generate the value-added effects to the organizer and Taiwan design industry.

台灣創新發明實力漸漸在國際間嶄露頭角，隨著知識經濟時代的來臨，世界各國也積極鼓勵人民從事創新發明活動，以提升國家發展層次。台灣政府除了鼓勵獨立發明人前往參與國際性創新發明活動，近年來也編列預算補助技專院校學生參加國際性技能競賽及發明展。台灣發明在各國際發明競賽中屢屢得獎，報導中更常見台灣得獎牌數每創新高。 在台灣發明備受肯定之餘，一個好的發明最終也還是需要經過商業化的過程，並接受市場的考驗，而各大國際發明展中所舉辦的「發明競賽」就是將作品推向市場端的守門機制之一。因此，本研究將以守門機制理論觀點，探討各國際發明競賽其本質以及在執行過程中的差異。 本研究之核心問題為國際發明競賽其歷史與競賽宗旨為何？不同發明競賽間其守門機制有何差異？各有何優缺？經過文獻探討及個案田野訪談後，所得到之研究結論如下： 1. 國際發明競賽之宗旨訂定，主要與競賽歷史背景發展有關。而不同競賽宗旨會與不同類型的展覽活動相結合。 2. 國際發明競賽之競賽邊界設定會影響參賽者及參賽作品的輪廓。良好的競賽規則設定會加以區分合適的邊界條件。 3. 國際發明競賽中的評選機制，由不同的甄選系統所組成。國際性的發明競賽以「專家選擇」作為主要甄選系統，並輔以「市場選擇」系統形成評選機制。 4. 良好的發明競賽設計為求評審流程的客觀與公正，在進入實地審查階段時，同類別的評審委員不會一同進行評分，避免相互討論影響評選結果。 5. 國際發明競賽之參賽作品呈現方式可分為片段書面審查與作品完整實地審查兩種。 6. 發明競賽流程中的加值效果，參賽者重視的標的不同，有的以「得獎」為考量、有的為尋求「海外代理商」、有的則重視是否能夠「獲取訂單」，但藉由和專業評審、廠商「互動」所獲得的「加值」，對各個參賽者而言是共同的想望、且更具附加價值。 7. 在國際發明競賽的獎勵設計上，為鼓勵創新與發明風氣，針對得獎者以頒發金銀銅獎牌的「非金錢獎勵」為主。而不同的國際發明競賽其主辦單位設計有不同屬性的「特別獎」。 8. 各國際發明競賽在競賽成果保護上，於競賽的前、中、後不同階段有不同的競賽成果保護機制。 9. 國際發明競賽中參賽者與守門人的權力距離及互動具有加值效果，守門人的工作除了把關，還具備有以下幾項特質：「實地審查前的周全準備」、「耐心」、「肯放下身段」、「能用參賽者聽得懂的語言」。 10. 國際發明競賽主辦單位的共同永續經營作為歸納有「手冊製作推廣」、「媒體宣傳」以及「海外國際發明展推廣」；而針對參賽/得獎作品後續追蹤則較少著墨。

近年來由於會議展覽服務業的興起，所以一些具有商業意義的展覽相關議題亦逐漸被重視，然而過去的研究多著重在探討商展買賣雙方（參展者、參觀者）的關係，甚少以策展單位的角度切入，來完整觀察整個展覽之規劃、營運、執行、以及其在產業上所扮演的角色。此外，由於展覽不僅只是一個單純的交易平台，更是產業上商機、資源、資訊匯集交流的場所，以及創新概念、技術、產品的擴散地，此猶如扮演著產業上的「守門」角色一般。 因此，本研究便藉由產業的「守門機制」理論來從新檢視展覽，透過以資訊電子產業中具有極重要地位和完整發展、消長歷史的世界三大電腦展COMDEX Fall、CeBIT、COMPUTEX Taipei為個案，進而發現、瞭解展覽的策展單位如何在展覽前期將自己定位，透過劃定邊界、篩選遞送內容來扮演好守門機制的功能與角色，並配合自身的守門能耐，進一步地影響到展覽活動內容的呈現，使其能夠在不同的活動內容中扮演不同類型的守門機制，以及最終其在守門成果對於產業上創新概念、技術、產品的影響為何，並且是否會因而影響參展者與參觀者的參與意願。 本研究所得的研究結論如下。 1、展覽中的各項活動內容（展覽會、會議、獎項）在商品化的過程中，藉由策展單位「劃定邊界」、「篩選內容」守門機制之執行，各自扮演著產業守門機制的不同角色。 →展覽活動內容的「展覽會」，屬於守門類型中，策展單位會對於參展、參 觀者來加以設定、限制，並從展覽會現場中持續地篩選遞送全面性、系統性資訊內容的「創新型守門機制」。 →展覽活動內容的「會議」，包含了「主題演講」、「論壇、研討會」、「產品發表會」三種類型的活動。其中「主題演講」和「產品發表會」，屬於守門類型中，策展單位不會對參與群眾加以限制，並且從活動中傳播較為區段性資訊內容的「資訊型守門機制」。而「論壇、研討會」則屬於策展單位會對參與群眾加以設定、限制，並從中遞送區段性資訊內容的「典範型守門機制」。 →展覽活動內容的「獎項」，屬於守門類型中，策展單位需對參賽者加以設定、限制、評選，而且從獎項的頒佈、宣傳向其相關廠商和大眾產生示範、鼓勵的作用，進而遞送出區段性資訊內容的「典範型守門機制」。 2、策展單位守門機制之執行會與守門能耐之間彼此相互影響，並且在策展單位執行守門機制時，策展單位的守門能耐會有時序上的順序展現。 3、策展單位守門機制的運作與執行，會受到策展單位不同的組織類型所影響。 4、策展單位的守門能耐會受到策展單位組織的類型、資源、網路所影響。 5、展覽守門成果在創新概念、創新技術、創新產品的傳播、擴散上，會受到展覽的產業守門機制所影響。若是策展單位在展覽的產業守門機制上沒操作執行好，將會使得展覽守門成果的代表性和創新性不足、參展成效不彰，進而影響參展者和參觀者的參與意願，最終將會導致展覽的衰亡。 6、展覽本身的守門成果會深受其展覽舉辦所屬產業發展的影響，進而會影響到展覽產業守門機制的展現。 / Recent years, with the growth of the M.I.C.E industry, some subjects about commercial exhibitions have also been attached importance to. However, the researches in the past almost emphasize on the relation between exhibitors and visitors in the trade shows, and there are few researches which is from the organizer perspective to obverse the plans, operation, administration, and the special roles in the industry of the exhibition. Besides, the exhibition is not only just a trade platform, but also a place in which people can collect and exchange business opportunities, resources, information of the industry. It is also a diffuse place of innovative concepts, technology, and products in the industry. Above all, the exhibition is just as the role of the industrial “gatekeeper”. As a result, this study uses the theory of the industrial gatekeeping mechanisms to review the function of the exhibition, and take computer exhibitions COMDEX Fall, CeBIT, and COMPUTEX Taipei, which play very important roles in the ICT industry and have complete history, as examples. This study digs deeply into these three computer exhibitions and expects to find how the organizer of the exhibition positions itself in the earlier preparation stage. In addition, how does it play the role of the gatekeeping mechanisms well by delimiting the boundaries and sifting the content? Furthermore, how the organizer further impact the display of the exhibition with their gatekeeping function and ability, so that it could play different kinds of gatekeeping mechanisms in different exhibition events. Finally, this study wants to find the influence of industrial gatekeeping mechanisms results on innovative concepts, technology, and products in the industry, and investigates whether the results affect exhibitors and visitors’ will of participating in exhibitions . The conclusions of this study can be summarized as below: 1.There are three kinds of events, including “Trade Show”, “Conventions”, and “Award” in the exhibition. In the process of commercialization, these three events severally play different kinds of roles of gatekeeping mechanisms by delimiting the boundaries and sifting the content. →In the exhibition, the “Trade Show” belongs to the “Innovative gatekeeping mechanism”. →In the conventions of the exhibition, there are also three kinds of events, including “Keynote Speech”, “Forum”, and “Product Debut”. ”Keynote Speech” and “Product Debut” belong to the “Informational gatekeeping mechanism”, but “Forum” belongs to “Paradigm gatekeeping mechanism”. →In the exhibition, the “Award” belongs to the “Paradigm gatekeeping mechanism”. 2.For the exhibition organizer, its administration of gatekeeping mechanisms and its gatekeeping ability would affect each other. And the organizer would also reveal its gatekeeping ability in order to help itself carry out gatekeeping mechanisms. 3.The administration of the organizer’s gatekeeping mechanisms would be affected by itself organization types. 4.The organizer’s gatekeeping ability would be affected by itself organization types, resources, and networks. 