公共工程是國家重要施政項目之ㄧ，所提供的服務品質關係著國家經濟發展甚鉅。台灣地處亞熱帶及環太平洋地震帶，颱風、洪水、地震發生頻繁，公共工程的服務品質受天然災害的威脅甚大。近年來天災頻仍，面對天然災害所帶來的經濟損失，有許多國家已經開始透過保險方式，處理已完工公共工程遭受天然災害威脅時的財務風險，以減輕國家財政負擔，進而更合理的分配國家資源。 本研究將透過台灣地區天然災害發生的情形及我國目前在公共工程遭遇天然災害而毀損時的因應方式探討天然災害損失對我國財政的負擔；並介紹國際上主要再保險公司：瑞士再保險公司、慕尼黑再保險公司有關完工土木工程保險的承保範圍、核保方式，與東亞日本、南亞印度兩個國家經營完工土木工程保險的現況。 本研究並整理歸納透過商業保險來進行已完工公共工程的天災風險規劃雖較現行單以國庫承擔損失方式經濟，但可能面臨政府機關態度消極及產險業者承保能量不足兩個關鍵議題。惟以澳洲昆士蘭水患為例，慮及不可知的天災風險，仍建議政府機關能率同商業保險業者共同建立完整的已完工公共工程風險管理機制，攜手降低天災風險發生時可能帶來的傷害。 關鍵字：公共工程、天然災害、完工土木工程保險。 / Public Construction Works are always considered as one of the important national economic developing strategy. In view of Taiwan is located in the region which is highly exposed to natural disasters such as typhoon, flood and earthquake, the quality of the after service related to the Civil Engineering Completed Works is greatly threatened by the natural disasters. In recent years, there were many natural disasters occurred, in order to minimize the economic loss brought by such disasters, many countries have begun to arrange insurance placement for the Civil Engineering Completed Works to share the financial risks. This study introduces the loss circumstances of the public engineering works brought by the natural disaster and the impact of the economic growth in Taiwan. The major international re-insurers: Swiss Re and Munich Re both provide the Civil Engineering Completed Risks (CECR) Insurance to against the loss or damage after the construction work has been completed. This study introduces the difference coverage and underwriting as compared in between Swiss Re Form and Munich Re Form. This study also illustrates the current status in respect of CECR in Japan and India markets. This research induces a more economic method by arranging the Catastrophe Risks Plan through the placement by commercial insurance for the Civil Engineering Completed Works rather than the existing regulations that all these disasters bond by the government. Moreover, it also facing two problems are that the government is too conservative and the negative attitude as well as the in-sufficient capacity of the local insurance industry. For example, the serious flooding occurred in Queensland- Australia, the government should take into consideration how to prevent from the incredible natural disaster risks. We do suggest the government should corporate with local insurance industry to establish an completed risks management for Civil Engineering Completed Works to minimize the loss that brought by the natural disasters which may occur. Key Words: Public Construction Works, Natural Disaster, Civil Engineering Completed Risks Insurance (CECR)

工程契約中當事人間之權利義務關係為民法之承攬契約。而依民法第492條之規定，承攬人就所完成之工作物負有瑕疵擔保責任。本文係以承攬人之瑕疵擔保責任為中心，並就工程契約中可能涉及之相關問題為探討。本文之重點為：首先就承攬契約之瑕疵擔保責任為論述，並於其中輔以工程契約中相關爭議，以求就瑕疵擔保責任為整體性之認識；次就工程契約履約標的之瑕疵存在時點分別討論，區分各個工程履約階段，認為工作物之瑕疵於工程完工、工程驗收階段，及驗收合格後之法律效果應分別而論。其中主要涉及工程瑕疵與完工之認定，本文認為二者應分別而論，工作之暇疵與完工係屬二事，應採用英美法中實質完工之見解；而就工程驗收合格後對瑕疵擔保責任之影響，則認為工程驗收合格並不會因此而免除承包商之瑕疵擔保責任，在工程驗收期間潛在不易察覺之部分，或必須經過一段時間之運作始能發現之瑕疵，在瑕疵發見期間內發現，承包商仍應依民法負瑕疵擔保責任。另關於工作物存有瑕疵時，定作人可否以承攬人尚未修補瑕疵而拒付報酬之問題，本文認為，工程契約之業主於驗收合格後即應依規定及契約約定給付報酬，業主就工作物之瑕疵應主張瑕疵擔保請求權或保固之相關約定，不得逕予拒付報酬。後就承攬人之瑕疵擔保責任與工程保固責任間為比較，本文從二者之差異及工程契約之實務，認為二者屬不同之請求權，採自由競合之方式，業主得採有利者或併同行使。最後為本文之結論。

