21世紀，在全球化浪潮之下，文化創意產業成為顯學。根據聯合國數據資料顯示，近十年來，文創產業產值平均年成長率為8.8%，在開發中國家平均年成長率更高達12%，歐洲與亞太各國政府無不視文創產業為新金源或翻身的絕佳機會，文化創意產業已成為未來20年全球發展的主力引擎！ 台灣自2002年正式將文化創意產業視為國家發展級重點產業，但近十年產值成長率卻始終落後各國平均，尋找台灣發展文創產業發展的方向，將是台灣經濟發展與產業轉型升級的關鍵力量。 在分析文創產業發展卓著的歐美國家相關文獻後發現，創意產業之所以成功，乃是利用長久積累的在地文化底蘊作為根基，加以創意應用至不同產業，本文遂以田野調查法與訪談法，針對西方主流國家，如義大利、荷蘭、奧地利以及亞洲日本與拉丁美洲的祕魯，參考相關文獻之後，進行實地訪查與調查分析，探討在地文化對一個國家的文創產業發展有何助力與影響。研究最終可得以下結論:這些國家運用其豐富特色的在地文化，且人民對自身文化的強烈認同感，將在地文化落實於日常生活之中，以在地文化作為核心，結合創意與科技，輔以商業模式的思維，形成一種文化產業或是創意產業的成功模式，國家再以鼓勵文創產業相關政策的助攻，進而造就出強有力的國際競爭力。 / The cultural and creative industries have become a significant part of the mainstream economy in the 21st century under the tide of globalization. According to UN data, the average annual growth rate of cultural and creative industries was 8.8% worldwide in the past decades, and as high as 12% in developing countries. Countries in Europe and the Asia Pacific region consider the cultural and creative industries to be a source for new funding as well as a great opportunity for revival. These industries have become a main engine pushing the global economic development forward in the next twenty years. Since 2002, Taiwan has recognized the cultural and creative industries to be one of the key industries to develop at national level. However, their growth rate over the past decade has always been lagging behind the average growth rate when compared to other countries. Identifying the direction of their development in Taiwan will be crucial for economic development as well as business upgrade and transformation. Analysis of relevant documentations concerning the development of the cultural and creative industries in Europe and the US shows that those countries have achieved significant success in these industries due to their solid foundation in local cultures and creativity. This paper therefore aims to discuss the influences and the impact which local cultures have on the cultural and creative industries in a given country, taking the examples of Italy, Netherlands, Austria, Japan and Peru. The surveys were conducted through field research and interviews. In addition, relevant documentation was analyzed. From the research concluded by this paper, the author found the reasons why these countries are successful in the cultural and creative industries can be summarized as follows: These countries have been utilizing their profound local cultures with their specific features, and their people’s strong cultural identity, to implement the local cultures into daily life. With their local cultures at the core, the cultural and creative industries have established a successful business model in which creativity and technology are combined together. Meanwhile, favorable policies from governments have added strong competitive advantages to their respective industries in the global market.

