The creative industry is a relatively new sector of the economy that grows rapidly and possesses huge potential. Multinational corporations have achieved a certain stage of development being highly globalized, vertically integrated and efficient. However, the problem of defining appropriate strategies and adjusting management approaches to industry's specifics arises. Therefore, the goal of this Diploma thesis is to analyze cultural industry market and to explain differences in business strategy between classical and cultural companies. In this academic work, the great part of attention will be devoted to a number of peculiarities. Among them firstly, the way of managing creative labor force that significantly differs from other industries. Secondly, risk management and level of intellectual property rights protection may either incentivize or discourage further development of creative products. The last but not the least, brand awareness exerts a significant impact on company's performance, therefore, analysis on this issue will be provided.

在全球的經濟型態逐漸將重心由知識經濟轉向創意經濟的背景下，台灣政府也開始正視文化創意產業的發展，並於2010年通過文化創意產業發展法。另外，文化創意產業中的商業運作過程與價值網絡的建構，也從如何自個別企業「點」的效應，擴散成完整產業的「面」效益。因此，使文化創意產業持續擴張，是現階段台灣所面臨的關鍵。 在專業分工的策略、知識與創意工作者的高度流動的考量下，委外成為企業可取得資源的方式之一，過去在製造業以成本為考量的委外思維的下，創意該如何委外，可以複製過去經驗或是開創新局是本論文之研究動機。 個案選擇上，由於文化創意產業類別差異極大，本研究選取設計產業的代表：廣告設計與工業設計產業進行個案交叉比對，期望能夠透過創意與委外流程的關係（包含動機、決策點與執行）欲探討在文化創意產業中：（1）在廣告設計與工業設計中，其委外的動機與創意的關係是什麼?在此兩產業中有何異同? （2）在廣告設計與工業設計中，委外的執行與創意的關係是什麼?其關鍵成功因素是什麼? （3）在廣告設計業與工業設計中創意能被持續委外的關鍵因素是什麼? 本論文的研究結論包含：（1）企業欲將創意委外的動機來自於內部認定之創意價值低、專業能力缺乏，或與所占產業位置有關，視產業別不同而有所差異。此外，創意需可於市場取得且具成本效益時，企業才有將創意委外的可能（2）委外創意的動機在於其委外利益與組織目標能相符合（3）創意能被持續委外的關鍵在於廠商認知創意本質具收斂性，透過委外雙方的有形與無形的契約與信任，為終端市場客戶提供完整的服務。 / Under the type of global economics transferred from knowledge economics into creativity economics, Taiwan government has begun to take serious and to focus on the development of creative industry, and also passed the law of creative industry development as well in 2010. At the mean while, the business model and the construction of value network of creative industry, has expanded from individual enterprise to whole industry. Therefore, how to enlarge the boundary of creative industry is the key issue that Taiwan is facing right now. Considering the strategy of specialization and the highly transferring of knowledge and creativity human resource, outsourcing has become one way of getting resources in the enterprise. Cost down is the major cause of outsourcing in the traditional industry, so the motivation of this thesis is how to outsourcing the creativity? Is it possible to copy the past successful experience? Or it should be done by another brand new way? Due to the category of creative industry is very different, so in this thesis, it chose the most two representative design industries belong to creative industry, which are advertising design and industrial design, to compare cross over each other. Expecting through the relationship (including motivation, strategy and execution) between creativity and outsourcing, to discuss in creative industry and find out: (1) What is the relationship between motivation of outsourcing and creativity in both advertising design industry and industrial design industry. And what is the difference in these two industries. (2) What is the relationship between execution of outsourcing and creativity in both advertising design industry and industrial design industry? And what is the key successful point? (3) What is the key reason of creativity outsourcing continuously in advertising design industry and industrial design industry? The conclusions of this thesis are: (1) The motivation of creativity outsourcing is relevant in valueless creativity inside the enterprise, poor of professional ability, and different positions in the value network in the creative industry. (2) The motivation of creativity outsourcing is that the benefit of outsourcing can match the goal of organization. (3) The key point that creativity can be outsourced continuously is because it is realized in the enterprise that creativity has the convergence nature. So by the trust of tangible or intangible contracts, it will supply complete service to the end customer in the market.

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.