工程契約係具特殊性質之承攬契約，而工程契約之開工、完工、驗收進程中，可能遭遇不同之風險事件，故本文先於第二章對工程契約之開工、完工、驗收及後續保固期間之意義及相關爭議為概略性之論述。 其次，於第三章先以一般承攬契約之風險分配為出發，就承攬契約之危險負擔、瑕疵擔保責任及定作人協力義務為概述，而在工程契約之風險分配原則上，採用「優勢風險承擔人原則」作為立論基礎，認為工程契約之風險應由對風險較具「預見能力」、「控制能力」及「規避能力」者承擔；進而就工程進程中不同階段可能遭遇之風險事件，建構可能之風險分配原則，並探究工程契約中常見「棄權條款」，包含工期展延、物價調整及權利行使期間等棄權條款，是否與合理之工程風險分配原則相符；另本文就工程保險契約制度為簡要之說明，並論述工程保險在工程實務中之地位，而將工程保險契約認定為工程契約分散風險之重要機制。 於第四章，特別針對國內論者甚少討論之「完工後驗收前」期間之實務爭議為判決整理及評析，而以本文建構之風險分配藍圖，對包含完工後驗收前之先行使用、減價驗收、部分驗收、試運轉及第三人侵權等爭議問題為分析。

摘要 此論文主旨在研究大型營造等工程計劃包括公私合併基建工程之計劃融資的架構，及其計劃融資方法的成長趨向。 計劃融資為一創新及有時效性的融資技術。有別於傳統基建工程的融資方法，因此愈來愈多在採用。此研究主要是集中於計劃融資的益處，風險管理及保險要求。 由於全球的私有化現象，政府的資助計劃，有移轉至私人融資計劃的趨向。本金現在往往以計劃的資產作為抵押，而以計劃的收入基礎以返還之。因此計劃的收益為大型投資計劃的主要融資因素。計劃的完工時程往往加之於計劃融資團體及業主的合約內，因此保障股東權益使延遲完工保險的需求大增。 延遲完工保險又名預期利潤損失險，為以保障業主的收益以償還債務及實現利益而設計。在開發市場中為減免利益風險，以收益保證保險方式以填補預期收益與實際收益間的差異。此論文亦以討論常用於大型計劃的計劃融資方式的兩種保險產品，延遲完工保險及收益保證保險及其核保的挑戰性，理賠處理的特性。 以瞭解延遲完工保險的理賠複雜性，以一個興建、營運及移轉（BOT）的鐵路工程項目的理賠個案作為例子討論。並以訪談保險業界的專家為主以討論相關論點。除延遲完工保險外，乘客量保證保險亦作介紹其保障預期及實際乘客量差異所引起的收益短缺的運作方式。 / This thesis aims to study the framework of project finance and the growing trend for project financing methods in today’s large construction projects involving public-private infrastructure partnerships. Project financing is an innovative and timely financing technique that is increasingly emerging as the preferred alternative to conventional methods of financing infrastructure and other large-scale projects worldwide. Research is conducted on the benefits, risk management and insurance requirements of project finance. Due to global privatization where government funding programs have shifted towards private financing, principals now often collateralize loans with project assets and repay them purely on the basis of projected earnings. Thus, the revenue generating capability of a project has become a critical financing factor in large investment projects. Rigorous conditions on delays in scheduled project completion added to project contracts between financiers and principals and the need to protect shareholders’ interests have created demand for DSU insurance. DSU insurance, also known as advance loss of profits (ALOP) insurance, is designed to secure the portion of revenue which the principal requires to service debt and realize anticipated profit. To mitigate revenue risk in emerging markets, public-private partnership provides a revenue guarantee to protect for the insured’s financial loss due to shortfall between actual and projected revenue. The ‘pledged’ revenues may include sales revenue, rental, interest income, and other sources of funds that are generally recurring. The thesis further discusses two types of insurance commonly applied in project financing of large projects – the delay in start-up (DSU) insurance and revenue guarantee insurance. The features, underwriting challenges and claim handling of these two types of insurance will be investigated. In order to understand the complexity in claims handling involving DSU cover, a build-operate-transfer (BOT) railway construction project claim case study is created. Interviews are conducted with three selected experts from the insurance industry on the various issues related to DSU claim. The findings gathered from these experts are reported in this thesis. In addition to the DSU insurance, a ridership guarantee is also introduced for protecting the revenue shortfall between the actual and forecast ridership when project is put into commercial operations.

