3D電腦動畫電影產業在過去十年間的蓬勃發展有目共睹。在台灣，政府所提出的「兩兆雙星」產業政策中，也以「數位內容」產業為「雙星」計畫之一，而「電腦動畫」則列為優先發展的重點項目之一。 本論文以作者多年的國際媒體產業經驗與觀察為主軸，輔以豐富的產業研究資料及分析，探討台灣在發展3D 電腦動畫電影產業時的各項競爭條件。論文架構採用學者波特在國家競爭優勢中所提出的價值鏈及鑽石模型理論，逐一分析台灣在面臨國際競爭時，各項條件的優勢與不足。 要了解好萊塢如何成功地揉合「創意」與「科技」，不斷創造出一部部席捲全球的3D電腦動畫電影，必須先認識好萊塢電影產業的運作基礎。好萊塢有著相當複雜的產業發展背景，時至今日，這些時空背景仍深深地影響著產業的各個層面。本論文先深入剖析好萊塢電影產業的各項價值活動、產業及人力結構、以及電影投資、融資與風險控管等機制。其後，則進一步分析3D電腦動畫產業的版圖現況及發展趨勢，並以三家領導廠商Pixar、DreamWorks Animation、Blue Sky進行個案分析，透過對這三家廠商發展歷程與運作模式的檢視，台灣可以從中學習成功的經驗，並避免重蹈覆轍。 論文最後，則基於以上之論述，提出兩項論點，說明此刻是台灣以3D電腦動畫電影切入國際數位內容產業的良機。第一項論點是現階段仍屬全球3D電腦動畫產業發展初期，新進入者較易跨入此一新興市場；第二項論點則是台灣世界級的資訊產業提供了優勢的競爭基礎，使台灣具有更高的策略位置。因此，台灣可以高科技產業帶動數位內容產業的發展，延續「科技矽島」的成功經驗，再創「Silicon Hollywood：矽谷+好萊塢」的國家新競爭優勢。 / The 3D feature computer animation industry has grown tremendously in the past 10 years. In Taiwan, the government has identified the “digital content” industry as one of the two rising stars in the “Two Trillions, Twin Stars” national industry development plan, with “computer animation” as its top development priority. Based on the author’s years of observation and experience in international media and business, with abundant industrial research and statistical data, this thesis discusses Taiwan’s competitive advantages in the development of a globally competitive 3D feature computer animation industry. This thesis also refers to Michael Porter’s “Competitive Advantages of Nations”, which uses the Diamond Model to identify a nation’s weaknesses and strengths in the global economy. To realize how Hollywood can successfully combine creativity and technology to create box-office 3D computer animated movies, it is wise to consider how Hollywood fundamentally works. Hollywood is a complicated machine fed by its rich background and history that currently affects every facet of its behavior. This thesis breaks down that behavior into sections that detail topics such as value chain activities, modern industrial and labor structure setup, film financing and risk management. Three leading computer animation studios are Pixar, DreamWorks Animation, and Blue Sky. After understanding how the Hollywood film industry works, the next logical topic to examine is how these studios relate globally with the international 3D feature animation industry’s landscape and development trend. Using these studios as case studies, examining their timeline of development and work methodologies, important lessons can be learned and previous pitfalls avoided as Taiwan takes its first steps towards establishing its own successful 3D computer animation industry. Upon its analysis, this thesis identifies two strong reasons that justify why now is the time for Taiwan to establish its 3D computer animation industry as a means to compete in the global digital content market. The first reason is because the current global landscape of the 3D feature animation industry is just past its infancy and in an early stage of development, making it easier for new entries into the market. The second reason is because Taiwan has the advantage of having a strong resource in its world-leading IT industry that provides strong leverage above the competition. Taiwan is already world famous for being a technologically strong “Silicon Island”. By creating a bridge between technology and creativity, Taiwan can emulate its previous success model and thus create a new international identity as the “Silicon Hollywood”.

