歷史檔案展能夠凝聚民族精神，增強國家認同感，鑑往知來，極富社會教育功能。台灣近五年來較知名的檔案展「二二八事件檔案展」、「福爾摩沙－十七世紀的台灣、荷蘭與東亞特展」和「世紀蔣宋美齡」等，這些活動都獲得一定程度的回響，充分發揮了歷史檔案在推廣教育上的功能，使參觀者在回顧歷史之餘，更進一步瞭解到檔案的實用與價值。今日檔案展的舉辦已成為檔案典藏機構的主要業務之一，鑑於台灣目前檔案策展資訊相當匱乏，希冀藉由本研究機會探討台灣歷史檔案展情況，瞭解台灣已有的策展資源及實例，嘗試剖析歷史檔案策展的規劃考量，期望作為台灣未來歷史檔案策展及後續相關研究之參考。 本研究首先進行檔案策展相關文獻的蒐集與整理，認識檔案策展理論及回顧歷史檔案策展概況，歸納出歷史檔案展的特性及規劃重點作為訪談的基礎。其次運用「個案研究法」與「深度訪談法」，以具有二十年歷史檔案展實務經驗的國立故宮博物院圖書文獻處作為個案研究對象，針對2000－2004年故宮歷史檔案展進行調查，訪談在這五年當中的故宮檔案策展人，瞭解故宮的策展情況並分析其優缺點，藉以瞭解檔案策展實際情形。 歸納文獻探討與個案研究發現，檔案展的功能主要有三方面，首要為發揮社會教育功能，其次為推廣作用，再者，檔案展能夠加強館內編輯研究工作。檔案策展的基本要素為經費、人力、展品、展場等四項，通常檔案策展的困難度也起因於這四項要素的不足。檔案策展流程十一個步驟包括：展覽政策、選擇主題、擬訂展覽計畫、選件與修繕維護選件、編寫展覽說明與出版品、提供展覽網頁與宣傳資訊、設計展覽、布展、展場總檢及實地導覽訓練、展出與宣傳、撤展及展覽建檔評估等。 最後根據前述研究結果，對歷史檔案典藏機構策展提出以下幾點建議：一、積極充實館藏；二、慎選展覽主題；三、 培養策展人才；四、明訂展覽任務；五、設置固定展廳；六、展出形式多元。

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.

當創新不再被視為全新的發明，而更近似於既有資源的重新組合，資源重組（recombination）便成為創新的重要來源。當企業的資源有限時，有一派學者主張運用隨創（bricolage）概念，就地取材地為既有資源賦予全新價值。不過，當組織內部的資源不多，重組之後所得到的創新也相對有限。因此，另一派學者主張從組織外部連結跨域資源，整合各方之長的仲介（brokerage）觀點，在許多知名企業紛紛採用之後，霎時之間蔚為主流。然而，過去對於仲介的研究，大多聚焦於資源重組的過程，卻忽略了企業所面臨的情境制約（constraint）。 有別一般的困難，制約根深蒂固於情境（context）之中，涵蓋的範圍極廣，單一企業往往難以獨力排除，故問題解決（problem-solving）的思維不易奏效。企業如何在制約之下發展創新，是過去的研究較少著墨之處，因此我們對於企業如何回應制約的瞭解相當有限。本研究由制約對創新者的影響切入，強調創新者如何在制約之下仲介資源，並且創意地回應制約，進而發展出「借力使力」的仲介方式，不僅化解制約的阻礙，也透過資源的重新整合，從既有的資源中創造新的價值。 本研究選擇國內某知名媒體集團A公司旗下的B集團為個案公司，B集團深耕活動事業多年，媒體背景為其建立廣博的社會網絡，使其在仲介各方資源時更加順利，因而發展出與眾不同的創意回應。本論文的研究問題為：「企業在面臨制約的情況下，如何仲介資源以回應制約？」本研究以個案公司在2009年底至2010年初所舉辦的梵谷畫展作為研究個案，深入企業以訪談法蒐集資料，採用詮釋型的質性研究方法，分析策展人如何仲介各方資源，借力使力地回應情境制約，使展覽順利舉辦。最後，本研究從策展人回應制約的仲介歷程中，歸納出三種創意回應的設計原則。本研究於學理上的貢獻有二：首先，本研究呈現創新者在制約之下的仲介歷程，補強過去研究較少著墨之處，進而豐富仲介理論的內涵；其次，本研究將創新者透過仲介作為回應制約的過程，作為一種創意回應的形式，進而豐富了創意回應的理論意涵。 / When innovation is regarded as resources combination rather than novel invention, recombination therefore becomes the origin of innovation. One school demonstrated the concept of 『Bricolage』, which transfers existed resources into new values, however, it would be limited if resources are insufficient. The other school referred to 『Brokerage』, which brokers the resources outside the organization and creates new combinations through diversified resources. Nevertheless, most of relative researches focus on the process of recombination, which led to disregarding the constraints met by enterprises. Unlike normal barriers or challenges, constraints in the context are hard to removed for enterprise with insufficient resources. Due to the pervasive effectiveness of constraints, the problem-solving concept may not work well when it is applied to this issue. That is to say, how enterprises innovate under constraints is the issue neglected by past researches. Hence, this research mainly focuses on how innovator brokers diversified resources to respond to constraints creatively. Then we find that a type of brokerage named 『leverage through brokerage』. By this type of brokerage, innovators could respond to the effectiveness of constraints, and create new values through the recombination of existing resources. This research chooses B group, which belongs to a leading media company in Taiwan, as our research case. Rather than ineffective problem-solving ability of enterprise, this research cuts to the point from the effects to innovators in such constraints. B group has devoted into curation industry for many years, it tends to be easier to broker resources from different stakeholders and develop unique creativity since its media background and wide social networks. This research explains: When an enterprise confronts constraints, how does it broker resources to respond such constraints? This research chose 『Van Gogh exhibition』 held from 2009 to 2010 as a case study, adopting deeper research by interviews and using interpretation as qualitative research method, trying to analyze how curator broker resources from different stakeholders and leverage them to respond constraints. Finally, this research generalizes three creative responses as design principles from the curator's responding process to the constraints. The findings of this research demonstrate two academic contributions: (1) Different from past research, this case focuses more on the process of the brokerage when an enterprise try to innovate under constraints, therefore enriches the Brokerage theory. (2) This case concludes the process of curator's responding to constraints through brokerage as a way of creative response, hence complements the creative response theory.

