本影音創作以筆者父親逝世的自身經驗為發想，創作動機從解決自我內在的焦慮感出發，欲以第三人稱的影像視角陳述從喪父至今，個人主體所感知到的自我認同轉折，以及一路走來所經歷的連續性心境變化。希冀可透過此實驗性創作表達出筆者最純粹的感受，以及帶給有相似經驗的觀者一種力量。 創作作品形式以三段實驗性質影像短片呈現，由演員肢體語言表演內心心境為主，輔以意境式的大自然場景和動物鏡頭，以編導式影像的建構與重演等方式，傳達三階段式的抽象心境畫面。公開放映時，依三段實驗影片的特色與展場空間，設計出適合的錄像藝術放映模式，輔以平面式編導攝影作品和展場敘事之營造，意圖使觀者完整感受到筆者一路從情感上的「腐朽」，過渡到「混沌」的自我掙扎，最後則是生命旅程「重生」的敘事過程。 從兩次公開放映的展演成果出發，多數觀者雖可明確接收到創作主題，但仍偏好事前以文字解說情境的敘事脈絡，影像的「敘事之道」在此作品尚無法獨立存在。另，展演空間與放映模式的互動，會影響觀者對創作作品的詮釋與情緒投射，故作品在後製剪接階段，即需依據展場敘事做出適當的調整。最後根據觀者訪談與問卷調查，檢視本創作成品的放映成效與製作檢討，希冀能帶給後續創作者相關的創作建議。 / This presentation is based on the author’s own experience, trying to solve the inherent anxiety as creative motivation and image a statement from the perspective of the third person who has lost her father, expressing individual subjects of perceived self-identity transition and the continuity of mood changes experienced along the way. This presentation is created to express the purest feelings of author, and hope to bring a power to the audience who have similar experiences through seeing this presentation. This presentation is composed by three experimental films, which presented by an actor performing body language to stand for one’s inside heart with Fabricated Photography, and supplemented by nature scenes and animals’ lenses to reconstruct and convey three-stage manner formula and abstract mood scene. When it comes to public performance, this presentation is designed to use video arts mode according to the characteristics of the exhibition space and three films, combined with works of Fabricated Photography and the narrative of the exhibition, with the intention that the audience can feel the narrative way as the author, starting from the emotional “rottenness” stage to the self struggle transition “chaos”, finally coming to the process “rebirth” of life’s journey. From the results of two public performances, the majority of the audience still prefer to narrative contexts by words rather than images although they can clearly receive the creative theme from three experimental films. “Another way of telling "of images doesn’t work independently in this presentation as imagined. Also, the interaction of exhibition space and videos mode will affect the audience the interpretation and emotional projection to the films, thus the films need to make appropriate adjustments based on the exhibition narrative in post- production editing stage. Finally, according to interviews and questionnaires of the audience, it shows the effectiveness and production review of this presentation, hoping to provide relevant suggestions for subsequent creators of this similar theme.

將行銷學概念用來進行規劃表演藝術的推廣策略，因此將表演藝術觀賞者視為消費者 。消費者分析是進行策略規劃的重要依據，故消費者研究相當重要。消費者研究最初 是以人口變項為主，而為了深入了解消費者，因而發展出生活型態的研究取向，本論 文之研究核心是表演藝術觀賞者的生活型態。 生活型態的理論基礎源於心理學，到了一九六０年代被引用到行銷學領域。生活型態 是一個理論化、抽象化的概念，其操作化概念是心理統計變項。心理統計變項的測量 指標有兩部分：一是A.I.O.三面向，一是人口變項。本研究所採用的表演藝術觀賞者 之A.I.O.量表，有兩種，一是特定化量表，將表演藝術視為一種產品，測量與這種產 品有關的活動、興趣與意見。另一是一般化量表，測量觀賞者一般日常生活中的活動 、意見與興趣。 本研究以問卷調查方式，針對政治大學三年級學生進行調查，以因素分析及區別分析 為統計分析方法，探討表演藝術觀賞者與非觀賞者在生活型態方面有何不同。 本研究除了將「消費者行為」的理論應用到觀賞者研究之外，並可作為國內表演藝術 團體及單位推展表演藝術活動之參考。

