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Showing 41 to 49 of 49 (0.062 seconds)Spelling suggestions: "subject:"3cultural anda creative"" "subject:"3cultural ando creative""
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Upphöjd, Hyllad, ifrågasatt : En studie av idealiserade föreställningar om kulturentreprenören / Elevated, Praised, Questioned : An examination of idealized images about the cultural entrepreneurLindström, Malin January 2014 (has links)
The aim of this paper is to investigate dominant beliefs and approaches to the "cultural entrepreneur" both within a public context, and also among business owners within the cultural field. What happens when ideas and attitudes in the public sector towards culture driven businesses meets the perspective of individual cultural entrepreneurs? This study is based on analysis of political documents about the cultural and creative industries (CCI) from the European union, national level and regional level. Interviews with six business owners in the field of culture and one representative of the Swedish region with the fictive name “Alma” has been conducted. The research is also based on participant observation in public seminars and conferences about the creative industries in Sweden. The paper mainly uses Queer phenomenological theory (Sara Ahmed) to analyze the informants life worlds and how they are oriented in the same. The study is also based on poststructuralist discourse analysis and the logics approach, developed by Jason Glynos and David Howarth when analyzing political documents. This research shows there is a complex and contradictory approach towards the CCI and the cultural entrepreneur based on idealized images about the artist and the businessman, idealized images thats been existing in the discourses over a long time and which created deep structures. The cultural entrepreneurs are being described as the hope and future of the economy and welfare in Europe and its regions and at the same time as something very costly which no one really have faith in. This dual approach is a contributing factor to change being prevented.
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"We need arts as much as we need food. Our responsibility is for that to be possible" : insights from Scottish cultural leaders on the changing landscape of their workWebb, Aleksandra January 2014 (has links)
The analysis of cultural policy in the last decade suggests that creativity and the arts in general are extensively used in political agendas as means of capitalizing on the forecasted socio-economic potential of creative/artistic activities (e.g. Flew, 2005; Garnham, 2005; Hartley, 2005; Hesmondhalgh, 2007). Although some critical studies have highlighted instrumentalism, short-sidedness and practice/practitioners’ averse policy-making and intervention planning (Belfiore, 2004, 2009; Caust, 2003; Oakley, 2009; Newman, 2013), so far only very few studies have exposed the experiences and voices of particular groups of creative workers in the different national (country-specific) contexts to support this criticism. There has been a significant lack of studies that aim to understand how creative workers experience and cope with the changing policy context in their work. In particular, the voice of non-artists has rarely been considered when seeking a better understanding of the sector’s dynamics. This thesis explored the Scottish cultural sector through the eyes of cultural leaders. The study was carried out during a time of significant transformation to the funding structure, processes and relationships in the sector, catalysed by the establishment of a new funding agency (the funder). It focuses on cultural leaders’ understandings of an increasingly politicised cultural landscape that constitutes the context of their work. The thesis also looks at the influence of these understandings on the leaders’ role responsibilities, as well as the essence and the sustainability of the cultural sector. The empirical work for the thesis followed a qualitative research approach and focused on 21 semi-structured interviews with cultural leaders and industry experts based in Scotland. These individuals were purposefully chosen as a group of stakeholders who are able to engage in discussions about the cultural sector in the context of recent changes in the governance and financial subsidy of Scottish (publically funded) arts. The research findings illustrated the importance of leaders’ values and beliefs, which reflect the purpose of their work and shape their enactments in the sector. In particular, the intrinsic motivation, artistic ambitions, social and civic responsibilities of leaders emerged as crucial qualities of their work roles. The findings revealed a discrepancy between these artistic and civic concerns of cultural leaders and the socio-economic expectations of the funder, which contributed to a great deal of unproductive ('inorganic') tensions for which leaders had to find coping mechanisms. Bourdieu’s (1977, 1992) theoretical concepts were used as a starting point in understanding the cultural sector as a cultural field, and cultural leaders as actors enacting their work-related practices in the evolving socio-political and economic system of cultural production. However, upon further analysis of the data, the notions of a ‘worldview’ and ‘stewardship’ emerged and were used to better explain the greater complexity of work in today’s cultural sector. This thesis thus builds upon Bourdieu’s concept of ‘field’ and ‘artistic logic’ and explains the changing cultural sector as a holistic cultural field where cultural leaders enact their stewardship-like work responsibilities from within a strong and dynamic artistic worldview.