5.The results of gatekeeping mechanisms of the exhibition, such as the diffusion of innovative concepts, technology, and products in the industry, would be influenced by industrial gatekeeping mechanisms of the exhibition. If the organizer doesn’t work industrial gatekeeping mechanisms of the exhibition well, it will lack representative and innovative display, and also affect exhibitors and visitors’ will of participating in exhibitions. Finally, the exhibition declines and falls. 6.The result of gatekeeping mechanisms would be deeply affected by the development of the industry which the organizer holds the exhibition in, and it develops with its industrial life cycle. Besides, the development of the industry also affects the administration of industrial gatekeeping mechanisms of the exhibition.

近年來，各國政府積極推動文化創意產業，藉以帶動其他產業促進整體經濟發展，提升生活環境；其中節慶不僅能為地方或城市提供正向發展，亦屬於一文化創意展演平台，使文化商品得以於消費者面前曝光。 本研究主張，守門機制對於節慶與文化創意產業具有重要影響，檢閱相關文獻後，本研究以「2014年簡單生活節」為個案，運用「守門機制理論」作為個案分析的研究架構。本研究之研究問題為「2014年簡單生活節如何發揮守門機制功能」，為回答研究問題，本研究採用個案研究法，藉由參與式觀察與深入訪談，瞭解簡單生活節團隊如何執行其守門機制角色，並探討其守門成果對於節慶本身與文創產業的影響，得以彌補守門機制以及節慶創新理論上的文獻缺口。 本研究發現在2014年簡單生活節的守門過程中，簡單生活節團隊在劃定邊界的過程除了會受到守門專業能耐影響外，亦被牽制於可篩選的內容，導致其守門過程是一反覆修正的過程。此外，除了文獻中提及的四種守門能耐外，本研究更發現在2014年簡單生活節中最重要的守門能耐為「策展能力」，策展能力讓簡單生活節團隊能協助品牌於節慶中呈現出更適切且驚喜的內容，並提升品牌能見度。最後，本研究建議，未來節慶策展團隊都應將「守門機制」之思維納入其策展規劃，並且重視策展能力的運用，藉此能了解自身的守門類型，提升節慶的策展內容，進而協助節慶本身與產業持續創新。 / The purpose of the study is to investigate the importance of gatekeeping process in cultural festivals and the cultural and creative industries. This study uses the gatekeeping theory which is commonly discussed in the area of communications in order to understand how the festival carries out gatekeeping function in its curation by using an example of the “2014 Urban Simple Life Festival”. The research question of the study is “how the 2014 Urban Simple Life Festival uses gatekeeping in the curation?”. The study adopts case study and uses participant observations and in-depth interviews as the research tools to investigate how the gatekeeping is used in the 2014 Urban Simple Life Festival curation. In addition, this research aims to explore how the gatekeeping outcomes influence festivals themselves and the innovations of the cultural and creative industries. This research finds out that the festival organizer’s gatekeeping abilities and the gatekeeping contents do affect the gatekeeping boundary. Furthermore, the gatekeeping process is a repeated correcting process. Apart from the four gatekeeping abilities in the existed literature, the study also discovers that the most important gatekeeping ability in festivals is the “curatorial ability”. With the curatorial ability, the festival organizer would be able to help and assist the participants to present their best work in the Festival as well as to enhance their brand visibility to the market. This study suggests that the festival organizer should take the “curatorial ability” into consideration during the curation process to enhance the innovation ability of the cultural and creative industries