本論文共約七萬字，訂成一冊，旨在探討國內企業家在表演藝術及展覽藝術各類活動 的觀賞行為。藉由受試企業家在各類藝術活動觀賞程度的差異，將其分成重、輕度以 及非使用者三群，並比較此三群使用者在生活型態、創造力人格特質及職業興趣等三 構面上的差異，由此，得與人口變項配合，對每一群使用者做一輪廓素描。 論文內容分為五章，第一章為本文之研究動機及目的，第二章為文獻探討，即對有關 理論及研究的探討和比較，第三章為本論文之研究設計和架構以及所使用之技術，第 四章研究結果則為問卷資料之彙總和分析，第五章則是結果之詮釋、研究限制，以及 對爾後研究之建議。

第一章：結論。包括研究動機、研究目的之敘述，並提出本研究的問題與假設，此外 對本研究中幾個有關名詞作一操作上的定義。 第二章：有關文獻的探討。探討國內外學者在創造力、創造力發展，以及藝術學生在 這二方面表現的多方研究。 第三章：研究方法。包括本研究的設計、研究對象、測量工具、研究過程以及統計方 法的說明。 第四章：結果與討論。根據資料統計結果、繪成圖或表，加以比較、分析，並討論其 意義。 第五章：結論與建議。重述本研究的問題與假設後，證之以研究結果作成結論，最後 提出在研究、教學上的可能建議。

摘　　　　要 論文題目： 藝術授權產業之營銷策略研究 校系所別： 國立政治大學科技管理研究所 指導老師： 劉江彬教授（國立政治大學科技管理研究所教授、政大智慧財產研究所所長） 研究生： 盧恩慈 關鍵詞： 藝術授權、授權產業、著作權、策略、行銷 摘要內容： 　　二十一世紀先進國家的人民，在累積足夠財富後，生活水準也隨之升高，對於『美』的需求與日俱增，追求『美』不僅是表面虛榮，更為內在的滿足。 　　反映在商場上，買者對各式商品美感層次之要求標準大為提昇，加上智慧財產權保護觀念日趨成熟、國際智財法律亦漸完備，以及國際商業授權活動的蓬勃發展，均為藝術授權產業創造有利的環境。 根據本研究資料顯示，近年來西方國家藝術授權產業產值持續成長，幅度超過其他各類授權，此趨勢值得關注。藝術授權在西方行之有年，尤其是美國的藝術授權產業，已有二十多年發展歷史，許多案例創造單一企業年營業額上億美元之規模，也發展出一些成功的經營策略與模式。據此，本研究蒐集美國藝術授權最佳授權業者經營資料，探討其營運與行銷模式，分析其成功關鍵因素，並訪談國內藝術授權業者之經營狀況，提出此產業之營銷策略建議。 　　根據研究問題，本研究之主要發現如下（節錄）： 一、藝術授權產業最直接的定義為：「從事開發、複製、經營、行銷藝術品之著作權（版權）的產業。」其最基本價值活動為著作權之交易。藝術授權產業的本質是藝術作品之智慧財產及其週邊相關服務的經營；它是『授權產業（包括品牌授權、運動授權等）』的類別之一，且與西方所謂『版權產業（泛指所有從事與智慧財產權利移轉、授與活動之事業）』範疇部份重疊。同時，藝術授權市場亦與藝術產業及數位內容產業重疊（參圖6-1.1）。 二、根據本論文第四章Thomas Kinkade Company個案之分析，其重要的營銷策略思考表現在『創意、品牌、生產、通路』四個層面上。 三、根據本研究結果，美國藝術授權產業之成功的關鍵環境因素與營銷策略包括下列數項： 1. 總體文化環境與經濟條件的支持，包括國家立法完善與執法嚴謹、人民生活水準與藝術鑑賞的配合、以及完整的產業上、下游價值鏈； 2. 創意端與目標市場文化背景相合； 3. 授權商品必須保有藝術的本質與價值；即加強複製藝術的品質，千萬不可以粗糙的、廉價的材料複製高價藝術。精緻的商品，才是藝術授權的活路； 4. 清楚一致的品牌定位與層次分明的通路策略。 四、在藝術品與藝術授權商品的關係上，除了利用高價知名藝術品牌提昇授權商品價值，對藝術複製品與衍生商品的品質與產量嚴格控制，加上積極的行銷活動運作，亦可塑造出一個高價值的藝術品牌，回頭帶動藝術品與藝術家的價值與知名度。 五、台灣藝術授權產業價值鏈尚未成形，整體授權產業概念與運作方式也不被企業所熟悉，必須加強對國外成功案例與產業環境的觀察與學習。目前台灣已有部分藝術授權代理商進軍國際，數位內容業者對藝術授權範疇也躍躍欲試，也開始與西方重要藝術授權代理商、或國際品牌合作開發授權商品。現階段在國際授權、禮品或相關商展中，雖尚能代表華人地區在扮演東方藝術授權供應方，但日本、香港、韓國、中國的急起直追，勢必擠壓台灣在國際藝術授權市場上的空間，日、韓廠商挾以過去在品牌與卡通授權的成功模式，是不可輕忽的潛在競爭者。台灣未來必須在行銷活動與複製藝術品質方面更上層樓，才能在此產業取得優勢。 六、目前台灣藝術授權產業最大的問題該是對建構品牌與行銷活動的生疏，以及對市場的茫然。這個弱點讓企業在經營上成為無頭蒼蠅，一味向更多國際廠商爭取合作，但最後仍淪為大廠品牌之下的美麗圖騰之一，或有如藝術圖庫般的價值，業者必須戒慎小心。本研究並歸納一些營銷建議在第六章第六項研究問題探討中。 　　根據研究結論，西方藝術授權產業目前與國內做法最大的不同在於『品質』與『品牌』；國外成功的授權商多半擁有強大的藝術品牌，強大的藝術品牌來自高品質的複製藝術商品，不論是否透過授權，不論商品種類，最重要的是要具備藝術該有的質感，才能建立令人心生喜悅並認同的藝術品牌。 目前對於新進業者尚無絕對有效的營運模式策略建議，但本研究認為至少必須抓到藝術之所以被認可為藝術的關鍵，要有原創性、商品品質要能與藝術本身匹配、要了解目標市場文化，並積極投資品牌行銷工作。 而歸納本研究最重要結論為，藝術授權產業的營銷策略即「以創造藝術的態度『複製』藝術。」以藝術之名為商，仍要忠於藝術本質才能成功。 / Abstract Title: The Business and Marketing Strategies of the Art Licensing Industry School: Graduate Institute of Technology and Innovation Management, National Chengchi University Advisor: Paul Lui Author: Jacqueline Lu Key Words: Art Licensing, Licensing, Copyright, Strategy, Marketing 　　 　　In the 21st century, people of the developed countries accumulated a significant fortune and started to think about raising their quality of life. Their requirement of “beauty” in various kinds of markets went up rapidly. Purchasing “beauty” is not only for the shallow vanity, but also for the real inner satisfaction. 　　In the business world, purchasers tend to ask for increasingly pleasant looking and higher quality products of all kinds. In this environment, the idea of intellectual property rights protection is taking shape, the related laws are evolving, and the international licensing activities are flourishing. All of the above create a gainful environment for the art licensing industry. According to this research, the sales of the art licensing industry in the western countries have been continuously growing, and developing faster than other licensing businesses such as cartoon character licensing. 　　