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文化創意產業經營策略行銷分析-以F公司為例 / Strategic Marketing Analysis for Cultural and Creative Industry: A Case Study of F Company洪子琪, Hung, Tzu Chi Unknown Date (has links)
網際網路的發達，促成環境快速的變遷，單一化的企業經營型態，已無法在變動快速的商業生態圈中永續生存，而各國為了振新國內產業發展，與提升經濟水準，推出國家發展經濟政策，而在過去以代工為主的亞洲國家，為求轉型發展，文化創意產業，皆為亞洲各國近十多年來不可或缺的國家發展政策之一，以台灣為例，在2002年行政院即提出《挑戰2008：國家發展重點計畫》，「文化創意產業發展計畫」則為其發展計畫之一，台灣文化創意產業發展至今，文化創意結合青年創業，不斷出現更加創新的商業模式，與文創產業聚落和文創園區。
本研究以F公司為研究主題，F公司以活化空間改造，不動產租賃起家，但公司定位不以房東自居，以打造資源多樣性的平台為目的，提供微型創業者合適空間可發揮其才能。初階段平台打造過程中，F公司累積足夠各面向文化創意資源，進而成功轉型，以空間改造為核心，並發展文創聚落規劃設計與經營輔導，給予台灣更多老舊的建築，賦予新生命，在地創生，製造就業機會，吸引青年返鄉，扶植社會企業，讓人與人之間的美好，透過空間活化與街區的重新改造，而更加拉近關係，實現公司成立的主要訴求「創造幸福的小氛圍」。
本研究依個案研究法，深入訪談了解F公司創業初期至現今業務轉型的歷程，探討其經營困難因素與解決之道，本研究以商業模式圖分析其獲利模式，並以邱志聖(2014)策略行銷分析架構來探討其成效，其四種成本分別為：外顯單位效益成本、資訊搜尋成本、道德危機成本、專屬陷入成本。
研究發現F公司在現階段的業務主軸重心轉變為專案式業務，基石來自於初期的成功聚落典範標竿與將初期的目標客群文創業者，整合為關鍵合作夥伴，累積文創資源，形成資源庫，讓F公司有足夠實力可勝任各式在地化的專案街區活化或社區營造規劃業務。
研究結果認為，F公司在對應客戶的四個成本都具有相當大的優勢，以4C角度歸納出關鍵成功因素，並建議增加自媒體與年度節慶活動慶典持續舉辦的行銷宣傳，提高直接消費者粉絲數量，為微型創業者增加效益，更加降低承租人的C1，並且也將文創訊息與活動主動散播給更多一般直接消費者，而降低一般消費者的C2。 / In the past, the economic growth of Taiwan counts on exportation and OEM business, but this world is changing too fast when the internet comes into everyone’s life. The business model is also changing rapidly, too. Last 15 years, Most of Asia countries want to improve and invest culture and creative industry. In 2002 the Taiwan government decided to reform the system to promote and develop the cultural and creative industry.
The development of "cultural and creative industry" was considered as one of the important tasks of Taiwan’s Challenge 2008 Six-Year National Development Plan established by Executive Yuan. And now, we can see many different types of business models in culture and creative industry in Taiwan. The Culture Creative Industry Park and Culture Creative Cluster with micro yang entrepreneurs are good examples.
This study mainly focuses on the F company in culture and creative industry in Taichung. F company started up from refurbishing unused space and rent it to micro entrepreneurs. F company creates not only spaces but also a happy and creative platform where each entrepreneur can share the resource and ideas. It is exactly the mission F company wants to achieve.
In this case study, F company is analyzed by "Business Model Canvas" and "Strategic Marketing 4C Analysis". It concludes F company have great 4C advantage for their clients. This study also suggests F company may consider expanding their "We-Media" and running regularly anniversary campaign to approach more potential clients and also enhance current client’s satisfaction and royalty. Therefore, C1 will be lower for the clients and C2 also will be lower for end-customers.
