本個案《巨獸》為一30分鐘長的劇情短片，是為因應文建會「敘事短片攝製獎助」對於原創性與攝製能力的要求而企劃的製作案。故事背景設定在民國53年－－「八二三炮戰」結束六年後，以持續於金門、廈門兩地間展開的心戰喊話為題材，是首部以金門地區「播音牆」為主題的短片。 　　本報告撰寫人以親身參與方式首次擔任製片，實際投入《巨獸》一案從開發企劃、前製期、製作期到後製期的各項製片工作與決策中。在面對預算不足以及拍攝時間有限的壓力下，如何節省時間和金錢但不犧牲影片質感，就必須制定有效的策略和妥善地規劃來加以因應，並對各項製作環節進行嚴格把關。因此本個案嘗試從電影產製流程中著手導入製作管理的概念來提升效率及維持品質，建立學生與專業製作團隊的成功合作模式，並將實作經驗提出檢討與建議。 　　實際操作結果發現，本片在影像品質、演員演出、場景設定和美術表現各方面都符合預設的製作標準，意即本片確有落實對於製作品質的控管。然而就製作成本、拍攝時間與進度的掌控來看，則未達成預定目標。進一步探究原因，本片在製片經驗不足的情況下，導致影片前後製作流程無法產生順暢的扣連，不斷回頭銜接上下環節導致時間未能有效控管，而意外狀況頻仍除了造成預算控管失當，也突顯影片拍攝的高度變動性以及事前準備的不足。 　　因此這樣的經驗得以發現，製片的工作不能徒具理念，也應具備專業的知識，對整體流程有全知性的視野，同時也必須時時刻刻切換至不同對象或單位的立場，經由不厭其煩的溝通協調，將管理化為實際的互動，才能有效地落實製作管理的概念。此外，製片更應回歸到劇本發想階段推行「產銷一體」的概念，尋求目標觀眾與開發劇本賣點，同時審慎評估題材的拍攝時機，是否可與社會議題或潮流接軌，從中思考行銷的著眼點與可製造的新聞話題，則更有助於行銷宣傳的推展。

對於社工,一般大眾的瞭解不深,常伴隨著「做好事」、「幫助窮人」、「有愛 心」等刻板印象;或是負面的「拆散家庭」、「多管閒事」、「官僚」;甚至有許多 人以為社工就是志工,是不支薪而樂於付出的一群。創作者自幼長期接觸社工與 其工作環境,盼透過影像創作方式,呈現台灣社工所面臨的某些現實。 《標準量表》從一兒虐案出發,以類紀錄片的方式帶出相關人事物,討論案 中每個角色所面臨的困難與心理衝擊,以及案發後所有人如何適應、回歸、繼續 生活。特別將視角集中在負責本案的基層社工,以她為敘事中心,講述一個社工 與家暴家庭的互動故事,呈現社工在個案服務工作中的心情轉折,讓觀眾有機會 認識這些心理負擔與壓力。並期待透過本片,建構一個兩難的世界,畢竟真實社 會中的習題,往往不是結束在一個定點,而是事情發生後,人們怎麼繼續走下去。 / We don’t know much about social workers, who sometimes been thought of “doing things good”, “helping the poor”, “kind and compassionate”; or accompanied with some negative thought, “destroy families”, “make uncalled-for meddling”, and “officialdom”. Even some people think social workers are volunteers, who are happy and willing to help people without salary. The writer of this story has contacted with social workers since she was a child and tries to show some reality of them by visual productions. Standard Scale of Humanity is a story of a basic level social worker and a child-abused family, and produced by skills of mockumentary. The film lets every character in the case talks about her stories, feelings, and how to back to the normal life after the tragedy, so the audiences have chances to know more about the pressure, load, and difficulties of social workers and offenders. Moreover, the production hopes to create a situation of dilemma, because things not always stop at a particular point in the real world, after all, it is more important to know how to live after something bad happened.

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.