華山創意文化園區的產業化發展受到一個由國家、藝術社群與企業三方構成的社會結構影響，藝術社群、國家與企業三者在不同階段扮演了關鍵的角色。此轉型過程經歷文化創意產業化的價值張力現象和政策磨合，揭示了上述行為者對於空間規劃與產業發展的不同主張，一方面造成其不同的信任與競合關係；另一方面也造成空間功能的轉向－此地區由一個位於前端的藝術創作聚落轉變成為靠近後端的大眾文化消費園地。 本文認為文化創意產業化的過程將引發行為者不同的價值取向，其原因為：一、精緻藝術與通俗文化的特性不同；二、創作前端與市場後端的需求與運作邏輯不同。而為了尋求文化與產業的永續發展，政府必須回應這種特殊的產業特性，扮演彈性的平台角色，一方面能夠觸動行為者的相互交流、理解與信任關係，使其自由溝通並跨界合作，誘發各種創新的可能；另一方面需要釐清空間的角色與功能，讓有效的補助與保護機制連結網絡關係及群聚效應。如此一來，這樣的制度環境能夠鼓勵創新，不因產值思維而壓抑創意，而創作前端與市場後端能夠充分活化與溝通，進一步完整價值鏈機能。 / The industrialized development of Huashan Creative Park was influenced by the social structure, composed of the state, the community of artists and the enterprise. These three factors played crucial roles within different phases. The Industrialization of culture and creativity resulted in tensions between discrepant values as well as policy modification within the transition, which displayed diverse positions toward spatial planning and industrial development from different factors. The tensional phenomenon not only altered the relationships of trust and contention among factors but also brought about functional change of the space－this cluster of art creation near the front end of value chain turned into a pop culture consuming park near the back end. This paper argues that industrialization of culture and creativity will lead to dissimilar value orientations of factors because of two reasons：the first, distinct features of fine art and pop culture；the second, different needs and logic of creating front end and consuming back end of the value chain. In order to build up sustainable development of culture and industry, the government is suggested to deal with this kind of special industrial feature and take a role as a flexible platform. On the one hand, this platform should induce interaction, understanding, and trust between factors as well as generate free communication, synergies among multi-fields, and all possibilities of innovation, on the other hand, it can clarify the significances and functions of spaces as well as connect network and cluster effect to complete the function of value chain by an appropriate protective system and subsidies. As a result, this institutional environment can encourage innovation and interaction between creation and market instead of oppressing creativity due to output value requests.

台灣整合行銷產業受限於市場規模小及與市場景氣連動性高的因素下，面臨利潤被壓縮的挑戰，提出創新服務勢必為未來發展的趨勢。另一方面，雖然政府大力投入資源於文化創意產業，民國一百年甚至被馬總統宣告為台灣設計年，但多數的創意品牌設計卻無法面臨市場機制的挑戰。本研究試圖探討能否導入整合行銷傳播模式於文化創意產業鏈，發揮以市場為導向的價值建置跨業資源整合平台，改變過往的產業開發商品模式。 　　本研究架構以「新視紀整合行銷集團」及其建置的「有藝氏創意商品整合平台」為例，綜合交易成本理論分析和透過與「有藝氏創意商品整合平台」實際運作成效，分析整合行銷傳播模式應用在文化創意產業的可行性與綜效。 　　研究結論發現，導入整合行銷傳播模式的「有藝氏創意商品整合平台」有效降低整體現在文化創意產業鏈開發商品過程中發生的交易成本，除提高創意商品化的可能性之外，亦加快商品從研發到上市的速度，而消費者則是整體產業鏈交易成本降低的最大受益者。 / The integrated marketing industry in Taiwan faces a low gross-profit challenge because the limited market share and its growth is highly relevant to the worldwide economy. Providing a creative service becomes a trend for the industry to respond those tough situations. Although the Taiwan government has been putting a lot of resources into the cultural and creative industry and President Ma Ying-Jeou announced that the year of Taiwan centenary (2011) is “Taiwan Design Year,” most of Taiwanese design companies could not cross through a marketing chasm successfully. Most creative products could not been accepted by mass consumers. Thus, this research seeks to explore the application of integrated marketing communications in cross-disciplinary and then analysis the feasibility of changing creative product developing processes with the integrated marketing communications model. This research uses the transaction cost theory and takes New Vision Integrated Marketing Communications Group and its subsidiary company, Unique Art Integrated Platform of Creative Products, as case study to evaluate the efficiency in creative product developing processes. This research concludes that “Unique Art Integrated Platform of Creative Products” which applied the integrated marketing communications model into the cultural and creative industry in Taiwan, indeed increased the possibility of developing creative products, decreased transaction costs in developing creative products, and shortened the whole developing process, from searching for a design to launching a product. Most importantly, consumers are beneficiaries, spend less money to buy creative products, because of this new business model.