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KULTURNÍ A KREATIVNÍ PRŮMYSLY V ZEMÍCH VISEGRÁDSKÉ SKUPINY / CULTURAL AND CREATIVE INDUSTRIES IN THE VISEGRAD GROUPHynková, Jana January 2013 (has links)
This thesis analyzes the state support of the cultural and creative industries in selected post-communist countries, now the Visegrad Group. The first part is devoted to the impact of the totalitarian regime on culture and cultural policy, economic transformation and current economic situation of individual countries with emphasis on chracteristics of the cultural and creative industries concept. The main part of the thesis deals with the issues of culture policy perspective of each state including the opportunities available under EU funds. The final section presents the summary of a comparative analysis along with pros and cons of the models in all countries.
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論《文化創意產業發展法》與服務貿易總協定之互動關係 / Analysis on the legal interaction between the cultural and creative industries development act and general agreement on trade in services (GATS) – Based on the measures of subsidies and tax preferences黃玉如 Unknown Date (has links)
文化是一種民族精神、社會價值、生命哲學與生活方式的體現，而創意是人類文化定位的重要成份，而以各式各樣的形式表現，兩者皆能透過產業流程與全球分銷去複製、推廣。文創產業是「那些以無形、文化為本質的內容，經過創造、生產與商品化結合的產業」，因此文創產業不僅涉及文化與創意，也包含由創意衍生之「文化商品及服務」（cultural goods and services）的經濟價值與商業運作。
我國為使發展文創產業之政策制度在施行上於法有據，經濟部乃多次召集會議邀請各部會及學者專家討論研擬《文化創意產業發展法》（以下簡稱《文創法》），並於92年9月24日函報行政院審核修訂，經過多年的推動與研議，該法終於2010年1月7日三讀通過，完成立法程序，並於2月3日以華總一義字第09900022451號總統令制定公布，相關子法亦陸續公布施行。
然而《文創法》內立意甚佳的產業措施，因台灣加入世界貿易組織(World Trade Organization, WTO)而不得不受到WTO相關協定的規範。作為掃除關稅與非關稅貿易障礙、確保自由貿易之WTO，經由多回合的貿易談判逐步開放市場，並藉由對關稅與補貼之約束以及服務業市場准入、國民待遇之承諾等建立市場開放之可預測性。文化商品與服務在其規範下並無例外，同樣必須接受WTO上述原則，即最惠國待遇、國民待遇與市場准入等義務的檢驗。鑑於《文化創意產業發展法》所具備產業扶植之本質，及其涵蓋之16種文化創意產業多屬服務部門，本文遂將檢驗重點聚焦在該法之獎補助及租稅優惠措施與GATS的互動關係上，尤其是《文創法》在服務業補貼暫行定義、第17條國民待遇、國內規章第6.1條與第23.3條非違反協定控訴之適法性分析，以作為日後執法或修正之參考。
但值得注意的是，相對於WTO以降低貿易壁壘，促進貿易自由化為職志，文化商品與服務之雙重特質在WTO無法獲得特殊之待遇或保障，2005年10月UNESCO通過之《保障及促進文化表現多樣性公約》(以下簡稱《文化多樣性公約》)卻主張國家有促進與保護文化表現多樣性之權利，並具有採行其認為適當之政策與措施達成該目的之主權。若《文創法》有其適用《文化多樣性公約》之可能，則我國在採行諸多文創產業推展措施卻有違WTO內括協定所涉及之貿易原則或義務時，是否得根據《文化多樣性公約》正當化該等爭議措施? 當《文化多樣性公約》與WTO內括協定產生規範衝突時，兩者之適用與解釋是否有互補或調和之可能? 在文化產業與貿易活動上，《文化多樣性公約》若能正當化違反WTO規範之政策措施，則我國《文創法》所擬定之政策措施在GATS框架下之解釋與義務即有所不同。因此在檢驗《文創法》與GATS之互動關係前，本文將先簡單介紹《文化多樣性公約》之優劣特性，及公約與WTO規範競合之解決與適用結果。
關鍵字：文化創意產業發展法、世界貿易組織、文化多樣性公約、國民待遇、非違反協定控訴 / Culture is the embodiment of a national spirit, social values, people’s worldview and life style, while creativity in all its manifestations presents an essential constitution of human culture. By way of industrialization and global distribution, the two are allowed to copy repeatedly and promote worldwide. Cultural and creative industries are “those industries that combine the creation, production and commercialization of contents that are intangible and cultural in nature”, which involve not only abstract culture and creativities but also material economic value and commercial operations of cultural goods and services derived from human ingenuity and originality.