3D電腦動畫電影產業在過去十年間的蓬勃發展有目共睹。在台灣，政府所提出的「兩兆雙星」產業政策中，也以「數位內容」產業為「雙星」計畫之一，而「電腦動畫」則列為優先發展的重點項目之一。 本論文以作者多年的國際媒體產業經驗與觀察為主軸，輔以豐富的產業研究資料及分析，探討台灣在發展3D 電腦動畫電影產業時的各項競爭條件。論文架構採用學者波特在國家競爭優勢中所提出的價值鏈及鑽石模型理論，逐一分析台灣在面臨國際競爭時，各項條件的優勢與不足。 要了解好萊塢如何成功地揉合「創意」與「科技」，不斷創造出一部部席捲全球的3D電腦動畫電影，必須先認識好萊塢電影產業的運作基礎。好萊塢有著相當複雜的產業發展背景，時至今日，這些時空背景仍深深地影響著產業的各個層面。本論文先深入剖析好萊塢電影產業的各項價值活動、產業及人力結構、以及電影投資、融資與風險控管等機制。其後，則進一步分析3D電腦動畫產業的版圖現況及發展趨勢，並以三家領導廠商Pixar、DreamWorks Animation、Blue Sky進行個案分析，透過對這三家廠商發展歷程與運作模式的檢視，台灣可以從中學習成功的經驗，並避免重蹈覆轍。 論文最後，則基於以上之論述，提出兩項論點，說明此刻是台灣以3D電腦動畫電影切入國際數位內容產業的良機。第一項論點是現階段仍屬全球3D電腦動畫產業發展初期，新進入者較易跨入此一新興市場；第二項論點則是台灣世界級的資訊產業提供了優勢的競爭基礎，使台灣具有更高的策略位置。因此，台灣可以高科技產業帶動數位內容產業的發展，延續「科技矽島」的成功經驗，再創「Silicon Hollywood：矽谷+好萊塢」的國家新競爭優勢。 / The 3D feature computer animation industry has grown tremendously in the past 10 years. In Taiwan, the government has identified the “digital content” industry as one of the two rising stars in the “Two Trillions, Twin Stars” national industry development plan, with “computer animation” as its top development priority. Based on the author’s years of observation and experience in international media and business, with abundant industrial research and statistical data, this thesis discusses Taiwan’s competitive advantages in the development of a globally competitive 3D feature computer animation industry. This thesis also refers to Michael Porter’s “Competitive Advantages of Nations”, which uses the Diamond Model to identify a nation’s weaknesses and strengths in the global economy. To realize how Hollywood can successfully combine creativity and technology to create box-office 3D computer animated movies, it is wise to consider how Hollywood fundamentally works. Hollywood is a complicated machine fed by its rich background and history that currently affects every facet of its behavior. This thesis breaks down that behavior into sections that detail topics such as value chain activities, modern industrial and labor structure setup, film financing and risk management. Three leading computer animation studios are Pixar, DreamWorks Animation, and Blue Sky. After understanding how the Hollywood film industry works, the next logical topic to examine is how these studios relate globally with the international 3D feature animation industry’s landscape and development trend. Using these studios as case studies, examining their timeline of development and work methodologies, important lessons can be learned and previous pitfalls avoided as Taiwan takes its first steps towards establishing its own successful 3D computer animation industry. Upon its analysis, this thesis identifies two strong reasons that justify why now is the time for Taiwan to establish its 3D computer animation industry as a means to compete in the global digital content market. The first reason is because the current global landscape of the 3D feature animation industry is just past its infancy and in an early stage of development, making it easier for new entries into the market. The second reason is because Taiwan has the advantage of having a strong resource in its world-leading IT industry that provides strong leverage above the competition. Taiwan is already world famous for being a technologically strong “Silicon Island”. By creating a bridge between technology and creativity, Taiwan can emulate its previous success model and thus create a new international identity as the “Silicon Hollywood”.

