In past decades, the location of resources was placed on building and guiding how to improve manufacturing in both cross-strait, and Taiwan and Mainland China were benefited from this. The characteristic of industry in cross-strait has no differentiation, and, because of raising cost for labor and rent, reduce the comparative advantages. Furthermore, Know-How is becoming main bargaining chip for this age, so the problems are how to solve crises caused by lacking of comparative advantages, how to transformation of industry, and how to ensure vitality of innovation to the primary industry or traditional industry. ¡§Cultural Industries¡¨ catches attentions from about 1994. This year, Council for Cultural Affairs of R.O.C. addressed an advocate for community building, and this idea attracted attentions from all circles, because it gathered culture and industry, industrial and local development together, to solve unemployment. In governmental project ¡§Challenge 2008 ¡V National Development Plan¡¨, ¡§Cultural and Creative Industry Development Plan¡¨ is one of ten key individual plans. And Office for Cultural and Creative Industries defines the industry as ¡§An industry accumulates of cultural and creative, knows where it originates and how it uses, has potential to create fortune and job opportunities, and promotes whole life.¡¨ The main purpose of Cultural and Creative Industries is trying to combine Creative, Science and Technology, and Humanity into industry and daily life, in order to fitful energy for creative and produce, to have a either rational and perceptual taste in a daily life, then to initiate a new civilization. Therefore, it is a best way to solve problems caused by transformation process in cross-strait. This essay hopes to find out some fields in Cultural and Creative Industries for cross-strait by studying this industry. Driven by Cultural and Creative Industries, there is a way to break the old manufacturing-first model into a high value-add model, and to provide more chances for the industry.

This project started with the Taiwanese�s Cultural & Creative Industries Policy, which demands that all new products include local cultural content. However, little is known about Taiwanese cultures. This research looked specifically at one of the cultures, the Paiwanese Tribe. This thesis reports on the research journey; identifying what the Paiwanese knew about their culture and why they were unable to produce traditional products. It argues that the displacement of the tribe has made it materially impossible to continue traditional practices. This research then identified ways of capturing spirit of traditional culture using modern technology. A successful model of working with crafts people workshops in discussed. A case is made for the use of narrative enquiry and oral history to record Paiwanese understanding. These understandings were translated into a design outcome using a design method called narrative design. The success of this research suggests that such an approach is one model that can be used in design using new technologies and materials from the re-establishment method of traditional products. The understanding generated for regaining traditional craft knowledge is extended with the design of a tea set that draws on this traditional knowledge, narrative and culture. The tea set represents this knowledge for a global market. It is argued that the design process used can guide design that transforms the culture message and delivers it for a wide audience. This design concept process is a model that can be used to develop cultural products.

Taiwan's government will focus on investment in cultural and creative industries as one of the industries, developed one of the main directions of its development is the development of creative cultural park in this policy, the central and local governments are beginning to operate Cultural and Creative Industry. In Kaohsiung, Kaohsiung City Government Department of Cultural Affairs to use the second channel connecting the third ship of the old quayside warehouse to build the Pier 2 Art Center. Opened nearly a decade, now Pier 2 Art District has become an increasingly diverse field. Pier 2 Art Center from actual observations, the researchers believe that quantitative indicators of the shape the impression is only the creative culture of a small part of the park should take a more open mind, diversity of point of view and to observe the creative and cultural in addition to the economy outside of the park for the inherent meaning and value.

The Law for the Development of the Cultural and Creative Industries is passed by the Legislative Yuan on Feb 3, 2010 and implementated on August 30, 2010. It shows that the Taiwanese government is devoted into cultural and creative industries, and also to position cultural and creative industries in a significant place of culture policy. In the Law, there are 16 categories. Among them, the researcher thinks that the handicrafts industry, the digital content industry and the visual communication design industries are full of developmental potential. Therefore, this study will draw three cultural and creative industry projects form these industries as the focus of the analysis. This research applies the resource-based theory on three Taiwan's cultural and creative industry companies. The research interviews one case of each industry listed above. Through interviews and documents, the research attempts to understand those companies¡¦ internal resources, explore their core competencies, and further analyze of the competitive advantages and strategies. Several research questions are listed: what are the successful factors of three cases? What resources are available in their companies? What are their competitive strategies? The analysis will help to understand the development of Taiwan's cultural and creative enterprise and business. In addition, interviewees also provided suggestions for the current policy of Taiwan's cultural and creative industries. Finally, the researcher provides suggestions to the three cases, Taiwanese government on policy of Cultural and Creative Industries in Taiwan, also made efforts for the further studies.

