姚穎嘉. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 123-127). / 附中英文摘要. / "2003 nian 8 yue". / Yao Yingjia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 123-127). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 引言 --- p.1-10 / Chapter 第二章 --- 抗戰時期的香港話劇：背景硏究(1937-1945) --- p.12-22 / Chapter 第三章 --- 戰後至1960年代的重整期：重視教育和 節省資源的文化政策 --- p.23-43 / Chapter 第一節 --- 維護政府管治權和重資源分配 --- p.24-30 / Chapter 第二節 --- 話劇發展及其主流 --- p.31-42 / Chapter 第四章 --- 1960至1967年的劇本荒：文化政策的寸步難移 --- p.44-65 / Chapter 第一節 --- 暴風雨前夕 --- p.45-51 / Chapter 第二節 --- 自力更生的話劇發展 --- p.52-64 / Chapter 第五章 --- 1967年暴動後至1982年中英談判的改革時期： 文化政策與政府爭取民望的導向 --- p.66-81 / Chapter 第一節 --- 香港本土文化的建立 --- p.67-71 / Chapter 第二節 --- 本土劇的初生和萌芽 --- p.72-81 / Chapter 第六章 --- 中英談判後至1997香港回歸：講求「價値」 提升的文化政策 --- p.82-100 / Chapter 第一節 --- 藝術發展的政治化與商業化 --- p.83-89 / Chapter 第二節 --- 中英談判後香港話劇的本土意識 --- p.89-98 / Chapter 第七章 --- 1997.7.1回歸後與未來展望：共同面向國際的中港文化 --- p.101-117 / Chapter 第一節 --- 回歸祖國文化與流傳 --- p.102-107 / Chapter 第二節 --- 商業藝術形成的惡性循環 --- p.107-114 / Chapter 第八章 --- 總結 --- p.118-122 / 參考書目 --- p.123-127 / 論文附錄 / 附錄(一）：抗戰劇人的背景資料 --- p.i 一ii / 附錄(二）：中英學會中文戲劇組的演出劇目 (1952-1963 年） --- p.iii´ؤiv / 附錄(三）：校際戲劇比賽劇目（1950- 1960年） --- p.v´ؤxiv / 附錄(四）：校際戲劇比賽中文戲劇冠亞季軍得獎作品 (1950-60 年） --- p.xv´ؤxvi / 附錄(五）：大會堂戲院和音樂廳的租用情況 (1962年3月至1964年6月） --- p.xvii´ؤxix / 附錄(六）：中國學生周報話劇組排練及演出的劇目 (1960-67 年） --- p.xx / 附錄(七）：專上學生聯會舉辦的大專戲劇節演出劇目 (1966-1975) --- p.xxi´ؤxxiv / 附錄(八）：1960年代中英學會中文戲劇組和 香港業餘話劇社演出的劇目 --- p.xxv / 附錄(九）：香港藝術節的演出話劇及場次(1973-1982年） --- p.xxvi´ؤxxvii / 附錄(十）：1997至2000年上演過的本地話劇 --- p.xxviii´ؤIii

Since 2002 Taiwan has transformed its cultural policy, following the lead of the UK's creative industry discourse in particular and neoliberal policy regimes in general. This thesis investigates the processes through which neoliberal thinking shaped changing cultural policy and the impact this has had on cultural workers and practices in Taiwan s cultural landscape. I examined policy making documents and interviewed a range of involved actors, including government officials and cultural workers to learn more about the policy process and its impact. The research argues that the creative economy has heavily influenced the development of cultural policy discourse and generally failed to promote the public interest in Taiwan. The results of neoliberalisation have been embodied in several salient characteristics such as the privatisation of public space, marketisation of public subsidy and investment, commercialisation of higher education, and flexibilisation of cultural labour market. I argue that cultural policy needs to be reshaped to represent the public interests and diversity of our cultural landscape.