Western countries have done this business of art licensing for years, especially the United States with over 20 years history. There are numerous businesses with successful business models and strategies with revenue exceeding $100 million. This paper focuses on the most successful art licensor, Thomas Kinkade Company, and presents information collected about its business strategies and marketing approaches, and analyzes its key success factors. In addition, this research presents the stories of Taiwan’s main art licensing company, artkey Co., and one domestic artist, Mr.Shi, as an independent licensor to sum up some business strategies of this industry. 　　The important findings of this research are as follows (extraction): 1. The simplest definition of “art licensing industry” is “the industry working on developing, copying, managing, and marketing the copyright of art works.” 　　The nature of art licensing is the business related to the intellectual property rights of fine art and the peripheral services. It is one of the main categories in the licensing industry, which belongs to the cultural creative industry. In addition, the art licensing industry also partially overlaps the copyright industry, the art industry and the digital content industry. (see chart 6-1.1) 2. Base on the analysis of Thomas Kinkade Company in Chapter 4, the most critical business and marketing strategy is shown in 4 different aspects,” creativity, brand, production, and channel.” 3. According to this study, the key success factors and the preferred business and marketing strategies of the art licensing business in the United States include: (1) The support from the overall culture status and the economic condition such as the more consummate laws and regulations with stricter law enforcement; the higher life standard and the better appreciation of art; the more complete industrial value chain availability. (2) The cultural background of the creative departments and the target markets are compatible. (3) The art licensing products must keep the nature and the sense of value of original art works. In other words, the companies should enhance the quality of the duplication of art; they should not copy a real art with rough, cheap and low quality material. Only “fine products” can represent “fine art” and make big sales. (4) Art licensing also needs a constant and clear brand position with distinct strategy of the channel layers. 　　4. By observing the relationship between art works and art licensing products, companies can take advantages of the expensive famous artists or art works upgrade the value of the licensing products. Severely controlling the quality and productivity of the art duplications or licensed goods plus founding an active marketing program can also establish a high value art brand that benefits the original art works or artists. 