文化創意產業乃近年來政府所大力推動的重點產業，儘管文化究係一種「服務」或「產業」，爭議頗多，然而睽諸世界先進國家，如英國設有事權統一之文化媒體體育部(The Department of Culture, Media and Sport)職司全英文化政策之擬訂，並以發行彩券部份收入，鼓勵新穎多元之創作；再如丹麥政府早就發現企業界和文化界的語言渾然不同，發現國家需要教育課程來訓練學生如何經營文化事業，這包括建立對整個產業的知識，能夠斡旋協調、解決衝突，並擁有處理預算、智慧財產權、合約及版稅的能力，於是當務之急，是希望商學院可以把注意力多放在文化界的發展潛力上，增加相關主題、課程和所謂「第三級教育」的訓練；澳洲則就文化產業核心，從精英藝術與社區藝術之論述，進一步發展到休閒與娛樂；其文化態度，亦跳脫文化公民權之爭論，邁入文化消費期。凡此種種，皆從發展文化創意「產業」之角度，作為施政方針。 　　反觀台灣文化創意產業之經營環境日益艱困，至今未有事權統一之「文化部」，文化創意政府分工上，教育部獨置身事外以及至今未能建立諸如好萊塢的「完工保證」制度以吸引投資者等，因此本研究所欲探討之主題計有四項： 1.文化創意產特質為何？與過去台灣所擅長的製造業的價值鏈、商業模式等，有何不同？ 2.政府政策之制訂與產業界之需求，其緊密度為何？是否尚有政策調整之空間與方向？ 3.文化創意產業之經營者係一「守門人」之角色，此守門人之角色如何整合「線上成本」與「線下成本」中之各個成員角色，在「彈性專業化」的合作關係中，形成一種商業模式？ 4.文化創意人普遍缺乏避險觀念，因此如何「以銷定產」，透過「創業財務」理論，經由「高概念」與「國際分工」募集資金，迴避風險，是為本研究所要深入探討的主題。 / The idea of developing cultural and creative industries has been putting forward by the government in recent years even though the arguments of culture being as a service or an industry remains disputable. However, policymakers in more advanced countries have moved beyond the debate and recognized the importance of the industries at different level: The United Kingdom sets up the Department of Culture, Media and Sport as the solo division in charge of policy formulation. Part of the income from National Lottery is devoted to encourage creation; Being aware of the differences between business professionals and creative talents, Denmark educates students with the know-how of cultural industry management, including the skills of negotiation and conflict solving and the abilities to deal with budget, copyright, contract and royalties. It also urges business schools to enhance entrepreneurial potential by adding more topics, classes and so-called “tertiary education” to their curriculums. Australia, on the other hand, has extended the core value of culture and creative industries from elite and community arts to recreation and entertainment. It has moved from the phrase of debating cultural citizenship into cultural consumption. With reference to the experience of other countries, we can conclude that culture and creativity sectors should be considered as “industries” rather than “services” for policy measures. On contrary, the business environment has become difficult for the cultural and creative sectors in Taiwan. There’s no one single government entity to take account of cul-tural factors and attach greater importance to promoting the development of cultural indus-tries in the course of policy formulation and implementation; Ministry of Education has not partake in studying the vision for development and direction for the industries; Lacking of completion guarantees leaves investors with big doubts and consequently hider the estab-lishment of finance resources. To solve the above-mentioned issues, this research will fo-cus on: 1.The characteristics of cultural/creative industries. How are they different from the value chains and business models of manufacturing that has dominated Taiwan's industrial sector? 2.The gaps between current policies and the real needs of the industries. What can be done to favor the development of the sectors? Any adjustment to make or ap-proach to establish? 3.The role of decision makers in cultural/creative industries as “gatekeepers.” How do they control the above and below the line costs and utilizing the concept of flexible specialization to manage their businesses? 4.The sales and marketing of creative products. Traditionally, creative talents have little knowledge on risk control. How to develop new products or services in the context of existing provision in the market? How to avoid risk and raise money by bringing in the notion of “high concept” and “co-production” in filmmaking?