The idea of developing cultural and creative industries has been putting forward by the government in recent years. As the result of regarding virtual channel and fashion flea market as a place to test market and well conditions to start an enterprise, there are more and more designers build their own manufacture's brand in the cultural and creative field. However, there are just a few brands can stand out from the crowd. This study was carried by case study and regarded 5 small-and-medium-sized enterprises in cultural and creative industries branding successfully as its sample. Use different dimensions to probe into the stage from case company¡¦s brand building, brand positioning to brand¡¦s marketing strategies drafting. Through the categorization and contextualization analysis establish a theoretical framework. According to this study, the power of self-actualization and dissatisfaction of industry conditions push designers to build a brand as a medium of living, creating and self-expression. To the small-and-medium-sized brands that own mostly 1 or 2 designers, the look of a brand is the style the designers have. Brand¡¦s designers use their prior knowledge and experiences to form the brand¡¦s spirit with their frame of mind. The process of brand position is the pattern or works added company¡¦s competitive advantages, launched differential products and consumed by customers. On the other hand, brand owners hook up with consumers by exhibition, blog or each channel to pass product concept and brand spirit to. Consumers will combine and assimilate the perception of the brand while they buying and the meaning of the brand they realize while interacting with brand owners, then feedback to the brand owners. Such a feedback mechanism can help brand owners adjust the way they do to meet their ideal brand position with consumers¡¦ perception. Furthermore, case companies set a niche market position into market. In the virtuous circle, brand community management lead companies and brand close to their customers and build an inseparable relationship.

The main goal of this thesis is to evaluate and compare the efficiency of cultural and creative industries in Latin America and Venezuela in particular, hence its growing potential. The introductory part refers to the geographic and socio-economic definition of Venezuela, on which the work is more focused. The following part is a quick overview of the theory of cultural and creative industries, so that this concept could be subsequently adapted to the Latin American region. The next section is devoted to selected examples of countries and projects that significantly transformed the socio-cultural environment of the country. The second half of the thesis focuses on the cultural and creative industries in Venezuela. The various categories of the sector and cultural institutions that are dedicated to them or shielded are specified. The last two chapters of practical part focus on the current situation in the phenomenon of cultural and creative industries and events, which can currently change the whole functioning of the Venezuelan state.

The dissertation is an attempt to culturologically view the development of cultural policy in the context of the knowledge society and the related socio-economic processes of the knowledge and creative economy that are part of the new economy. The new economy is a term that encompasses specific types of economies whose common denominator is a combination of a new form of organization and decision-making processes of economic subjects with links to technological and non-technological innovation as well as the development of human resources. The aim of the thesis is to analyze the development of cultural and creative industries concepts and their application to cultural policy and other related public policies. At the same time, the aim of this work is a case study on the current situation in the development of the concepts of cultural and creative industries in relation to the analyzed concepts and their reflection in public policies in Slovakia.

The cultural and creative industries worldwide have seen an enormous increase in revenue and growth, and the prosperous development of these industries in Thailand presents a particularly successful case. Government policy interventions have introduced Thai creative products to the international market, and support from the private sector has bolstered Thailand’s cultural and creative industries, particularly through the multiple coups that Thailand has faced. This study therefore examined Thailand’s cultural and creative industries from the perspectives of politics and private society, probing into relevant policies between 1997 and 2017. Finally, because Thailand’s film industry enjoys a great global reputation, this industry was selected as a case to examine the specific measures of the Thai public and private sectors facilitating its development.