5. In Taiwan, the complete upstream and downstream value chain of art licensing business is still forming. The whole idea of licensing industry is not clear for most of the domestic firms. Taiwanese entrepreneurs have to observe the international licensing world more and learn about the successful strategies people use in this industry overseas. 　　Currently, there are some art licensing agents in Taiwan starting to conduct their business abroad. They are making contact with some crucial art licensing agents or globally well-known brand to open up new art licensing product lines. More and more digital content suppliers are also interested in this pie. 　　So far Taiwanese companies can still play the main role of being the art licensing suppliers of oriental art in most of the international licensing shows and gift trade shows. But in no time, Japan, Hong Kong, Korea, and China will catch up and squeeze the international market share from Taiwan. Especially with their successful brand and character licensing experience, the Japanese and Korean companies are certainly Taiwan’s greatest competitors. To keep their superiority in the future, Taiwanese art licensors must upgrade their marketing strength and the quality control. 6. Presently, Taiwanese licensors’ biggest problems are not having the expertise to build a brand and being unfamiliar to the market. Fighting for more opportunities to work with super brands makes their art become nothing but a pretty pattern of other brands. This study generalizes some art licensing business and marketing advice in chapter 6 question number 6. 　　As to the conclusion of this study, the most obvious difference between Taiwanese art licensors and western companies is how they manage the quality and their brands. In developed countries, art licensors usually own very powerful art brands. Powerful art brands are mostly created from perfect quality of copying products or art duplications. No matter licensing the art or not, this business should provide the quality of products as good as fine art. Only this can create a real art brand people would like to enjoy. 　　Although this paper does not present an absolute business model, this research does offer some basic success factors for art licensors. “Art” and “beauty” are the keys to this industry. Some things all the art licensors should know and practice are to be original, develop compatible products, learn the culture of the market and invest the money in marketing. 　　To sum up, the most important conclusion of this study for the business and marketing strategies in the art licensing industry is to “copy” the art with the attitude of “creating” the art. Stick to the nature of art, and your art licensing products could possibly win the battle.

海報原是屬於藝術性的創作品，然而在蘇聯將其與政治相結合發展成政治宣傳海報，因此其特性是既屬藝術又屬政治。在西方電影中，時常可看到將政治宣傳海報當成藝術品掛於牆上，例如在電影《恐懼的總和》(«The Sum of All Fears»)中，主角是一名蘇聯歷史學家，其辦公室的牆上就掛著一幅由摩爾(Д. С. Моор, 1883-1946)所畫的《五月一日─勞動節》(«1 Мая Праздник Труда», 1920, 圖3-3-13)海報，電影畫面所欲呈現的意涵一方面是作為裝飾品，另一方面則是象徵著蘇聯。在2003年筆者曾到過聖彼得堡及莫斯科，當地所有書店皆將過去蘇聯時期所發行的政治宣傳海報重新印製，作為海報、書冊、明信片等予以販售，足見其對俄國而言，是珍藏品，亦是代表俄國的紀念品。 一個以專制統治為主，並對所有傳媒嚴加控管的國家，竟能發展出如此特殊又美麗的海報藝術，實是令人玩味。蘇聯政治宣傳海報給予人的第一印象是用色強烈、主題鮮明、並流露出鼓舞士氣的愛國情操，此外亦會出現如同連環漫畫般具故事性的內容，海報中的人物角色除了號召群眾的英雄人物，也有諷刺敵人的戲謔角色。如此兼具著藝術與政治之雙重性的海報，想必無論是政黨領導者或是繪製海報的藝術家，於俄共建立初皆是無法預料得到其能嶄露頭角，進而成為國家重要的宣傳媒介。所以，對於政治宣傳海報於蘇聯時期的發展也就令人十分好奇，同時其引人矚目的藝術宣傳手法也相當值得深究。 在1917年十月革命後的俄共不論在政治、經濟、或社會皆處於混亂之中，但是政治宣傳海報卻絲毫不受影響的開始茁壯成長，反而似乎因破碎國家的局勢激起了海報畫家創作的靈感，大量的作品自十月革命後便不斷湧現。因此，由這些海報作品中除了可以欣賞畫家的繪畫手法、感受海報內容所流露的情感外，同時從這些政治宣傳海報中也能勾勒出當時的歷史背景及時代意涵。因此若要解讀十月革命後由列寧(Владимир Ильич Ульянов(Ленин), 1870-1924)所統治的蘇共歷史，亦應能透過海報的內容來理解，而這也唯有結合了政治與藝術於一體的政治宣傳海報才能達到此目的。