To make sure the policy and measures implemented in Taiwan to promote and flourish cultural and creative industries are legally based, the Ministry of Economic Affairs had invited the relevant ministries, scholars and experts in the field to deliberate and prepare the Cultural and Creative Industry Development Act (hereinafter referred to as "the Act") since mid-‘90s, and finally submitted the draft Act to the Executive Yuan for review and approval on September 24, 2003. After years of promotion and negotiations, the Act was passed its third reading in the Legislative Yuan on January 7, 2010 and promulgated on February 3 by Presidential Decree Hwa Zong Yi Zi No. 09900022451. The related rules and regulations were also proclaimed in effect one after another ever since.
However, as a WTO (World Trade Organization) member, it is our duty to keep the deliberately constructed measures set in the Act in line with the WTO-related disciplines. WTO, acting as an international forum calling for free trade, vows to eliminate tariff and non-tariff trade barriers, facilitate further market opening by multiple rounds of trade negotiations, and increase the predictability of market dynamics through the establishment of binding tariff rates, subsidy disciplines, specific commitments and various requirements such as most-favored-nation treatment, market access and national treatment. The same principles and obligations mentioned above apply to goods and services with culture in nature equally with no exception. In this regard, the paper will examine how the Cultural and Creative Industry Development Act, especially its subsidy and tax preference measures legally interact with the articles related including Article 15 Subsidy, Article 17 National Treatment, Article 6.1 Domestic Regulation and Article 23.3 Non-violation complaints (in view of the measures adopted in the Act are industry-supportive oriented and most industries categorized in the same act are belonging to service sector) in General Agreement on Trade in Services (GATS) for reference of law enforcement and further amendments in the future.
But it is worth noting that, while WTO (the organization and covered agreements) are dedicated to exterminate trade barriers, promote trade liberalization and ignore cultural goods and services have both an economic and a cultural nature, the UNESCO Convention on the Protection and Promotion of the Cultural Expressions (hereinafter referred to “the UNESCO Convention”) adopted by the General Conference of the United Nations Education, Scientific and Cultural Organization (UNESC) on October 20, 2005 recognizes member countries have their sovereign right to formulate and implement their cultural policies and to adopt measures to protect and promote the diversity of cultural expressions when necessary. If the rules and principles of the UNESCO Convention apply to the Cultural and Creative Industry Development Act, then is it possible for the Convention to justify the measures we adopt to nourish the cultural industries, but somehow in violation of WTO principles and obligations? And if the answer is “Yes”, all the interpretation and obligations derived from the Act will not be the same as those covered by GATS only. Therefore, the potential conflicts and the harmonization between the UNESCO Convention and WTO covered agreements (GATS in particular) will be explored before the legal relationship between the Act and GATS is examined.