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This thesis explores the desirability of Australia???s State museums to be inclusive of diverse cultures. In keeping with a cultural studies approach, and a commitment to social action, emphasis is placed upon enhancing the ability of State museums to fulfil obligations and expectations imposed upon them as modern collecting institutions in a culturally diverse nation. By relating the desirability and ability of State museums to attaining social justice in a multicultural Australia through broadening the concept of Australia???s heritage, the thesis is firmly situated within post-colonial discourse. The thesis analyses State multicultural, heritage, and museum legislation, in New South Wales, Victoria, and Queensland, with regard to State museums as agents of cultural policy. Results from a survey, Greeks and Museums, conducted amongst Australia???s Greeks in Sydney, Melbourne and Brisbane, reveal an anomaly between their museum-going habits and the perception of those habits as expressed by government policies promoting the inclusion of Australians of a non-English speaking background in the nation???s cultural programmes. In exploring the issue of inclusiveness, the thesis highlights the need for cultural institutions to shift the emphasis away from audience development, towards greater audience participation. The thesis outlines an initiative-derived Queensland Model for establishing an inclusive relationship between museums and communities, resulting in permanent, affordable, and authoritative collections, while simultaneously improving the museums??? international reputation and networking capabilities. By using the example of one of the nation???s non-indigenous communities, and drawing upon material obtained through the survey, and a catalogue containing photographs and lists of Greek textile collections found in the Powerhouse Museum (MAAS), Sydney, the National Gallery of Victoria and the Immigration Museum, Melbourne, the Queensland Art Gallery and the Queensland Museum, Brisbane, as well as collections owned by private individuals, the thesis focuses on the role played by museums in constructing social cohesion and inclusiveness.

In Australia, the decades of the 1960s, 1970s and 1980s were times of a great nationalist revival and cultural self-discovery. In the visual arts, theatre, popular and classical music, and especially in cinema and television, a distinct Australian voice could be heard that was accepted as culturally valid and nationally relevant. The renaissance of local production for cinema and television was reliant on the patronage of the state, first the Commonwealth government with the establishment of the Australian Film Development Corporation and the Experimental Film and Television Fund in 1970 and, later, the Australian Film and Television School. Then from 1972 to 1978 each Australian state established a film support agency to extend that patronage and assure the state of a role in the burgeoning film industry. This thesis relates the stories of the creation and development-and in some cases demise-of those six state film agencies over the period 1970 to 1988. It identifies the influences that directed the creation of each state agency and proposes a qualitative model of the relationships between the influences. It then argues the applicability of the model to the formation of cultural policy in general in a pluralistic democratic society. It also argues that the state film agencies were more influential on national film industry policy than has hitherto been recognised.

Cultural policy theory operates on a division between producers and the public. Dualisms, such as producer/consumer – or, in more nuanced circles, the triadic relationship of consumer/producer/owner – have had a structuring effect on the way in which we envision cultural policy theories. At its core, the producer/consumer dualism implies subjectivities – that is to say that it defines positions in relationships between socio-political actors/actresses. At the governmental level, such clear-cut subject positions are perceptible beyond theories, entering into the actual practice of policy-making to the point where certain policies structure the notion of the public (or consumers), and the producers and/or owners. Copyright law, for instance, represents a good example of such an ideational construct. As a form of cultural policy, copyright law seeks to define the rights of producers with regards to their productions. Consequently, this thesis aims at exploring the forms of agency that develop and challenge both the practice and theoretical constructs of cultural policy. Two aspects command us to question anew these boundaries, one based on contemporary social and technical transformations (the rise of the digital age), and one based on cultural practice (in this case, those of fans and fandoms).Borrowing from theories of cultural studies and Foucauldian approaches to discourse analysis, this thesis explored the emerging discourses surrounding fans and their use of copyrighted material via the internet. Putting emphasis on three fandoms that have had marked histories of fan activism and fan production via the use of copyrighted material – Star Trek, Firefly, and Harry Potter – this paper investigated fans’ use of copyrighted material in developing fan cultures and as a vehicle for their discursive practices. These cases illustrate how fans have challenged the established repertoires of subjects in cultural policy (making and theory), and how their form of agency represents an interesting case of resistance to the rise of the cultural industries conception of cultural policy.