After globalized division of labor, the upstream and downstream in industry have become more valued. Designing, advertising, and marketing are exactly the focus of cultural creative industries. The destruction of environment that comes with economic development also forces Chinese government to consider the environmental issue and transformation in industries: developing cultural creative industry to enhance the profit, which ensures sustainable development in economy. This study focus on how cultural creative industrial parks help the expansion of cultural creative industries in Shanghai. ¡§Tianzifang,¡¨ ¡§M50,¡¨ ¡§Red Town,¡¨ and "Bridge 8" are for example in terms of how cultural creative industrial parks ¡§innovate¡¨ and improve cultural productivity in Shanghai, helping the sustained and stable development in the industry. With the history of concession, Shanghai is the gateway to China. Researches show that this fusion of Chinese and Western culture is open, diverse and tolerant. The establishment of Shanghai cultural creative industrial parks builds the platform for exchange and interaction among culture, industry, and consumers. The parks are also capable of revitalizing the uniqueness in Shanghai culture, creating employment, and cultivating the cultural creative markets. The parks are customer-oriented at present, highlighting the hardware and entertainment venues, which disappoints the cultural creative workers. As the core of creative industries is in creative work, improving the working environment and meeting satisfaction of the enterprises and workers will be the matter in the future.

Abstract Culture Creative Products have created economical value for cultural industries; they are the vehicle to pass on the cultural connotations, moreover, the integrated marketing communication are the best way to push culture creative products to achieve synergy. The marketer not only must develop good products, offer best service, set reasonable price, choose appropriate channels, but also must make all kinds of effective communication with the customers, wholesalers, and general public through all kinds of communication tools. There are various communication tools with different advantages and disadvantages and characteristics, one of the main purposes of this research is how marketers apply different communication tools under different circumstances to get the most effective integration so as to give the customers precise and consistent information and to achieve the maximum marketing communication effects. This research has taken Anping Sword-Lion Square as object to investigate the application of the marketing communication tools on culture creative products; also, through the in-depth interview with professionals and the first-hand data collected from marketing communication tools on the past with the theory and steps of integrated marketing communication: IMC to find out that there had no overall marketing plan and marketing steps, neither the target audiences. After many years of operation, they not only did not strengthen up the existed relationships with the customers on execution of marketing, but also ignored the unlimited effects of Internet on marketing promotion as well as the impact of developing the potential customers, nor did they set up the budget and the assessment of communication effects afterwards. Therefore, this study has aimed at the various finding on above to offer the following suggestions to Anping Sword-Lion Square: 1. To integrate all kinds of communication tools to strengthen up information integration and consistency. 2. To make sure the target audience and the market. 3. To establish a financial budget. 4. The marketing personnel must get involved in IMC. 5. To build up the customer awareness value and to create product differentiation and brand image. As for the future research direction, it is hoped to promote the Anping Sword-Lion as a symbol of guardian of Taiwan to cover a wider and diversified range of study. To achieve the goal, it not only must increase the visibility on international market, but also to coordinate between the tourism and culture creative industries, and to integrate them with all kinds of marketing communication tools to get the consistency and clear synergy.

Made available in DSpace on 2014-12-17T14:20:17Z (GMT). No. of bitstreams: 1 FernandoMRC_DISSERT.pdf: 1539367 bytes, checksum: d697ce545e73d2370f71ffa7ac9295fa (MD5) Previous issue date: 2014-06-06 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The creative city can be identified by their cultural quarters, the existence of creative territories or the dynamics of a creative class. Whether we classify a city as creative, we can conceive that as creative environment charge of development of creativity in organizational settings, but also in urban dynamics and public participation itself. The creativity social phenomenon is an important and essential element but it is not the only contributor to the development of the creative environment. From the city of Natal, state of Rio Grande do Norte, we tried to identify and characterize statistically the main creative sectors. Thus, we set off for the application of semi-structured interviews in the three key creative sectors: Research, Architecture and Advertising. Besides, the proposal of a summary table of the analysis of the creative industries in the city of Natal, the research allowed to propose an analysis model of urban environment of a city whose main dimensions are population, cultural resources, networks and public policy / A cidade criativa pode ser identificada pelos seus bairros culturais, pela exist?ncia de territ?rios criativos ou pela din?mica de uma classe criativa. Independentemente de classificarmos uma cidade como criativa, podemos conceber que existe um ambiente criativo respons?vel pelo desenvolvimento da criatividade em ambientes organizacionais, mas tamb?m na pr?pria din?mica urbana e participa??o p?blica. A criatividade fen?meno social ? um elemento relevante e primordial, mas n?o ? o ?nico que contribui para o desenvolvimento do ambiente criativo. A partir da cidade de Natal, no estado do Rio Grande do Norte, procuramos identificar e caracterizar estatisticamente os principais setores criativos. Desse modo, partimos para a aplica??o de entrevistas semiestruturadas nos tr?s principais setores criativos: Pesquisa, Arquitetura e Publicidade. Para al?m, da proposta de um quadro-s?ntese de an?lise dos setores criativos na cidade Natal, a pesquisa permitiu propor um modelo de an?lise do ambiente urbano de uma cidade que tem por principais dimens?es: a popula??o, os recursos culturais, as redes e as pol?ticas p?blicas