文化是延續性的,文化創意產業所需的創意,絕對不是從未出現 過的「斷層式創新」,而是一種反思式的「服務創新」,所謂的服務創 新,強調以顧客為中心,透過完整的顧客服務系統,以顧客新的消費 經驗塑造為核心,創造滿足顧客的新價值。不論是文化園區或是創意 園區,在經營管理上皆是希望藉由產業群聚的效應,進而提升產業的 發展與增加經濟效益。事實也證明,諸多在經營管理上的關鍵影響因 素,皆會因為經營管理者的作為而產生不同的發展結果。仿效英國推 動創意產業政策,利用老舊工業遺址再利用,發展成創意產業園區的 模式,臺灣在 2002 年推動文化創意產業發展計畫中,將五個臺灣菸 酒公賣局舊廠址及倉庫規劃為文化創意產業園區,並以政府自營及委 外的方式進行管理營運。在不同的設置目標定位及不同的經營管理組 織運作下,各園區的發展狀況也產生截然不同的結果。本研究以多重 個案研究解析文創園區經營的服務創新及商業模式構成要素,檢視文 創園區是否符合設置規劃的期望,達成提升創意產業的價值創造,進 而增加綜效。 / Culture is continuous. Creativities required by cultural and creative industries are not unprecedented "fault-type innovation," but a kind of reflective "service innovation." The service innovation emphasizes customer orientation. Through a complete customer service system, take shaping new consumer experience as the core and create a new value satisfying customers. Both management of cultural park and creative park aims at improving industrial development and increasing economic efficiency through the effect of industrial clustering. Facts have also proved that many key impacts on management tended to generate different developments due to managers’ practices. Learn from the British creative industry policy, reuse industrial heritage, and develop the model of a creative industrial park. Taiwan promoted cultural and creative industry development plan in 2002. Five industrial heritages of Taiwan Tobacco and Liquor Corporation were planned as cultural and creative industrial parks, and they were state-owned or outsourced for management. Under various target positioning, the development of each park led to different results. By studying multiple cases, the study analyzes key factors of cultural and creative parks’ management, such as services, innovation, and business model. It reviews whether cultural and creative parks meet the planned expectation, and value to creative industries, and improve the overall benefit.

The diploma thesis entitled "Experience Economy. Danish Approach to the Cultural and Creative Industries" is primary concerned with mega-trend of experience economy in Denmark. Main purpose of this work is to analyze and intruduce specific Danish approach to the Cultural and Creative Industries. Author used diachronic and synchronic analysis. First chapter characterizes historical economic development of Denmark's state. Following chapter is focused on historical background of experience economy and on Danish approach to this concept. Third chapter discusses influence of Danish socioeconomic environment on Danish approach to experience economy. In the next chapter author analyzes Danish government's role in the development of this concept. Last chapter shows economic impacts of experience economy concept in Denmark.

Limits and opportunities of the Czech cultural diplomacy are analyzed in this master thesis on three different levels. The first one is theoretical, speaking about cultural diplomacy of small states. Both insights from traditional field of international relations and other, less traditional fields are used. The second level is practical, analyzing the situation of Czech Republic as the active part of cultural diplomatic activities. The third part puts the Czech cultural diplomacy in a specific foreign environment, analyzing the limits and opportunities of the Czech cultural diplomacy in Sweden. The chapter presents Swedish cultural values, habits, infrastructure and financing, mentioning the actual position of Czech culture in Sweden. Last chapter seeks to prove, if cultural diplomacy of small states can be efficient, despite limited resources. An extensive survey was conducted, building on a long-lasting project of Czech cultural diplomacy in the Swedish town of Katrineholm.

This master's thesis deals with the valuation of cultural institutions. Its aim is to estimate the value of cultural contributory organization Hussite Museum in Tabor to 30 th June 2012 for the purpose of its founder, which is the Ministry of Culture of the Czech Republic, and then compare this value with a subsidy paid from the state budget. For this purpose the forecast of population of the Czech Republic and the Tabor region and the forecast of attendance of Hussite Museum in 2012 is made. The value of the organization is determined by the method of contingent valuation based on the questions related to WTP and WTA and supplemented by Victor S. Yocco method for measuring three factors of the hypothetical value. The paper aims to describe the issue of cultural institutions valuation as complex as possible, because this issue has not yet been comprehensively worked out and in the Czech environment it is not yet much explored area.