電影是文創相關產業中是最具綜合性的產業，它的發達與否會反映當地影視產業、美術及文本創作的能量。電影產業的發展不僅僅帶動攝影、動畫技術、音樂、錄音、剪輯等，同時也呈現當地人文風情，帶動觀光，所產生的綜合效應不可忽視。 　　關於電影節，全世界有眾多的城市與國家皆有舉辦電影節，數量不勝枚舉。David Caves（2003）用守門人（Gate-keeper）來形容製片人的角色，認為製片是電影產業中非常重要的環節，如同其他創意產業中經紀人與創作者之間的關係。若進一步將此概念擴大，電影節便是透過競賽的方式將守門機制做最好的體現。 　　因此本研究將以守門機制的觀點切入，針對台北電影節與高雄電影節進行探討，釐清兩者彼此之間於守門機制上之差異。本研究主要研究問題為台灣的電影節之核心宗旨如何制定？具體作為為何？ 台灣的電影節之策展過程，其守門機制為何？台灣的電影節對於參展者、主辦單位與電影產業之影響為何？經過文獻探討與個案田野訪談後，研究結論如下： 1. 個案之電影節雖以城市作為定位，但由於歷史脈絡發展的不同，導致核心宗旨的制定產生差異。 2. 由於核心宗旨差異，導致城市影展在作為之體現上亦產生不同。 3. 台灣的電影節之競賽設計參考國外著名影展，且不同的競賽邊界設定會影響參賽對象與品質。 4. 台灣的電影節之評選機制有不同組成模式。台北電影節採「專家選擇」為主，「市場選擇」為輔的評選機制；高雄電影節則以「專家選擇」為主。 5. 台灣的電影節之參賽作品呈現方式多元，但在實際執行過程中，僅針對電影作品進行評選，此種設計導致守門結果可能產生不同。 6. 台灣的電影節之流程對其利害關係人具有明確之正面加值效果。 7. 台灣的電影節為求評選之公正性與獨立性，拉大參賽者與守門人之權力距離。 8. 台灣的電影節在競賽獎勵設計上，為了鼓勵優良創作者，採用直接的金錢獎勵為主。但除了外顯的金錢獎勵外，亦存在隱性的非金錢獎勵。 9. 台灣的電影節在成果保護上，於策展前、中、後期各有不同的成果保護機制。 10. 台灣的電影節主辦單位在永續經營上，皆面臨預算不足之問題，但透過不同的宗旨與定位，持續朝建構互利共生的正面循環經營。

GEISAI自2001年開始，以每年兩次的頻率於日本舉行，至今已逾十年，2009年起原裝移植台灣，於台北市中心華山1914文創園區盛大開辦。GEISAI中文翻譯為「藝祭」，命名取自美術大學學園祭，由日本當代藝術家村上隆所領導的Kaikai Kiki公司所主辦，為一個讓各式各樣的藝術家齊聚一堂一同展覽的藝術活動。它不僅是「挖掘夢想出道藝術家的場所」，同時也是個「像跳蚤市場一樣輕鬆展示買賣藝術作品的場所」和「跟已開創的美術界接軌的新起點」。 時至今日，GEISAI儼然已成為台灣藝術家每年的一個重要活動。GEISAI最吸引人的莫過於其「無先前審查制度」，以及「黃金評審團」，提供藝術家、藝術相關人士與一般藝術迷相遇的場所，不僅給予對藝術有熱情者展演舞台，也造就了許多藝術新秀。 本研究得出幾點結論如下： 1. GEISAI的核心價值主張十年來皆本著「如何建立東方新型態的藝術市場」的態度去執行，從未改變。台日GEISAI由於國家習慣、資金組成不同，而有相對應的舉行方式。 2. 活動若能長久經營，必須堅持一核心的價值主張。明確的價值主張除能使活動更為聚焦外，也能持續吸引未被滿足的潛在消費者加入。 3. 具強烈信任感、合作無間的執行團隊為活動長期經營的要件之一。 4. 對實質付出大於無形收穫的活動而言，理想的堅持是持續經營的原動力。 / Since 2001, GEISAI has been held bi-annually in Japan for over 10 years. It took place at Huashan1914 Creative Park in Taiwan since 2009. The name GEISAI is derived from the Japanese word for "art festival." Such festivals would typically take place within a university or art school. It held by Kaikaikiki Co., Ltd belongs to Takashi Murakami. GEISAI presents a new art-collecting concept, allowing artists to exhibit their own works directly. It is a place where new artists can make their mark, where art work can be easily traded, and where the new and old can connect. Nowadays, GEISAI became an important activity of artists every year. The most attractions of GEISAI are "Non-Entry-Requirement" and "All-Star panel of judges". GEISAI provides a place where many artists gather to exhibit their works. It also provides artists and fans a place to meet face-to-face. More importantly, GEISAI provides new artists show-off opportunities and creates many new stars of art. The conclusions of this research can be summarized as below: 1. The core value proposition of GEISAI is based on "how to establish new ear art market" for 10 years. GEISAI&GEISAI Taiwan held in different way due to their national habit and capital composition. 