公共部門的組織運作相較於過去，正處在更為不穩定和動盪的環境之中，公部門必須提高其「創新」的能力以為因應，並由於治理網絡形式的顯現，也更加強調公部門創新的重要性。面對當前許多充滿高度複雜與棘手的公共問題，我們不僅需要公共創新的新途徑，同時也要為許多問題的解決方案提出必要的工具。無疑地，吾人必須關注如何透過治理網絡中行動者間的協力，即是公共管理者、民選官員、企業、非營利組織等行動者的協力，用以強化公共創新，因此，「協力創新」可以說是當前公部門創新的重要議題，同時也是公部門面對網絡治理亟欲尋求的新方法。簡言之，欲探究的「協力創新」，則是指以網絡為基礎的協力，促進治理過程中公部門的創新。 本研究主要聚焦在公共部門協力創新的理論與實務的討論，以下述兩個關鍵重點做為討論的主軸：一、重點是針對「公共部門的創新」，而非一般所談論的企業創新；二、著重於「跨部門間或網絡協力」的創新，並非單一組織內部的創新。研究問題包括：何謂是在公部門的協力創新？協力創新的過程需要具備哪些條件？網絡中的行動者如何透過協力過程以導引出創新？協力創新呈現的樣貌或結果為何？對文化行政機關而言，文化創意產業政策之推動，對文化行政官僚的協力創新經驗有何特殊性？協力創新的過程有何困難？如何克服這些障礙，以驅動協力創新？ 儘管公部門透過跨部門、跨組織的協力創新研究還處在發展萌芽的階段。在實務上，公部門必須審時度勢，在協力過程中透過制度設計，與行動參與者進行有效溝通、建立信任，並證明展現其領導、協調和整合的能力。因此，本研究關注協力創新在公部門的應用，一方面提出整合自公部門創新、協力治理文獻而發展出來的理論架構，另一方面也針對文建會在推動文化創意產業政策運用協力創新的過程和經驗，進行質化的實證研究，以提供公部門有關協力創新應用之理論面與實務面相互印證的機會。 研究發現公部門創新必須致力於創造更多的公共價值；政治的推力、回應外部發展趨勢、核心職能外新增業務的壓力、尋求和匯集外部資源、創造有利創新的組織文化是公共組織內外環境中存在激發協力創新的驅動因素；而網絡治理的領導能力、多層次與橫向溝通平台、互惠的信任關係基礎、良性的創新循環等是影響協力創新過程的關鍵因素；公部門適當的制度設計有利於協力創新的發展；協力創新的多元價值結果亦呈現出不同的創新類型。最後，本研究也針對協力創新的實務應用、制度設計及組織運作、文化創意產業推動方面提出若干建議。 / The importance of strengthening innovation in the operation and organization of the public sector is highlighted by both today's increasingly variable environment and the emergence of governance networks. The many complex and wicked problems that are currently encountered in civil sector indicates a need not only to innovate, but also to come up with necessary tools for solving multiple problems. No doubt the primary focus should be on uniting efforts among actors in governance networks, namely civil sector managers, elected officials, businessmen, and non-profit administrators, in order to strengthen public sector innovation. For these reasons, collaborative innovation is an important topic in public sector innovation and an anxiously pursued new method as the public sector faces collaborative governance. Moreover, collaborative innovation is network-based collaboration that promotes innovation in the public sector governance process. This study primarily focuses on theories of public sector collaborative innovation and discussions of actual practice in the field. The study revolves around two key points: a focus on public sector innovation as opposed to commonly discussed business innovation, and innovation in cross-sector collaboration or network-based collaboration as opposed to innovation within a single organization. Questions addressed in this study include: What is meant by public sector collaborative innovation? What are the prerequisites for collaborative innovation processes? How do actors within a network lead innovation through collaborative processes? What are the features or results of collaborative innovation processes? What special experiences have administrators of cultural bureaus had promoting cultural and creative industry policies with collaborative innovation? What difficulties are encountered during processes of collaborative innovation? How can these difficulties be overcome in order to spur collaborative innovation? Research of cross-sector and transorganizational collaborative innovation in the public sector is still in its developmental stages. Each collaborative process must be assessed through system design to ensure effective communication and the establishment of trust, as well as to verify leadership, coordination and integration capabilities. Therefore, this study concerned with the application of collaborative innovation in the public sector first constructs its theoretical framework on extant literature in the fields of public sector innovation and collaborative governance, and secondly is directed at the Council for Cultural Affairs use of collaborative innovation in its policies that promote cultural and creative industries. This study employs qualitative empirical research to provide opportunities for mutually verifiable theoretical and practical collaborative innovation applications related to the public sector. Results of this study suggest that innovation in the public sector should be directed at creating more public value. Governmental influence, response to external trends, pressure added by work extrinsic to core functions, the collection of external resources and organizational culture cultivating beneficial innovation are all factors that drive collaborative innovation in and around public organizations. Network governance leadership ability, forums for both horizontal and vertical communication, foundations of mutually beneficial trust, and healthy innovation cycles are all influential factors in collaborative innovation processes. Appropriate organizational design in the public sector spurs the development of collaborative innovation, and the manifold values of collaborative innovation result in different innovative forms. Finally, this study aims to make recommendations for the practical application, organizational design and operation of collaborative innovation, and the promotion of cultural and creative industries.