Seit mehr als zehn Jahren wird in Städten weltweit über die „Kreative Stadt“ debattiert. Doch können Städte Kreativität fördern? Aus einer stadtsoziologischen Perspektive wird zunächst gefragt, welche Möglichkeiten die Stadt zur Entfaltung von Kreativität bietet. Das Verhältnis von Kreativität und Stadt wird als eine Wechselwirkung konzipiert, bei der Städte besondere Gelegenheitsstrukturen und Möglichkeitsräume für die Entstehung und Bewertung von Kreativität darstellen können, die mit Anthony Giddens Strukturationstheorie als Regeln und Ressourcen interpretiert und in den Interaktionen, Beziehungen und Institutionen verortet werden, die mit und zwischen Kreativtätigen in Städten entstehen. Aus einer Governanceperspektive wird dann gefragt, welche sozialen und soziopolitischen Arrangements sich zur Koordination von Kreativität in Städten herausbilden. Im Fokus der empirisch-analytischen Untersuchung stehen horizontale Kooperationsformen wie Netzwerke und Steuerungskreise von kreativwirtschaftlichen und öffentlichen Akteuren deren Ziel die Unterstützung der kreativwirtschaftlichen Branchen ist. Diese Governancestrukturen werden als intermediäre Strukturen betrachtet, die für die Beförderung von Kreativität wesentliche Koordinations- und Vermittlungsleistungen erbringen können. In einem explorativen, multimethodischen, qualitativen Fallstudienansatz werden jeweils zwei Governancearrangements in Berlin und London untersucht. Allen gemeinsam ist, dass sie eher symbolische Funktionen erfüllen, die Kooperationsbereitschaft anzeigen als Abstimmungs- und Aushandlungsprozesse und die Erarbeitung gemeinsamer Problemdefinitionen und Lösungsansätze. Trotz intensiver „Kreative Stadt“ - Diskussionen bildet „Kreativität als Ressource der Stadtentwicklung“ noch kein Deutungsrahmen, mit dem sich politische Mehrheiten für gezielte Strategien in den Städten mobilisieren lassen. / In the last decade, creativity has been promoted as the new key resource of urban development. From a governance perspective, the empirical-analytical inquiry focuses on the question how the ‘creative city’ has been translated into new governance processes and how creativity can be governed in cities. The empirical research draws on four governance arrangements between creative industries stakeholders and public bodies in Berlin and London and is based on an embedded multi-case-study-design with different qualitative methods such as interviews, content analysis and participant observation. These unfolding governance arrangements share objectively several productive features for success and policy innovation in that particular policy field: they combine a diversity of new actors and stakeholders in open and inclusive designs, exhibit passion and endurance of key actors, display a common interest and are matched by supportive, new strategic objectives from the two urban governments. Nevertheless, they also miss several features: a common frame of reference for defining a problem and for integrating disparate knowledge between all stakeholders, no prior cooperation experiences, hardly any financial resources, and eventually, a rather opportunistic and week commitment by urban governments. As in many other cities, the idea of a ‘creative city’ was rather used a ‘rhetorical device’ by urban politics to refashion existing policies instead of appropriate policy-making that supports cultural production in its multifaceted ways.