2. Activity has to insist on its core value for the sustainable development. Specific value can not only focus on the activity but also attract unsatisfied potential customers continually. 3. A team with strong faith and cooperation is one of the key factors of sustainable development. 4. As an activity which its tangible devotion is more over than intangible income, the insist of ideal is the motivation of sustainable development.

行動上網時代來臨，隨著連網技術成熟與裝置快速普及，微型應用程式（application，簡稱app）的應用應運而生，線上軟體平台產業快速成形，集廣大外部開發者之力共同創造價值與利潤。 激烈的平台競爭與初步的產業發展成果突顯出，面向多方參與者的平台對外部開發者守門的重要性，平台經營者如何在敞開大門的同時又能取得好的創意，背後應該有可供解釋的理由與作為。因此，本研究結合過去研究未有交集的多邊平台與守門理論兩觀點，期盼藉由研究成果回答三點研究問題：（1）線上軟體平台如何對外部開發者進行守門？（2）線上軟體平台之守門機制隨平台發展歷程有何變化？（3）線上軟體平台之守門機制對平台之經營績效有何影響？ 本研究所得到的初步結論：（1）線上軟體平台在開放與透過一系列「規範中有服務」的措施組成對外部開發者的守門機制，分為「價值獲取型」守門機制與「價值創造型」守門機制兩類。（2）線上軟體平台守門機制在「導入期」與「成長期」是處於「開放中有封閉，封閉中有開放」的狀態，價值獲取型守門機制從導入期至成長期是封閉趨向開放，價值創造型守門機制從導入期至成長期是開放趨向封閉。（3）線上軟體平台非獲利中心，而是生態系統的一控制點。 / Internet infrastructure and technology have advanced, we have now entered the Mobile Internet Device era. Online marketplaces form and applications sprout, stimulating an ecosystem worthy enough for external developers to dive in, grabbing the value in this co-creating process. However, managing the online marketplace is difficult. Developing a place to encourage participation for external developers as well as to gate keeping the platform quality is not an easy task. Up to this day, we can observe different online marketplaces develop different approaches. This research combines the prospective from multi-sided platforms theory and gatekeeping theory in view to answer three questions: (1) What is the gatekeeping strategy for online marketplaces? (2) As online marketplaces develop, how does the gatekeeping process change? (3) What influence does gatekeeping strategy has on online marketplaces performance? This study has found: (1) Two different strategies multi-sided platforms use for gatekeeping forming regulation and services for external developers are “Value Proposition” and “Value Creation”. (2) From the “early stage” to the “developing stage” of multi-sided platforms, this research discovers two different movements on gatekeeping: “From Opened to Restricting” and “From Restricting to Opened”. “Value Proposition” strategy leans toward “From Restricting to Opened” state, while “Value Creation” strategy leans toward “From Opened to Restricting” state.(3) Multi-sided platform is not a place to generate interests, but a place to manage the ecosystem.