abstract: Starting from 21st century BC, China has had strong but isolated philosophies for making things, which dominated the style and spirit of Chinese design. With globalization, however, contemporary Chinese design fell under the influence of Western design including design practice, design theory, and education. Today, by improving capacity for independent innovation, and creating its own brand, China may be able to change its current practices of production that are defined by high consumption of resources, high pollution and low value-add. The search for high-quality Chinese design, which is both original and innovative with unique and identifiable features, has become a vital challenge for the Chinese government, organizations, and companies. Promoting original Chinese design with adding cultural values, in the past decade, has become prominent in various design fields because of the growing need to support economic development, upgrade industrial infrastructure, and promote national identity. In this context, many small-medium, creative and design-focused companies have been established with the goal of pursuing original Chinese design all the while concentrating on Chinese culture and users. In order to understand the present scenarios of original Chinese design, this research examines furniture design in select SMEs in China by studying relevantly critical issues: the motivation of designers for pursuing original Chinese design; the design ideas, practices and business strategies of these SMEs to build original and influential design brand; the challenges and opportunities in the furniture design industry while promoting original Chinese design; and the emerging picture of future Chinese design. This research applies the methodological framework of grounded theory with qualitative research methods including semi-structured interview and in-depth case studies. As a result, regarding interaction among Chinese culture, original design, and entrepreneurship, the research reveals three key findings regarding the interaction among Chinese culture, original design and entrepreneurship. First, “reflect Chinese culture”, particularly essential traditional Chinese culture, is a common ground of original Chinese furniture design, which has been shown both from design ideas and practices of the select SMEs. Second, insufficient entrepreneurship influences the promotion of original design brands both in domestic and international market. Third, innovative design among contemporary furniture designers is constrained by a morass of Chinese culture impediments, such as lacking critical thinking and overemphasizing on inheritance of traditions. Moreover, the research presents a theoretical framework with key implications for developing and promoting Chinese design that is original, innovative and socially impactful. The insights gained from the research also provide a foundation and possible direction for future studies on design, culture, entrepreneurship, and other creative industries both for China and other nations. / Dissertation/Thesis / Doctoral Dissertation Design, Environment and the Arts 2018

當製造業面臨產業瓶頸，最早見於40年代法蘭克福學派的「文化」結合產業手法訴求夕陽工業轉型，我國參考歐美等國開放工廠或建立觀光園區等為知識觀光景點之作法，於2003年以「推動製造業發展觀光休閒產業計畫」為主，佐以〈工廠兼營觀光服務作業要點〉之相關規定，協助製造業工廠轉型產業文化資產觀光。 「文化」是生活的表述，於社會結構中區分個人或群體所表現出之價值；「文創」在「文化」的主要和次要特徵元素上做創新發揮，在知識經濟時代透過文化產品的符號網絡達成文化傳遞流行化的成果；觀光工廠的品牌塑造便如同任何一類文化創意活動：在一定的知識背景下，依靠人的創新與想法，加上現代科技提升傳統文化要素的內涵和品質，並非單單對傳統文化的簡單複製、加工和移植，而是文化個性特質的最大發揮。 本研究以宜蘭縣內之觀光工廠為主要研究對象，分析整理廠區DM、觀光工廠官網與觀光工廠旅遊專書等文獻，輔以筆者現場進行深度訪談，針對觀光工廠如何推展觀光行銷，做到企業、文化傳承，同時尋求建立百年企業之可能。對於近年來公部門輔導下面臨的市場困境，也逐一發掘整理，期能為後續的改善提供方向。 / When the manufacturing industry was faced with industrial bottlenecks, as early as the combination of "culture" and "industry" of the Frankfurt School emerged in the 1940s, it sought the transformation of industrial development from the declining situation. Taiwan refers to the experience of the tourism factories in Europe and the United States, establishing the cultural and creative places as the knowledge tourist attractions. The Ministry of Economic Affairs has been actively coaching the management of tourism service and the restructuring of domestic conventional factories since 2003, to assist manufacturing factories in transforming industrial cultural assets and sightseeing. "Culture" is the expression of life, distinguishing the values shown by individuals or groups in the social structure. Cultural and creative resources make innovations in the main and secondary characteristic elements of "culture," and achieve the popularity of cultural transmission results through cultural products with their symbolic network in the era of knowledge. Tourism factory’s brand building is like any kind of cultural and creative activities: The process rely on human’s innovations and ideas in a certain knowledge background, coupled with modern science and technology to enhance the traditional cultural elements of the content and quality. It’s not the simple reproduction, processing and transplanting of traditional culture, but the greatest manifestation of the special characteristics of culture. This study set the tourism factories in Yilan County as the main research object, discussed with analyzing tourism factories’ DM, official website, tourist book and other literatures, supplemented with depth interviews on the way of how to promote tourism marketing by the author, explored the strategy of the conduction of business management, cultural heritage, and even the possibilities of seeking to establish a centennial shop. The research also sorted out one after another to provide the direction for subsequent improvement for the market dilemma under the guidance of the public sector in recent years.