Every year, hundreds of thousands of people participate in art and handicrafts study circles organized by educational associations, and thus receive an increased esthetic education. The degree of this increase in knowledge is dependent on the quality of the particular study circle, the extent to which they live up to the aims and conditions required for the receipt of state grants. There are some indications that educational associations sometimes close their eyes to these aims and conditions and neglect to provide information about them. An educational association is able to control the quality of art and handicrafts study circles—for example, through the selection of course leaders, and by providing course leaders with better information and in-house training. Educational associations also receive state grants for this type of activity. The grants are not specifically ear-marked for this purpose, and it is the educational association itself that decides how to use the grants received. Certain areas of activity can be given priority over others. It is therefore of interest to examine the official attitudes of the various aducational associations towards their activities within the area of arts and handicrafts. This study, which concentrates on the four major educational associations in Sweden- the Workers' Educational Association (ABF), the Adult Educational Association (Vuxenskolan), the Educational Association of the Citizens' School (Medborgarskolan), and the Salaried Employees' Educational Association (TBV)-is based on the following: - a direct method, involving an analysis of official publications, e.g. charter, programme, publications and journals - a questionnaire directed to the Directors of Studies at the various educational associations - an indirect method involving the analysis of the educational associations' reactions to the cultural policy introduced in the 1970s. The results of the study show that none of the educational associations give esthetic activities the highest priority, despite the fact that in the eases of Medborgarskolan and Vuxenskolan these activities are clearly dominant, and also constitute the major activity for TBV. There are many signs that instead indicate that the interest in esthetic activities is rather luke-warm. The associations also question the aims and conditions that the state has drawn up in order to maintain a certain standard in the content of study circles. TBV and Medborgarskolan consider these aims and conditions to be too demanding. Vuxenskolan does not appear to have any unified policy concerning these aims and conditions, and ABF appears to deny the very existence of fixed aims for study circle acitivites. / digitalisering@umu

Cultural policy theory operates on a division between producers and the public. Dualisms, such as producer/consumer – or, in more nuanced circles, the triadic relationship of consumer/producer/owner – have had a structuring effect on the way in which we envision cultural policy theories. At its core, the producer/consumer dualism implies subjectivities – that is to say that it defines positions in relationships between socio-political actors/actresses. At the governmental level, such clear-cut subject positions are perceptible beyond theories, entering into the actual practice of policy-making to the point where certain policies structure the notion of the public (or consumers), and the producers and/or owners. Copyright law, for instance, represents a good example of such an ideational construct. As a form of cultural policy, copyright law seeks to define the rights of producers with regards to their productions. Consequently, this thesis aims at exploring the forms of agency that develop and challenge both the practice and theoretical constructs of cultural policy. Two aspects command us to question anew these boundaries, one based on contemporary social and technical transformations (the rise of the digital age), and one based on cultural practice (in this case, those of fans and fandoms).Borrowing from theories of cultural studies and Foucauldian approaches to discourse analysis, this thesis explored the emerging discourses surrounding fans and their use of copyrighted material via the internet. Putting emphasis on three fandoms that have had marked histories of fan activism and fan production via the use of copyrighted material – Star Trek, Firefly, and Harry Potter – this paper investigated fans’ use of copyrighted material in developing fan cultures and as a vehicle for their discursive practices. These cases illustrate how fans have challenged the established repertoires of subjects in cultural policy (making and theory), and how their form of agency represents an interesting case of resistance to the rise of the cultural industries conception of cultural policy.