近年來，各地方政府都將節慶活動視為創造經濟效益、形塑地方文化特色的政治活動。臺灣各地方政府在面對經濟發展的競爭態勢下，為振興地方產業，紛紛積極推廣節慶觀光做為開發經濟的良機。地方政府運用行銷之概念，不僅為地方帶來財源，更為各地方政府塑造了鮮明的形象與特色。 在台灣各地方政府所舉辦的諸多大型節慶活動中，以「宜蘭國際童玩藝術節」最具有指標代表性，不但成功結合觀光、遊憩與文化產業，營造宜蘭的特色，獲得民眾的認同與支持，更成為享譽國際之活動，也是各縣市政府辦理節慶活動標竿學習之最佳實務典範。 本研究先檢視政策行銷與節慶相關理論及文獻，了解地方政府節慶行銷的意義、內涵、策略與作法等，比較政策行銷與節慶行銷的異同。並以「宜蘭國際童玩藝術節」個案為例，探討地方政府進行節慶行銷之策略與環境影響因素，檢視政策行銷執行成果，根據研究結果提出實務改進建議，做為其他縣市進行節慶行銷參考。舉辦十一年的宜蘭童玩節正面臨著競爭者增加、喪失創意等永續經營發展問題。本研究發現宜蘭童玩節受到政治因素的影響最大，並且產品的創意與文化內涵逐漸消退，缺乏整體性的行銷策略。故宜蘭童玩節的決策系統必須脫離政治的影響，並且投入成本開發創意，建立消費者習慣性的消費習慣，宜蘭童玩節才能永續經營。 / In recent years, the Taiwanese local governments often use festival celebrations to generate economical and political benefits, and at the same time to create and promote their local cultural characteristics. Under the pressure of political and economical competitions, the local governments are forced to encourage festival celebrations aggressively in order to revitalize the local tourism business and further economical opportunities. The local governments use marketing concept to bring financial enhancement and improve its fresh image and unique characteristics. In all festival celebration events held by the local governments in Taiwan, Yilan International Children’s Folklore＆Folkgame Festival is considered as the most outstanding one. It successfully combined aspects of tourism, leisure events and cultural gatherings to establish Yilan’s distinctiveness. Such strategic activities have won the votes of its local residents and become an international recognition event. It has also been shaped into the best learning model and a practical example for many other county authorities to follow. This study aims to examine policy marketing and other related festival theories and literature, with the purpose of understanding the local government festival marketing value, its strategic plan and procedures, and yet comparing the similarities and differences between the policy marketing and the festival marketing. By employing Yilan International Children’s Folklore＆Folkgame Festival as a study case, this paper analyzes the local government’s strategic progress in festival marketing and its environmental factors. In addition, it examines the results of such policy marketing practices for recommendations to other county authorities. After eleven years of annual celebrations, Yilan International Children’s Folklore＆Folkgame Festival is currently facing with increasing competitors and at the same time, losing innovative ideas and other operating management problems. This study finds the Festival is being affected greatly by political factors and lacking the overall marketing strategy. As a result, such event must not be influenced by any political reasons and needs to increase its access to funds in developing creative ideas to attract consumers and to create a successful and sustainable festival event.