Porter¡¦s (1990) Four Stages of National Competitive Development are: factor-driven, investment-driven, innovation-driven and wealth-driven. At last stage, the drivers of social development come from the desire to upgrade living quality and pursue the goal of entertainment, leisure, enjoyment, and beauty. In the background, every country begins to emphasize on knowledge economics and creative economics. As well as Taiwan, government brings up two tern plan of culture and creative industries. The first tern stresses on promoting artistic appreciation to enrich the facilities of industrial park. Next, the second tern accents on combinations from different business sectors/fields and culture clusters. Five greatest of culture and creative parks always at the stage of drawing land ownership and building hardware infrastructures in five years. Hwa Shun Cultural and Creative Industrial Park is set on the golden area in Taipei and finally bidden the fifteen-year ownership of ROT (Refurbish-Operate-Transfer) by Taiwan Culture and Creative Company and introduced to the business model. Be the first mover of culture an d creative parks in Taiwan, the experiences of Hwa Shun is definitely important no matter It would success or lose. In this essay, the writer trys to modify Porter¡¦s diamond model(1996,1999) according to the characteristic of culture and creative industries, and pick the Beijing 798 Artistic Village, and Korea Paju Bookcity plus Heiry Artistic Village as the success case to discuss the essential elements of culture and creative clusters. Finally benchmarks the key points to Hwa Shun, and discusses the role of government and the problem of promoting culture and creative industrials in Taiwan. Above all, this essay indicates the interaction between the core of creation and environment, plus the good corporate situation between creative workers and A-style talent are the most important cluster factors. To go a step further, it needs lot of fund and infrastructures to become a industry, in the meantime, how to set up a good evaluated system to inject fund into culture and creative industries through accumulated knowledge is a key point. Otherwise, mass media is other culture and creative industries¡¦ channel, it always has a long and complicated supply chain, and an integrated supply chain can reduce cost effectively and encourage knowledge circulation through cluster effect, therefore be the one that government can nurture strenuously. In demand part, this essay based on three factors of artistic appreciation including culture participation, culture opportunity, and culture consumption to analysis consumers, according to this view, mass population are easier possess capacity to be engaged in culture campaign and really result in consumption. A proper feedback system and platform would benefit cash and resources inflow and support more creative works in experiment step keep creating, and furthermore provide excellent products by means of A-style peoples¡¦ cooperation, finally gain the mass population¡¦s identification and increase culture participation and culture consumption.

政府為促進文化創意產業之發展，在租稅政策上，依受惠對象之不同，可分為對文化創意產業本身的租稅優惠以及對投資文化創意產業之企業的租稅優惠，兩者皆足以影響企業投資文化創意產業的意願。本研究將焦點放在探討政府對投資文化創意產業之企業所提供的租稅優惠與企業投資文化創意產業意願間之關係，以作為政府是否提供投資文化創意產業之企業更多租稅優惠的參考。 本研究以發放問卷的方式，詢問692家於台灣證券交易所上市之公司有關投資文化創意產業意願的問題，共回收69份有效問卷。研究結果顯示，由「投資抵減」與「投資損失準備」所構成之稅制群，投資意願顯著高於「無任何租稅優惠」自成一群的稅制群。表示提供投資文化創意產業之企業投資抵減與投資損失準備的租稅優惠確能增加企業投資文化創意產業之意願，惟其仍未使受訪公司的投資意願由不願意轉成願意。在十三類的文化創意產業中，受訪公司僅對「數位休閒娛樂產業」有較高的投資意願。在十六類的受訪公司所屬產業中，「橡膠業」、「汽車業」、「百貨業」等三種產業對文化創意產業有較高的投資意願。 / In order to bring an advance in the cultural & creative industries, the government grants preferential tax treatment to the cultural & creative industries and enterprises investing in these industries. Both of these preferential tax treatments will influence investment inclination of enterprises to the cultural & creative industries. The goal of this research is to investigate the relation between the preferential tax treatment offered to enterprises investing in the cultural & creative industries and investment inclination of these enterprises to the cultural & creative industries, in order to offer some useful reference to the government for promoting the cultural & creative industries. The population of this research is 692 companies listed on Taiwan Stock Exchange Corporation (TSEC), and the sample is the 69 companies which send back the questionnaire. The result shows that there is significantly higher investment inclination in the group of “tax credits“ and “tax deductions for loss from investment“ than the group of “non-preferential tax treatment.” Namely offering preferential tax treatment to enterprises investing in the cultural & creative industries can significantly increase investment inclination of these enterprises, but it still can not change investment inclination of these enterprises dramatically, from unwilling to willing. Among 13 categories of the cultural & creative industries, the sample companies only have significantly higher investment inclination to “the digital recreation amusement industry.” The sample companies are divided into 16 categories of industries. Among these categories of industries, “the rubber industry,” ”the automobile industry,” and “the wholesale & retail industry” have significantly higher investment inclination to the cultural & creative industries.