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在各大藥廠明星藥品專利到期、新藥開發數量銳減的當下，全球首例植物新藥MediGene Veregen™ 的核准上市為製藥產業帶來新的希望，雖然製藥價值鏈與商品化模式已為人所熟知，但針對植物新藥特殊性所架構之商品化模式還是一個全新的議題，為了架構一個適合台灣中小型藥廠的植物新藥開發模式，本研究嘗試以技術層面為根基，從法規面、產品面與產業面深入探討MediGene Veregen™ 關鍵的成功因素，從中獲取值得台灣藥廠參考的經驗，同時考量台灣植物新藥開發的大環境限制因素，包括法規與健保，給予台灣藥廠一些植物新藥商品化策略建議。 本研究之架構以實務觀點出發，首先整理參考文獻以探討植物新藥包含的範圍與藥品開發流程，幫助藥廠了解植物新藥商品化需要具備的條件與資訊；接著針對台灣與美國在植物新藥方面審查上市之法規、流程與審核成果進行研究，結果顯示目前台灣有兩種植物新藥審查系統「中藥新藥」與「植物抽取新藥」，對廠商而言並不如美國單一系統來得便利；再者藉由探討植物新藥的價值鏈結構、法規結構、產品結構與產業結構，試圖架構植物新藥商品化模式；接下來以兩家新藥開發廠商為例進行實際個案研究，一家為成功推出植物新藥商品的德國藥廠MediGene AG，一家為台灣藥廠中天生技/合一生技，主要藉由分析MediGene Veregen™ 商品化過程的關鍵成功因素，比較中天生技/合一生技WH-1商品化模式的異同，探討是否有足以借鏡與改進之處。最後，歸納整理上述的研究做出結論，並且對於台灣藥廠提出策略建議，希望能對於台灣新藥開發公司有實質上的幫助。 / While the star drug patents of each big pharmaceutical company are expired one after another and the quantity of their newly developed drugs sharply declines in these years, MediGene Veregen™, the first botanical new drug in the world, enters the market and therefore brings a new hope for the pharmaceutical industry. Although the value chain and the commercialization model of pharmaceutical industry have been known and researched a lot, the specific construction of commercialization model for botanical drugs is still a brand new subject. In older to construct the model that is suitable for Taiwanese middle and small pharmaceutical companies for the process from development to commercialization of botanical new drugs, this research, based on the technical analysis, attempts to discuss the key success factors of MediGene Veregen™ through analyzing the aspects of the laws, regulations, industry and product itself. With the case study about the environmental limited factors of new drug development in Taiwan, including the laws and regulations as well as the health insurance, this research tries to offer Taiwan pharmaceutical companies some strategic suggestions for the development and commercialization of botanical new drugs. The structure of this research is based on the practical viewpoints. First, we reorganize the reference in order to define the scope of botanical new drugs and the processes of drug development. It can help pharmaceutical companies understand the conditions and information needed for botanical new drug commercialization. Then, our studies focus on the laws and regulations in Taiwan and the United States, as well as the application processes and approvals for botanical new drugs. The results show that there are two evaluation systems in Taiwan for botanical new drug applications. For those pharmaceutical companies, the dual system is not as convenient as the sole evaluation system in the States. Furthermore; based on the discussion on the structure of the value chain, laws, regulations, product and industry, this paper makes an attempt to construct a better commercialization model of botanical new drugs. Next, two pharmaceutical companies are chosen as case study in this paper. One is a German pharmaceutical company, MediGene AG, which launched the first botanical new drug. The other is a Taiwan pharmaceutical company, MicroBio Co., Ltd/Oneness Bio-Tech Co., Ltd. By analyzing the key success factors in the commercialization process of MediGene Veregen™ and comparing its commercialization model with MicroBio Co., Ltd/Oneness Bio-Tech Co. WH-1, we try to get any valuable idea and insight. Finally, our conclusion and strategic suggestions may have solid help for Taiwan botanical new drug pharmaceutical companies.