伊底帕斯解答斯芬克斯之謎，同時拯救了人民的恐慌，但亦使自己陷入更驚駭的悲痛之中，這表現了斯芬克斯之謎本身蘊含歧義的意義；海德格繼《存有與時間》後的重要作品〈藝術作品起源〉中提出，可以發現與展開存有整體的是藝術作品，藝術作品的起源－藝術乃是謎，此謎可為謎，筆者認為即是海德格試圖說的處在拒絕被我們穿透的情況下才得以彰顯的「大地」之說，換言之，斯芬克斯之謎與藝術之謎的歧義是來自大地本身的狀態，由此，筆者以同時交織這兩件作品中謎的意義，作為本論文獨特的創作方式，如此寫作的安排是由於，一、筆者將伊底帕斯王的故事，作為海德格所強調的「藝術作品是存有物之真理的置入」的偉大作品，來理解海德格想要努力說而又難以說的〈起源〉中大地蘊含的深層意義。二、相較於單以海德格個人作品的論述，並連結評論者對〈起源〉的闡釋，以伊底帕斯之悲劇作為真理置入其中的藝術作品，除了要以蘊含真理的作品將大地意義拉出比〈起源〉本身未說出而更為廣大的理解領域外，同時也使海德格難懂的〈起源〉更為平易近人些。三、如此，除了闡釋與理解〈起源〉之大地，同時本文亦以此方式創建與表達出使大地成為大地的實踐意義。 論文前兩章是將海德格於三十年代使用「大地」一詞的來源詳加說明，首章即是由一個故事開始說起，繼之筆者將伊底帕斯故事中分為三部曲，相應於〈起源〉中三大段落的方式進行。首先，第一部曲是伊底帕斯解答斯芬克斯之謎語，這相應於〈物與作品〉中海德格說明傳統哲學對物之為何之解答，形同為走至娶母般的悲劇之中，但卻又富含歧義的蘊義。第二部曲是伊底帕斯通過祭司之語才發現自己到底是誰的轉折，而這連繫著人與神的祭司之語即為〈起源〉中的第二大段－〈作品與真理〉中所強調的，藝術作品乃可開展出存有整體之意義，最後，當伊底帕斯自掘雙目，浪跡天涯之際，以自身生命保持著大地的無可穿透的張顯狀態，即呈現了〈真理與藝術〉中所要闡釋的此有使大地成為大地。 在論文最後一章中，除了回應評論者們對大地諸多相異的看法外，筆者說明此論文的排序是要突顯起源就是其呈現，呈現的無非就是來自起源。起源的豐沛元素就由此有所擁有的世界中呈現，換言之，此文所展開的，只是開始創建我們自身故事的序幕。 關鍵詞：Heidegger、earth、the Origin of Work of Art、Oedipus

文化創意產業是人類知識的薈萃，屬於無價的無形資產，透過時代與空間交織出千變萬化的形貌，展現人類的智慧與創意的極致。表演藝術肩負「文化」承傳的使命，發揮「創意」的極限，是文化創意產業的核心，讓人們從庸碌的生活中，找到另一片新的可能。 全球第一個喊出「文化創意」的英國，創造了2001年所選定的十三個創意產業中，創造132萬的就業人口，總產值更高達1,125億英磅的佳績。令各國開始注意起文化創意產業帶來的附加價值，文化創意產業逐步成為全球矚目的新興產業。國內政府目前積極投入文化創意產業，透過強化網路外部性，除了創造更大的獲利空間，同時也為國內的文化環境，提昇更大的產業競爭優勢。 國內的音樂表演藝術活動擁有最多人數參與，也是最蓬勃發展的文化創意產業之一。例如前年流行日本的「交響情人夢」風潮，一路吹回國內，除了成功將趨勢與古典音樂相結合，創造國內的藝文話題外，也成功帶動國內的音樂水準，令參與人數直線攀升。 本研究以組織發展成熟為區隔，分析目前位處組織成熟期的音樂表演藝術團體之行銷策略與經營模式，透過其經驗分享與個案分析方式，與位於組織萌芽期的團體作對比，進一步分析其內外部優劣勢與與整體環境之評估，希望能夠提供未來文化創意產業發展的具體建議。以國內最知名的朱宗慶打擊樂團為例與新創團體-心享交響管樂團為例，本研究分析研究音樂表演團體之成功因素與行銷策略，透過國內外文獻與研究，進一步驗證藝文教育對文化創意產業發展之重要性，提供台灣的文創產業更寬廣的未來。 / Cultural and Creative Industry is an invisible asset which belongs to the whole human beings. It presents in various forms during ages, and it also transformed into the ultimate attainment in the history. Performance Art is the core of the Cultural and Creative Industry, and it develops the appearance of the “Culture” and also elaborates the limits of the “Creativitity”. It provides people to have wide imagination in their day-to-day lives. Even the music performance is the most popular activities in Taiwan, but it is still a huge chanllege to attract more people getting into the concerts hall. More and more groups attepmt to find out a better solution to make their customer loyally and increase the frequency of customer presence to the programs. According to the research, it will be better to understand the customer behavior well or teach them when they were in childhood. The researcher interviews two music performance groups, one is a well-known band, Ju Percissopm Groups; and the other one is a new beginner, Shin-Sharn Wind Symphony Orchestra. After the research, it shows the importance of the education. Meanwhile, it is more essential to link up with the trend and maintain the relationship with the other different groups. For example,” Madame Cantabile”, the famous Japanese Drama which broadcasted couple years ago, it had already promotes the classical music, and it also fascinates lots of new consumers which has never listen to classic music. It made a huge hit to classical music, and it also set an excellent example for the Cultural and Creative Industry.