公共部門的組織運作相較於過去，正處在更為不穩定和動盪的環境之中，公部門必須提高其「創新」的能力以為因應，並由於治理網絡形式的顯現，也更加強調公部門創新的重要性。面對當前許多充滿高度複雜與棘手的公共問題，我們不僅需要公共創新的新途徑，同時也要為許多問題的解決方案提出必要的工具。無疑地，吾人必須關注如何透過治理網絡中行動者間的協力，即是公共管理者、民選官員、企業、非營利組織等行動者的協力，用以強化公共創新，因此，「協力創新」可以說是當前公部門創新的重要議題，同時也是公部門面對網絡治理亟欲尋求的新方法。簡言之，欲探究的「協力創新」，則是指以網絡為基礎的協力，促進治理過程中公部門的創新。 本研究主要聚焦在公共部門協力創新的理論與實務的討論，以下述兩個關鍵重點做為討論的主軸：一、重點是針對「公共部門的創新」，而非一般所談論的企業創新；二、著重於「跨部門間或網絡協力」的創新，並非單一組織內部的創新。研究問題包括：何謂是在公部門的協力創新？協力創新的過程需要具備哪些條件？網絡中的行動者如何透過協力過程以導引出創新？協力創新呈現的樣貌或結果為何？對文化行政機關而言，文化創意產業政策之推動，對文化行政官僚的協力創新經驗有何特殊性？協力創新的過程有何困難？如何克服這些障礙，以驅動協力創新？ 儘管公部門透過跨部門、跨組織的協力創新研究還處在發展萌芽的階段。在實務上，公部門必須審時度勢，在協力過程中透過制度設計，與行動參與者進行有效溝通、建立信任，並證明展現其領導、協調和整合的能力。因此，本研究關注協力創新在公部門的應用，一方面提出整合自公部門創新、協力治理文獻而發展出來的理論架構，另一方面也針對文建會在推動文化創意產業政策運用協力創新的過程和經驗，進行質化的實證研究，以提供公部門有關協力創新應用之理論面與實務面相互印證的機會。 研究發現公部門創新必須致力於創造更多的公共價值；政治的推力、回應外部發展趨勢、核心職能外新增業務的壓力、尋求和匯集外部資源、創造有利創新的組織文化是公共組織內外環境中存在激發協力創新的驅動因素；而網絡治理的領導能力、多層次與橫向溝通平台、互惠的信任關係基礎、良性的創新循環等是影響協力創新過程的關鍵因素；公部門適當的制度設計有利於協力創新的發展；協力創新的多元價值結果亦呈現出不同的創新類型。最後，本研究也針對協力創新的實務應用、制度設計及組織運作、文化創意產業推動方面提出若干建議。 / The importance of strengthening innovation in the operation and organization of the public sector is highlighted by both today's increasingly variable environment and the emergence of governance networks. The many complex and wicked problems that are currently encountered in civil sector indicates a need not only to innovate, but also to come up with necessary tools for solving multiple problems. No doubt the primary focus should be on uniting efforts among actors in governance networks, namely civil sector managers, elected officials, businessmen, and non-profit administrators, in order to strengthen public sector innovation. For these reasons, collaborative innovation is an important topic in public sector innovation and an anxiously pursued new method as the public sector faces collaborative governance. Moreover, collaborative innovation is network-based collaboration that promotes innovation in the public sector governance process. This study primarily focuses on theories of public sector collaborative innovation and discussions of actual practice in the field. The study revolves around two key points: a focus on public sector innovation as opposed to commonly discussed business innovation, and innovation in cross-sector collaboration or network-based collaboration as opposed to innovation within a single organization. Questions addressed in this study include: What is meant by public sector collaborative innovation? What are the prerequisites for collaborative innovation processes? How do actors within a network lead innovation through collaborative processes? What are the features or results of collaborative innovation processes? What special experiences have administrators of cultural bureaus had promoting cultural and creative industry policies with collaborative innovation? What difficulties are encountered during processes of collaborative innovation? How can these difficulties be overcome in order to spur collaborative innovation? Research of cross-sector and transorganizational collaborative innovation in the public sector is still in its developmental stages. Each collaborative process must be assessed through system design to ensure effective communication and the establishment of trust, as well as to verify leadership, coordination and integration capabilities. Therefore, this study concerned with the application of collaborative innovation in the public sector first constructs its theoretical framework on extant literature in the fields of public sector innovation and collaborative governance, and secondly is directed at the Council for Cultural Affairs use of collaborative innovation in its policies that promote cultural and creative industries. This study employs qualitative empirical research to provide opportunities for mutually verifiable theoretical and practical collaborative innovation applications related to the public sector. Results of this study suggest that innovation in the public sector should be directed at creating more public value. Governmental influence, response to external trends, pressure added by work extrinsic to core functions, the collection of external resources and organizational culture cultivating beneficial innovation are all factors that drive collaborative innovation in and around public organizations. Network governance leadership ability, forums for both horizontal and vertical communication, foundations of mutually beneficial trust, and healthy innovation cycles are all influential factors in collaborative innovation processes. Appropriate organizational design in the public sector spurs the development of collaborative innovation, and the manifold values of collaborative innovation result in different innovative forms. Finally, this study aims to make recommendations for the practical application, organizational design and operation of collaborative innovation, and the promotion of cultural and creative industries.

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

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.

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.