台灣電影產業發展至今，經歷了查禁、控制、國際競爭等艱辛的階段，一直以來，本土產製的電影很少有出現轟轟烈烈的商業成績。所謂的「國片」縱有不少智慧財產的產出，往往亦盤旋於台灣電影市場邊陲，極難成為大眾消費者眼中的主流商品。由此可知，台灣電影人豐富的創意價值，雖然在本質上是由層層智慧財產緊扣而成，卻在電影市場中缺乏創新的營運機制，使得藝術文化與市場的配合失去平衡，總體效益不了了之。 　　一部電影，本質上往往仰賴各方面創意為基礎，而創意的具體化則該透過適當的法律制度，以「智慧財產 (Intellectual Property)」的形式呈現，並加以應用於商業策略之中。換句話說，「商業策略」才是電影創意能否在大眾市場發揮價值的主要概念。過分注重法律保護、政策支援；或過度將票房表現視為電影創意人的價值，恐非台灣本土電影起死回生的好方法。 　　2008年，被視為台灣電影奇蹟的《海角七號》以亮眼的票房紀錄讓眾多台灣電影圈的人士看見了未來的希望，然而《海角七號》的製作團隊本身卻沒有積極利用電影產出的智慧財產。之後，一系列本土電影接著《海角七號》之勢上檔，不僅票房結果差強人意，智慧財產的運用更是闕如。故本論文以《海角七號》為個案，分析各項電影智慧財產的產出與應用情況，以探究如此空前的票房與其智慧財產價值發揮的關聯性。 　　本論文亦以「智慧財產商品化 (Commercialization)」及「智慧財產行銷」的概念為基礎，探求國片當前面臨的智財商品化問題與可能調整的方向，最後結論各項發現，建立智財觀點下的「電影市場價值組成」與「階梯式電影價值產生模型」，嘗試為台灣建立創新的電影智慧財產行銷運用方式。 / In the past one hundred years, the development of Taiwan film industry has gone through many arduous and crucial stages, including politically planned prohibition, bridles from government, and global competition. Ever since then, there are hardly successful cases. The so-called "Taiwan Cinema" might provide very much IP (intellectual property) to the film industry; however, the value of IP could not be merchandised well at all. It's difficult to make the IP of "Taiwan Cinema" be consumed by audience or consumers. Today, the creativity of Taiwan cinema production is absolutely sufficient, and properly conjugated to IP, nevertheless, the realization of creativity value still fails to get the balance between art, culture and marketability. A "movie" intrinsically consists of multiple creativity, and which is concretized with legal system to make intellectual property rights (IPR) come into being. And then, the IP can be applied to business strategies. Therefore, the business strategies ought to be critical to the IP value in mass market. In other words, paying to much attention on the legal protection and administrative policies may not be proper. In 2008, the movie "Cape No. 7" achieved many expectations of many people. Despite the demolished box office records, the film production team seems not to actively commercialize the IP from this movie, and so do many Taiwan cinemas after "Cape No. 7". In order to clarify the commercial relationship between the box office performance and the value of IP application, this study is going to discuss the situation of IP commercialization of movie "Cape No. 7". On the other sides, this study will also point out the challenges Taiwan film industry is just undergoing at present, and try to provide appropriate suggestion based on the views of IP commercialization and IP marketing. Finally, this study will conclude the findings and comments to establish the “Compositions of Market Value of Films with Value Generation Model” and innovative means of IP operation in Taiwan film industry.