Social media has increased the possibilities for consumers to gather and share consumption related experiences with other consumers through electronic word-of-mouth (eWOM). eWOM affects the relationship between customer and business, and therefore also affects customer relationship management (CRM). Therefore, the research question of this study is: “How does electronic word-of-mouth (eWOM) affect customer relationship management (CRM) at an organization in the creative industry?”. The purpose of this study is to, for an organization in the creative industry, investigate the effects of eWOM on CRM. Theories are used to define and discuss the concepts eWOM and CRM, and a model in which the concepts are linked together is generated. A case study design focused on one organization has been used for the study; data was collected through semi-structured interviews and from the organizations social media accounts. The results of this study show that eWOM affects CRM in numerous ways. Organizations can benefit from eWOM by using the customer information that eWOM generates, as well as use eWOM to spread organizational and customer generated information. In addition to this, organizations can gain from considering negative eWOM when interacting with and responding to customers on social media. / Sociala medier har utvecklat individers och organisationers kommunikationsmöjligheter. Detta har utökat konsumenters möjligheter att samla opartisk produktinformation från andra konsumenter, samt gett dem möjlighet att själva förse andra konsumenter med konsumtionsrelaterade erfarenheter och åsikter genom electronic word-of-mouth (eWOM). eWOM påverkar relationen mellan kund och företag, och innebär därmed påverkan på customer relationship management (CRM). Vid genomgång av tidigare studier återfanns inga artiklar som undersöker eWOM i relation till CRM. Samtidigt är kulturbranschen i större utsträckning, jämfört med andra socioekonomiska aktiviteter, beroende av word-of-mouth. Utifrån detta utgår undersökningen från frågeställningen ”Hur påverkar electronic word-of-mouth (eWOM) customer relationship management (CRM) hos organisationer inom kulturbranschen?”. Undersökningens syfte är att undersöka vilka effekter eWOM har på CRM hos organisationer inom kulturbranschen. Syftet är vidare att utveckla en djupare förståelse för kopplingen mellan dessa begrepp. Den teoretiska referensramen definierar och diskuterar begreppen eWOM och CRM, samt beskriver tidigare forskning om begreppen. Detta leder fram till en analysmodell där dessa begrepp kopplas samman, samt en diskussion och förklaring av denna sammankoppling. Undersökningen utgår från en fallstudiedesign, eftersom syftet är att utveckla en djupare förståelse för hur eWOM påverkar CRM. Undersökningen har studerat en organisation inom kulturbranschen; data har samlats in från organisationens olika sociala medier, och semistrukturerade intervjuer med anställda inom organisationen har ägt rum. De resultat som framkommit ur undersökningen visar att eWOM påverkar CRM på flera sätt. Organisationer kan dra nytta av eWOM genom att nyttja den kundinformation som uppkommer i och med eWOM, genom att använda eWOM för att sprida organisations- och konsumentgenererad information, samt genom att använda eWOM till att förstärka affective commitment. Dessutom kan organisationer behöva ha negativ eWOM i åtanke vid bemötande av kunder samt även vara närvarande vid diskussioner på sociala medier för att påverka hur kunders eWOM utvecklas.

This research paper studies the extent of how microinteractions are utilized in Microsoft Teams and the impact that they have on workflow efficiencies, specifically in the creative industry. In a novel time where Covid-19 virus has increased the demand of digital platforms, the importance of research within remote meeting utilization, and the interaction possibilities within, is of utter importance. Also, since we are missing out on the spontaneous interactions that occur when meeting face-to-face, the microinteractions within digital meeting platforms now carry a heavier weight when interactions are solely occuring remotely. The data collection was achieved through a qualitative approach consisting of participant observations and semi-structured interviews. The results of this research proved that microinteractions are used frequently within digital meetings in Microsoft Teams, but in different contexts and in different constellations. The results also identified that microinteractions, which hold the right conditions, can streamline workflows in certain scenarios. This study concluded in interesting data that answered the research questions but also opened up for further research due to the topic being of a novel field and in a special time, in this case referring to the pandemic and Covid-19.