「溫羅汀」指的是台北市大安區的溫州街、羅斯福路以及汀洲路的區域，在七、八零年代開始，隨著台灣大學為核心的運動氣息和自由氛圍，聚集著人文氣息濃厚的主題書店、獨立音樂及咖啡館所構成的文化地景，擁有著獨立、非主流、自由的精神。「溫羅汀」的獨立音樂場景也由著這樣的文化與歷史脈絡而於此落葉生根。 透過論文的整理與分析溫羅汀在地的獨立音樂的歷史、環境與文化，再以這個為背景，來討論台灣獨立音樂在台北的群聚與社會網絡，並觀察與分析溫羅汀做為台北獨立音樂場景的重要基地其主要的因素。最後，再從外部的政策環境以及內部的獨立音樂發展方向的矛盾，來討論台灣獨立音樂發展的限制。 研究認為，溫羅汀會成為台北獨立音樂的重要音樂場景主因是因為，溫羅汀的音樂人力聚集形成一種「創意型群聚」，而這樣密集的社會網絡提供了經濟機會，而且，這樣的群聚是集合了包含生活圈、社會網絡以及產業鏈的「生態圈」。因此政府在做相關產業政策時，絕對不能忽視獨立音樂場景之中，生活圈以及社會網絡對於獨立音樂發展的重要性。並且，政府在做獨立音樂產業政策時，各部會層級的溝通也都該有「文化」的思維，並且，部會間的橫向與縱向的溝通與協調機制也必須要能夠發揮。

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

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.

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.