Keywords: Cultural and Creative Industry Development Act, World Trade Organization, UNESCO Convention on the Protection and Promotion of the Cultural Expressions, National Treatment, Domestic Regulation, Non-violation complaints
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商管產學合作之關鍵成功因素與績效評估–以文化創意產業為例 / Key Success Factors and Performance Evaluation of Managerial industry-university cooperation – A Study of Cultural and Creative Industries李天瑟, Lee,tien se Unknown Date (has links)
自金融風暴之後，不論是政府或是企業，皆意識到產業結構轉型之重要與迫切性，而產學合作於其中扮演不可或缺之角色。事實上，政府推動產學合作多年，過去產學合作之投入與產出、衍生效益不符，經探究，發現主要原因在於大學研發成果與市場端中間存有缺口（Gap），研究與技術對企業來說不具誘因，中間需要商管知識協助技術之商品化；此外，隨著產業結構之轉型，很大契機來自於商業模式之創新。
然而，過去學術界與實務業皆鮮少談論商管領域之產學合作，成功案例更是少之又少。商管知識相對無形，要執行產學合作勢必有所困難，但是，一旦成功將對企業甚至是社會作出貢獻。
是以，本研究透過文獻回顧探討促成產業界與學術界成功合作之主要因素，以及影響產學合作績效之重要要素，並藉由個案研究組織之分析提出關於商管領域產學合作之關鍵成功要素，作為未來執行商管產學合作之參考。此外，本研究更以關鍵成功因素為基礎，由現行產學合作相關績效評估模式中選取適合之模式，以商管學者於文化創意產業之產學合作為例，探究合作過程中商管學者應有之功能與角色，據以說明績效評估構面與關鍵績效指標應如何訂定，希冀架構一系統化之商管領域產學合作之績效評估模式，驅動更多之商管學者投入產學合作，為台灣產業之突破與創新做出貢獻。 / After the financial crisis，both government and enterprises are aware of the importance and urgency of industry structure transformation, and the industry-university collaboration in which plays essential roles. In fact, the government has promoted industry-university collaboration for many years. However, there is a discrepancy in the inputs and outputs of industry-university collaboration. From related researches’, the main problem is the gap between universities’ R & D results and market side. In other words, enterprises have no incentives to buy universities’ research results. Indeed, business and management knowledge can minimum the gap. In addition, with the transformation of industry structure, there’s a huge need for innovation of business model.
However, academic and industry rarely talk about the managerial industry-university collaboration. And there are few success cases about it. In fact, managerial knowledge is more invisible than technology. It is difficult to implement managerial industry-university collaboration cases. But, if it succeeds, it will make great contribution to enterprise and industry.
Therefore, this research is to explore the key success factors and performance evaluation of industry-university collaboration from literatures review, and to establish the key success factors and performance evaluation of managerial industry-university collaboration by case study. Hope of the research is to provide some guidance for related parties. Moreover, this research takes the key success factors of managerial industry-university collaboration as a basis of building up performance evaluation. Because of a lack of industry-university collaboration in cultural and creative industries, the research explores managerial scholars’ function and role in it, and then designs the structure and index of performance evaluation. The main object of the research is to systematize performance evaluation for managerial scholars in implementing managerial industry-university collaboration cases. Without right performance evaluation, managerial scholars have no incentives to help industry improve and solve practical problems.
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Career management in the creative and cultural industries : an exploratory study of individual practices and strategiesMillar, Fiona Alison January 2016 (has links)
This study presents insights on career management in the creative and cultural industries in Scotland with detailed exploration into practices and strategies employed by cultural workers. Following a phenomenological approach, the study has used subjective data of individual career experiences and interpreted them into objective patterns of career management. Using qualitative research interviews and thematic analysis, the doctoral study explored the career management experiences of thirty six cultural workers and identified particular strategies adopted in the self-management of precarious and unpredictable careers. Employment in the creative and cultural industries is with precarious which constitutes a specific environment for career management and career progression. Not enough is known about the ways in which cultural workers manage their careers in these circumstances. The aim of this study was to understand the realities of contemporary career management in the creative and cultural industries and to identify particular practices and strategies in which creative careers might be managed. Beyond the scholars in this field, this research is of interest to cultural workers, policy makers in the creative and cultural industries more broadly and higher education institutions preparing graduates for work in the creative and cultural industries. The empirical evidence gathered can better inform cultural workers of effective career management strategies and propose policy interventions that would facilitate effective career management and career management education. Key findings focus on the use of online / social media within creative careers and how such activity takes place; the development of a new harmony between art and economic logics and the application of development based career strategies in creative careers, with cultural workers being more managerial than they even recognise themselves. The findings from this study offers confirmation to what is already known about careers in the creative and cultural industries, greater depth and detail to what is already known and extend understanding about the relationship disconnect between individual career Career Management in the Creative and Cultural Industries Abstract management strategies and the policies designed to support cultural workers – policies which focus on growth and development of the industry but not those individuals who make up the industry. Exploration of the phenomenon of career management in the creative and cultural industries requires further research, which could include: alternative methodologies to elicit perceptions based on the findings from this study, deeper exploration into both the difference in career management within the creative and cultural industries and the emerging relationship between art and economic logic.
