本研究嘗試從管理的規劃與決策面來探究創意的重要性，並以個案研究法探討個案對象國民戲劇創意人－吳念真，以瞭解此類型創意人的創意來源組成。在研究架構的選擇上，則是修正學者Amabile於1996年提出的創意要素架構(componential framework of creativity)，並加入過去的生命經驗(antecedent conditions)等強化創意來源組成的影響性。最後，以此理論架構為研究基礎並使用樣版式分析法進行資料分析。 透過本研究可瞭解，結合民眾情感從事創作的吳念真試圖打破走進戲院的固定族群，並吸引未曾進入戲院看戲的社會中下階層，因此他透過探討一般百姓生活中會遭遇的情景與情感做為作品主軸，讓目標族群在作品中找到共鳴而願意購票觀戲。然而，並非所有的創意人皆能勝任此類型創意素材的創作，他必須要經過長時間的生活歷練與細微的觀察來體驗民眾的情感為何、他必須樂於從一般百姓的口中獲取不同的生命歷程、他更要勇於嘗試這類作品可能面對的市場接受度。而在考量目標族群需求而架構故事的同時，創意人實已無形地選擇故事角色應由什麼樣的人來做詮釋最為真實、舞台設計應以何種走向來呈現故事背景、音樂調性應如何襯托故事的情感表達等。這一切皆是在架構故事雛形的同時所無形做出的配置與設計。 創意成形過程就如同一個專案執行前的規劃，需要選定目標客群、以客群的需求來設計產品，及如何配置執行工作的人員等，而創意成形需要仰賴創意人的創意來源組成元素等才能獲取特定類別的創意作品，因而其重要性及不可取代性更為顯著。

This dissertation examines the development of Chinese art film in the 1990s. It explores the mechanisms that were conducive to the emergence of this art wave and its representative cinematic styles. Art film was a historically underdeveloped film practice in China, especially under the mass line-dominated Socialist film system. I argue that Chinese art cinema was fundamentally defined by the second art wave, which was flanked by the first art wave (the Fifth Generation Cinema) of the 1980s, and the full capitalization of the film industry in the new millennium. The key to understanding the second art wave was the paradoxical industrial process of the Socialist film system reform of the 1990s. The controlled top-down reform made the emergence of independent production possible while at the same time denying its legitimacy. As the result, the Chinese art film production breathed new life but was pushed from the mainstream to the realm of the alternative. In alliance with other youth subculture phenomena of the time, such as rock music and avant-garde art, art film came to be defined as a distinctive position in the field of Chinese film production in terms of the mode of production (mostly independent), distribution (international film festivals), and film style. Three styles are examined in detail in this dissertation: the documentary-inspired new realist style represented by films of Jia Zhangke, the modernistic expressionist style represented by films of He Jianjun, Zhang Ming, and others, and the style that falls in-between the new realist and expressionist style represented by early films of Zhang Yuan, Lou Ye, and Wang Xiaoshuai. / text

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