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

商業策展公司每年舉辦的藝文展覽數量不斷增加，然而受限於人力與資金，展覽評量尚未發展成熟，然而展覽做為一種藝術的呈現方式，評量有助於策展團體了解觀眾對於展覽的評價、展覽成效以及在市場上尋找自身利基，建立獨特的品牌形象。商業策展公司評量方式以參觀人數以及發放意見調查表為主，然而目前市面上觀眾意見調查問卷的評量面向標準不一，無法完整評量一個展覽的成效，且忽略觀眾在展覽中的體驗評量。因此，本研究以Lauterborn 4C四項要素以及Schmitt策略體驗模組（Strategic Experiential Modules, SEMs）理論，發展出一個結合觀眾的展覽認知與展覽體驗的展覽總結式量表。本研究以時藝多媒體舉辦的《米羅特展》以及寬宏藝術舉辦的《失戀博物館》為研究案例，回收問卷490份，有效問卷回收475份，並依照Devellis量表分析步驟，包括題項刪減（item purification）、建構效度分析（construct validity analysis）與信度分析（reliability analysis），建構展覽評量量表，最終發展五大評量層面，包括消費者需求與欲望、物超所值、雙向溝通、感官與社群關聯與行動力以及相對應的九大評量面向和評量子面向。 / In Taiwan, Curatorial companies hold more and more art exhibitions every year. Owing to the lack of human and financial resources, exhibition evaluation hasn’t developed maturely enough. However, exhibition is one of the ways of presenting art and evaluation would help curatorial team know how audiences evaluate the exhibition, what the exhibition’s effects are, and what the company’s brand image is in the market. Nowadays, curatorial companies use the number of visitors and evaluation questionnaires as the way of exhibition evaluation. Nevertheless, the evaluation questionnaires cannot assess the whole parts of exhibition’s effects and ignore the assessment of what the audiences experience in the exhibition. Therefore, this study uses Lauterborn’s 4C elements and Schmitt’s strategic experiential modules to develop the scale that combines audience’s cognition and experience in the exhibition. As for cases, the study uses Joan Miro Exhibition Women, Birds, Stars, held by Mediashpere and Museum of broken relationship, held by Kuang Hong Arts. And follow Devellis’s scale development steps, including item purification, construct validity analysis and reliability analysis to construct summative exhibition scale. Finally, the scale develops five parts, including consumer needs and wants, cost, communication, sense and community and action and the related nine layers and sub-layers.