Urban theorists and policy makers have begun to re-evaluate the importance of culture in urban development models. Culture is now widely viewed as a critical factor in the economic and social health of cities. Notions of creativity and the growing recognition of the role that culture-rich environments can play in attracting the “creative class,” are being partly expressed in the widespread adoption of urban cultural planning strategies. Cultural planning is commonly defined as the identification (mapping) and leveraging of cultural assets to support local community and economic development. It is also often explained as a “cultural approach” to municipal planning, an approach that entails effective cross-departmental and cross-sectoral collaboration in the implementation of strategic goals outlined within the cultural plan. A literature has been written on the potential of cultural planning by leading experts in the cultural policy field, especially from Australia and Britain. However, there has been a noticeable lack of critical research on this cultural development approach by scholars in Canada, where cultural planning is a relatively new and emerging municipal activity. This dissertation examines the policy and planning scope of the increasingly popular yet under-explored “municipal cultural planning” movement in Ontario, Canada. Research began with a thorough review of the cultural planning literature. Cultural planning deficiencies and research gaps identified in the international literature were subsequently addressed through an analysis of all ten existing cultural plans in Ontario’s mid-size cities. The analysis of plans was complemented by thirteen in-depth interviews with municipal staff responsible for overseeing the development and implementation of cultural plans. Aside from addressing the interpretations of and rationales for municipal cultural planning, the information derived from document analysis and interviews was used to address four important issues that have been either ignored or only addressed in a cursory way in the literature: the nature and actual extent of community consultation and cultural mapping in the cultural plan development stage; the accuracy of the growing arts policy labelling of cultural planning abroad as it applies to municipal cultural planning; the relationship between cultural planning and its conceptual roots in urban planning; and the outcomes of the cultural planning strategy. It was found that the development of cultural plans involved substantial community input, albeit not through the participatory “cultural mapping” process that is often claimed to be the preliminary step of cultural planning. In addition, it was observed that the increasingly common charge, particularly from Australia, that cultural plans are overly focussed on traditional arts sector concerns was not found to be the case with most cultural planning initiatives in Ontario. Further, while a strong urban development and planning-oriented basis has been used to differentiate cultural planning from traditional arts policy, the scope of cultural planning concerns in the sphere of urban planning practice was observed to be, with some noticeable exceptions, fairly superficial. However, this research also found that the strategic objectives outlined within cultural plans, which address a broad range of policy and planning activities related to cultural and community development, were generally being implemented and were effecting change.

Art education has faced cutbacks in school funding because of the mandates and current trends in our nation’s educational policies. The United States Department of Education states that its federal involvement in education is limited. In fact, federal legislations, regulations, and other policies dictate the structure of education in every state particularly with the No Child Left Behind Act (NCLB) and now the Race to the Top (RTTT) initiative. The arts have been unfavorably impacted under the nation’s most predominant policy, NCLB, and run the risk of further adverse impacts with RTTT, regardless of the public’s support of the arts and its educational benefits. By linking federal funding to the school's yearly progress in reading and mathematics, NCLB created an environment in which art is viewed as nonessential and secondary to the academic mission of the school. Policymakers have underestimated the critical role the non-profit cultural sector can offer to arts learning for academic support. Collaboration of the arts community with local schools expands access to the arts for America’s schools. Some schools have already adopted this strategy to tap the expertise of local community arts organizations to address the issues surrounding arts education, like the lack of funding and resources. The future of our educational system must create innovative ways for students, teachers, parents, and the community to work together in partnerships to ensure all American children is provided a high-quality education. An example of this promising practice would be to connect schools with the arts community, particularly schools and museum partnerships. School and museum partnerships have a long-standing history of collaborating with one another and therefore share a commitment to some of the same educational goals (Osterman & Sheppard, 2010). The purpose of this study investigated features and operational logistics of successful partnerships between museums and schools. The study explored an existing partnership with an art museum and an urban public school district. To understand the elements of these partnerships, the study investigated art education and cultural governing policies, program goals and long-term goals, operation and funding. It is my hope that through this study a discourse about policy recommendations or policy-making eventually develops that could aid in the creation of successful partnering relationships to sustain art education in the state of Georgia. In this qualitative case study, the research design utilized several methods of data collection, including semi-structured interviews, documents, and visual methods, specifically image elicited exercises as positioned by Harper (2002). Participants in the study included school administrators, principals, art teachers, and museum educators.