文化創意產業乃近年來政府所大力推動的重點產業，儘管文化究係一種「服務」或「產業」，爭議頗多，然而睽諸世界先進國家，如英國設有事權統一之文化媒體體育部(The Department of Culture, Media and Sport)職司全英文化政策之擬訂，並以發行彩券部份收入，鼓勵新穎多元之創作；再如丹麥政府早就發現企業界和文化界的語言渾然不同，發現國家需要教育課程來訓練學生如何經營文化事業，這包括建立對整個產業的知識，能夠斡旋協調、解決衝突，並擁有處理預算、智慧財產權、合約及版稅的能力，於是當務之急，是希望商學院可以把注意力多放在文化界的發展潛力上，增加相關主題、課程和所謂「第三級教育」的訓練；澳洲則就文化產業核心，從精英藝術與社區藝術之論述，進一步發展到休閒與娛樂；其文化態度，亦跳脫文化公民權之爭論，邁入文化消費期。凡此種種，皆從發展文化創意「產業」之角度，作為施政方針。 　　反觀台灣文化創意產業之經營環境日益艱困，至今未有事權統一之「文化部」，文化創意政府分工上，教育部獨置身事外以及至今未能建立諸如好萊塢的「完工保證」制度以吸引投資者等，因此本研究所欲探討之主題計有四項： 1.文化創意產特質為何？與過去台灣所擅長的製造業的價值鏈、商業模式等，有何不同？ 2.政府政策之制訂與產業界之需求，其緊密度為何？是否尚有政策調整之空間與方向？ 3.文化創意產業之經營者係一「守門人」之角色，此守門人之角色如何整合「線上成本」與「線下成本」中之各個成員角色，在「彈性專業化」的合作關係中，形成一種商業模式？ 4.文化創意人普遍缺乏避險觀念，因此如何「以銷定產」，透過「創業財務」理論，經由「高概念」與「國際分工」募集資金，迴避風險，是為本研究所要深入探討的主題。 / The idea of developing cultural and creative industries has been putting forward by the government in recent years even though the arguments of culture being as a service or an industry remains disputable. However, policymakers in more advanced countries have moved beyond the debate and recognized the importance of the industries at different level: The United Kingdom sets up the Department of Culture, Media and Sport as the solo division in charge of policy formulation. Part of the income from National Lottery is devoted to encourage creation; Being aware of the differences between business professionals and creative talents, Denmark educates students with the know-how of cultural industry management, including the skills of negotiation and conflict solving and the abilities to deal with budget, copyright, contract and royalties. It also urges business schools to enhance entrepreneurial potential by adding more topics, classes and so-called “tertiary education” to their curriculums. Australia, on the other hand, has extended the core value of culture and creative industries from elite and community arts to recreation and entertainment. It has moved from the phrase of debating cultural citizenship into cultural consumption. With reference to the experience of other countries, we can conclude that culture and creativity sectors should be considered as “industries” rather than “services” for policy measures. On contrary, the business environment has become difficult for the cultural and creative sectors in Taiwan. There’s no one single government entity to take account of cul-tural factors and attach greater importance to promoting the development of cultural indus-tries in the course of policy formulation and implementation; Ministry of Education has not partake in studying the vision for development and direction for the industries; Lacking of completion guarantees leaves investors with big doubts and consequently hider the estab-lishment of finance resources. To solve the above-mentioned issues, this research will fo-cus on: 1.The characteristics of cultural/creative industries. How are they different from the value chains and business models of manufacturing that has dominated Taiwan's industrial sector? 2.The gaps between current policies and the real needs of the industries. What can be done to favor the development of the sectors? Any adjustment to make or ap-proach to establish? 3.The role of decision makers in cultural/creative industries as “gatekeepers.” How do they control the above and below the line costs and utilizing the concept of flexible specialization to manage their businesses? 4.The sales and marketing of creative products. Traditionally, creative talents have little knowledge on risk control. How to develop new products or services in the context of existing provision in the market? How to avoid risk and raise money by bringing in the notion of “high concept” and “co-production” in filmmaking?

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.