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Låtskrivare = Entreprenör? : En kvalitativ studie om likheter mellan föreställningar om låtskrivare och entreprenörer / Songwriter = Entrepreneur? : A qualitative study of similarities between preconceptionsof songwriters and entrepreneursSundelin, Oscar January 2018 (has links)
The purpose of the study is to examine similarities between the role as a songwriter with the role as an entrepreneur, as well as the conceptions about working with songwriting. To examine this three questions was asked: What similarities are there between the role as a songwriter and the role as an entrepreneur? What characteristics are described as important to succeed as a songwriter compared to those of an entrepreneur? What conceptions are there about working with songwriting? As a foundation for the thesis the history of the music industry is depicted in its own chapter with focus on the sales of music from the 15th century until today. The chapter describes how the music industry for a long time used sheet music as the main way to distribute new music. In the end of the 19th century the record industry started to emerge with the development of record players. During the 20th century the industry went through a lot of changes where new technology like the radio and the TV became important channels to reach a bigger audience. In the beginning of the 21st century the record sales plummeted as the music market became more and more dominated by different streaming services. The thesis empirical data is based on eight interviews, including a group interview, conducted in Los Angeles with four Swedish and seven American informants. It is also based on a forum thread from a Swedish music forum on the internet. The results from the interviews are first described in an overview and then divided into three categories; aspiring songwriters, songwriters in the music industry and informants working with songwriters. The results from the interviews shows that a songwriter should be a good person to collaborate with, be good at establishing important contacts in the music industry, and pay attention the administrative work of accounting, contracts and agreements. From the forum thread of the music forum disappointment is expressed about how DJ’s do not single handedly write and produce all the music they are attributed to in the media. The analysis shows that professional songwriters have much in common with entrepreneurs because they both need to take risks, be creative, and start business. The similarities between the conceptions of what is required to succeed as a professional songwriter with what it takes to succeed as an entrepreneur includes having a good idea, having a supportive environment as well as being involved in marketing, sales and administration. Furthermore, the analysis shows that the work of songwriting is often glorified or overlooked, which creates misleading representations of what the work of a songwriter actually consists of.
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Black Food Trucks Matter: A Qualitative Study Examining The (Mis)Representation, Underestimation, and Contribution of Black Entrepreneurs In The Food Truck IndustryAriel D Smith (14223191) 11 August 2023 (has links)
<p>Food trucks have become increasingly popular over the last decade following the Great Recession of 2008. Scholars have begun to study the food truck phenomenon, its future projected trajectory, and even positioning it within social justice discourse along cultural lines; however, scholarship has yet to address the participation of Black entrepreneurs in the food truck industry.</p>
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<p>The objective of this dissertation is to expand the perception of Black food entrepreneurs within the food truck industry by interrogating how Black food truck owners are misrepresented, under analyzed, and underestimated. Using a series of interdisciplinary qualitative methods including introspective analysis, thematic coding analysis, and case studies, I approach this objective by addressing three questions. First, I analyze movies and television to understand where Black-owned food trucks are represented in popular culture and how they are depicted. In doing so, we come to understand that Black business representation, specifically Black food truck representation consistently falls victim to negative stereotypes. These stereotypes can influence the extent to which Black food truck owners are taken seriously and seen as legitimate business leaders in their community. Second, I interview 16 Black food truck entrepreneurs to understand why the mobile food industry appealed to them and how it has become a platform for them to explore other opportunities. Finally, I review eight cities that have launched Black food truck festivals and parks within the last 6 years to gain an understanding of the collective power wielded by Black food truck owners and its impact Black communities. Moreover, this dissertation challenges the myth that collectivism does not exist among Black entrepreneurs and the Black community broadly.</p>
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