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.

Thesis (M.A.)--Rutgers University, 2008. / "Graduate Program in Psychology." Includes bibliographical references (p. 28-39).

Much of what we know about workplace inequality, we know from studies on work in industrial and information-based economies. There has been less interrogation into how processes of inequality are formed and sustained in creative work and cultural industries. Given the growing trend away from traditional work rooted in formal organizations and toward cultural industries, how can we understand the relationship between work and inequality in non-standard, creative labour? To answer this question I explore the world of stand-up comedy by drawing on 25 semi-structured interviews with stand-up comedians and over one hundred hours of observational data. My analysis reveals that comedy work is organized around the image of an ‘ideal worker,’ an ideal maintained by intersubjective mechanisms of rule: diversity logics, compulsory networking, and creative license. The existence of the ‘ideal worker’ influences how, when, and under what conditions work happens in stand-up comedy for those who fall outside of that ideal. Specifically, workers’ social locations shape how they self-manage, marginalized workers must self-regulate in relation to the work (like everyone else) and the ‘ideal worker.’ Finally, the analysis reveals that workers in stand-up comedy use various strategies to negotiate consent and resistance in their work arrangements in terms of where and under what circumstances they work. Overall, this research highlights how the micro politics of capital are informed by larger power relations that sustain inequality in cultural work settings. Specifically, this work demonstrates the need to address how ‘ideal workers’ are maintained in cultural work, as well as how social location shapes processes of self-management and strategic engagement within unequal work environments. / Dissertation / Doctor of Social Science

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.

ABSTRACT Today our economic competition faced great challenges because of international economic reform; meanwhile .Knowledge-based Economy. has already become a major trend in this age. Thus why our economies scrambling to catch on to the strategy of value added growth by combining high tech service and cultural creative contents. The way to get the master key to this is to get the right creative people to work on innovative projects and produce highly value added products. According to Florida.s theory¡]2003¡^¡uThe demographics show it is critically linked with the location where can attract and keep the talents. Provide for the needs of new Creativity that requires 3T: Talents in living in Tolerant and Technically supportive Clusters¡v. Set up a Cultural and Creative Center is one of the major goal of . Challenge 2008¡GThe National Development Plan in Taiwan. ; and currently the most important issue is the adaptive reuse of five deserted industrial wineries in five cities . This thesis emphasized mainly on the operation strategies of one case study¡GGranville Island District in Vancouver, Canada. The reason is: Granville Island District is one of the most successful projects in North America. The planning and designing objectives were to reuse the industrial and warehouse buildings by changing them into multi-use structures. The plan also focused on maintaining the industrial feel of the island while introducing a range of cultural, educational, commercial and some industrial uses. The research discovered from Granville Island District.s lessons that Granville Island has succeeded, not only by focusing on a coherent master plan or a theme park like design integrity, but through maintaining its flexibility as it has grown institutions, business and places from within ¡Ðserving a broader and broader set of users. The Granville Island District.s success story can be used as a best example of Hua Shan Cultural and Creative Industry Center.s future development plan.

Chinese firms in the cultural and creative industry (CCI) are substantially entering the global business landscape. But research on the motivation of Chinese enterprises’ internationalization mostly remains in the traditional industries (e.g., manufacturing and mining). Therefore, this thesis aims to explore the determinants of the internationalization of firms in China’s CCI. The empirical analysis is based on a qualitative case study of ByteDance (China’s CCI “national champion” firm and TikTok’s parent firm) via interviews and second-hand data. Our findings suggest that firm-specific advantage is an essential driver for Chinese firms in CCI to engage in internationalization. Our findings also reveal that top managers’ national sentiment promotes the internationalization of CCI enterprises in China in order to enhance cultural exports, and government encouragement of cultural exports motivates thesefirms to internationalize. However, we identify that from the host-government perspective, cultural exports can turn into a liability, which creates barriers to and hinders Chinese CCI firms’ internationalization. Our findings provide fresh insights into the determinants of the internationalization of firms in China’s CCI, which contribute to the literature on internationalization, particularly on emerging-market firms’ internationalization.

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.

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.

Develops the cultural and creative industry is the main policy of the Taiwan government in recent years. Entrepreneurial as cultural creative industry in different stages, what an opportunity, resources and entrepreneurial team to influence an entrepreneurial activity, this is a main topic discussing in this research. This research topic¡¦s is focus on an opportunities, resources and entrepreneurial team. To perform a new business that should existence the natures both of dynamic and complexity. Furthermore, to had sort out three issues within internal factors, this expect to awareness what the differences between with opportunity, resources and entrepreneurial team through this research as well as tries to understand the entrepreneurial team how to respond it when opportunity and resources change in the different entrepreneurial processes. And other, this research had been analyzed an entrepreneurial team how to influence by these factors. The results obtain from research that social culture, industrial environment and technological progress still influencing in the first stage of entrepreneurial processes obviously. Under the social culture's vicissitude, people's life accomplishment had been promoted; the most of people are pursue to balancing between the life and culture. Thus, this makes the industrial environment have to the change, in other, the traditional creators should out of box as well, and establish a model of culture creativity. Entrepreneurial processes within gestation stage, it had emphasis the entrepreneurial team's composition and characteristic. Prior knowledge and shared values have influence obviously in this stage. It can be explain that entrepreneurial team's composition has complementary or similar in the prior knowledge. Let the members of entrepreneurial team no matter can complement one another in the communication or the specialty. Because they can be share their values with other into the team members, to conduct and policy-making standard. It should reduce the nonessential conflict. Finally, entrepreneurial processes within infancy stage that can explanation as the competitive advantages of entrepreneur from intangible assets. Intangible assets are from philosophy, annotation technique and style of creator. In this way, creator's intangible asset is not the tangible asset or the organizational capability can substitute.

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.