Aujourd’hui, il existe très peu de nouveaux produits écoconçus (NPE) mis sur le marché par les PME du Québec et les réussites commerciales sont encore plus rares. Dans ce contexte, il semble pertinent de se pencher sur la manière dont le processus d’écoconception pourrait être à la fois mieux et plus utilisé dans les PME québécoises en étudiant spécifiquement la réception des NPE auprès des détaillants pendant la commercialisation. La question à laquelle se propose de répondre ce mémoire est la suivante : comment un produit conçu selon une approche cycle de vie est-il reçu par le réseau de détaillants d’une PME? Aussi, cette recherche explore le rôle du designer, qui normalement s’achève au début de la commercialisation, que pourrait jouer durant cette phase afin de favoriser la réception positive d’un NPE. Cette recherche s’appuie sur une étude de cas de la première phase de commercialisation d’un meuble de salle de bain écoconçu par une PME manufacturière québécoise en 2010 et 2011. La chercheuse a observé la réception d’un NPE, c’est-à-dire la perception et l’appréciation de celui-ci, par des personnes œuvrant dans une PME de fabrication d’ameublement de salle de bain et par ceux qui agissent dans son réseau de distribution. Nous avons relevé que la compréhension des notions liées à l’écoconception est un enjeu important dans la réception d’un NPE. C'est pourquoi la formation des détaillants et l’éducation des consommateurs deviennent essentielles pour la réception positive d’un NPE. Dans cette perspective, le designer pourrait intervenir durant la commercialisation. / There are still very few new eco-designed products (NEP) commercialized by SMEs and commercial successes are even more rare in Quebec. In this context, this study examines how the eco-design process could be integrated more easily with people working in SMEs in Quebec, specifically studying the retailer’s reception of NEP during the commercialization. Therefore, a major question from this dissertation in learning research is: how a product designed according to the life cycle approach is received by the SMEs’ network of retailers? Also, our research explores how the role of designer, which normally ends at the beginning of the commercialization, could evolve during this phase to help receive a NEP. This case study, examines the first phase of the commercialization of bathroom furniture eco-designed by a Quebec manufacturing SME in 2010 and 2011. The researcher observed the reception of a NEP, which in summary translates in the perception and appreciation of NEP. These observations were lead with people working in an SME manufacturing bathroom furniture and with people working in his network of retailers. It was observed that the understanding of the notion of eco-design is an important issue in the reception of a NEP. For this reason, the training of the retailers and the education of the consumers are an essential part for the positive reception of a NEP. Also, because of his/her knowledge of eco-design, the designer could become a major contributor during the phase of commercialization.

This diploma thesis discusses the process of communication in new media environment and demonstrates it on the example of YouTube Beauty community which can be seen as an autonomous, independent space for expression and sharing of information. It introduces the specifics of communication in the environment of Beauty community and its characteristics. It discusses some theoretic concepts connected with communication in the environment of new media and also with the Beauty community, for example Web 2.0, citizen journalism, prosumption or the concept of internet as a new space of public discussion. It also discusses concept of political economy about how external especially commercial factors influence communication process and content of traditional media and connects it with influences of external commercial factors on communication in Beauty community. In qualitative research are explored factors that impact communication in this environment and also potential impact of external commercial factors on communications and its contents.

This study focuses on the internet as a public space and explores the emotionality of this area. It is also approached as a case study which investigates the relationship between emotionality and commercialization. In the theoretical part, the concept of the public space and especially its changes that came with the internet and social networks is specified for the reader, to provide a general overview essential to the results of this work. Furthermore, the theme of the communication via internet is defined and the identification of emotions in media communication is explained in the theoretical part. The practical part analyses in which intensity the mass media use the tools of the expressibility on their facebook profiles. These mass media were purposely chosen, one being commercial and the next one the public service television, whose function is to support the social cohesiveness and to cultivate the language. The representatives are television TV Nova and radio Rádio Impuls as the commercial media, television Česká televize and radio Český rozhlas as the public service media. The findings of this thesis provide the insight into the issues and point out the difficult position of the public service media on the social networks.

This thesis is an analysis of the extensive transformation of the Olympic movement, which occurred at the end of the 20th century. The main focus is on the importance of the XXIII Olympiad in Los Angeles, regarded as a major milestone in the history of the modern Olympic movement. The introductory chapter deals with the 1970s' crisis of the Olympic movement. The second chapter describes the complications related to the allocation of the Olympic Games to Los Angeles. Based on the XXIII Olympiad, the third and the fourth chapter analyse the revolution in Olympic marketing. The objective of the fifth chapter is to demonstrate the need for the financial independence of the Olympic movement in the context of the Cold War, the Soviet boycott in particular. The last two chapters deal with the commercialization of the Olympic movement, the reform of the IOC and the discussion regarding the timeliness of the Olympic values.