本研究主要以文化治理切入分析影展，並以台北電影節作為研究個案。台北電影節與政府的緊密關係則為本研究選擇文化治理之因。本研究先梳影展與文化治理的概念，並回溯台北電影節十八年來的歷史，最後透過田野研究與深度訪談聚焦於影展工作者。 影展研究的特殊來自其場域的高度複雜性，從多重行動者，到與產業的關係。同時影展高度受限於時空條件，例如：舉辦時間、地點、台北電影節在全球電影產業分工下的角色。全台唯一針對台灣電影設立的台北電影獎也成了其特殊之處，受惠於此的同時也深受其牽制。 台北電影節的設立與大方向訂定與政府／文化局的政策緊密扣連。然而在人事浮動和台灣政治環境下，除了「以文化作為治理方法」，也產生「文化成為被治理對象」的現象。台北電影節有過半經費來自台北市文化局，行政體系上又隸屬財團法人台北市文化基金會，必須遵守嚴格的公文、核銷請款流程。 然而卻與影展工作者特質相互矛盾，影展工作者多半愛好自由、對工作有相當執著等，也因此更容易對繁瑣行政體系產生反彈，同時影展工作常見的短聘制度更是不利公文體系的運作和經驗傳承。原以方便管理、防弊為出發的行政流程，卻吻合Foucault 談論的治理性，治理並不特定指涉國家機器，而是由不同論述推砌。除了由外向內，更同時進行主體化，成為由內向外的規訓。 / This study aims to analyze film festival through the concept of cultural governance. Due to the perceived close relationship between Taipei Film Festival and Taipei government, this festival has been chosen as the case study. It will begin by exploring the concepts of “film festival” and “cultural governance”, and the history of Taipei Film Festival and will focus on the workers through field study as well as in-depth interview. The field of film festival is highly complex. Its diversity of actors, close relationship with film industry, limited time and space, and the global situation concerning film industry all play parts in the performance of a film festival. Taipei Film Awards, a competition specialising in Taiwanese films, also makes Taipei Film Festival more confined in its creativity while brining it much resources. The close relationship Taipei Film Festival has with Department of Cultural Affairs, Taipei City Government makes its cultural aspect gets oppressed with endless administrative procedures to follow in order to gain financial and administrative support. Culture, in this case, has turned into a tool of administration; while on the other hand is ruled over by political decisions as well. The strict administrative procedures pose strong contrast to the nature of film festival workers as they often develop a system on their own to deal with the tons of work that befall on them. They therefore tend to oppose onerous oversight. On the other hand, the short-term contracts, which are common in film festival, also keeps the system from working fluidly. Administration is now coherence with what Foucault called “governance”. Instead only refer to government, governance is about different discourses. Governance is a process of subjectification, not only from to inside, also become the discipline which works from inside to outside.