近年來，文化創意產業已經成為全球各國競相發展的軟實力重要產業，特別是在英國引領全球風潮，韓國異軍突起之後，臺灣近十年來也積極將施政重心放在文創產業的發展與提升之上。然而，文創中小微型新創事業基於先天本質上具有需求不確定性高、創作者重創意而忽略經濟性、不易與資金持有者溝通等特性，加上臺灣市場規模較小，新創事業失敗風險較高，且政府的政策、法規，亦未能充分發揮作用，故普遍面臨籌資困境。經本研究從證券化可分散風險、利潤共享、增加宣傳機會、提供穩定長期民間資金之角度出發，參考外國立法例及進行個案比較分析，本研究認為股權型群眾募資較適合臺灣文創中小微型新創事業，建議除了現行相關籌資政策、法規仍應進行調整外，也應鬆綁民間成立股權型群眾募資平臺，並採取風險控管之機制。最後，就長遠來看，兩岸應可考慮就股權型群眾募資進行合作，俾使臺灣業者利用現有之軟實力優勢，能夠結合中國大陸的市場及資金，共同邁向雙贏。 / In recent years, cultural and creative industries have become an important soft power around the world, especially after UK leading the global trend and South Korea’s emerging success. Taiwan is also actively focusing on the development of cultural and creative industries over the past decade. However, the micro, small and medium-size startups in cultural and creative industries are usually characterized with high uncertainty for demands, creators ignoring the economy, and hard to communicate with the capital holders. In addition, given Taiwan’s smaller markets, high risk of startups, and the ineffective government’s policies and regulations, fundraising difficulties are generally confronted. This study aims to focus on the securitization for its benefits: risk arrangement, profit sharing, more promotional opportunities and long-term private fund. By referencing to foreign regulations and conducting comparative analysis of related cases, this study concluded that the equity crowdfunding is the better solution for Taiwan’s cultural and creative startups. As a result, it is recommended that the financing policies and regulations should be modified, and should allow the establishment of private equity crowdfunding platform and adopt risk control mechanisms. Moreover, in the long run, Taiwan and Mainland China should consider seeking cooperation for equity crowdfunding to combine Taiwan’s soft power advantage with the fund and market of Mainland China, jointly moving towards a win-win situation.

This thesis ethnographically examines the globalising of the Japanese animation (anime) business in the context of the creative industries, of Japan's politico-economic position in Asia, and of brokerage. Influencing the world's entertainment, creators, and youth culture, anime is one of the crucial lenses through which one can examine Japan's presence in the world. Despite the prevalent assumption that anime is globally popular, this thesis highlights the precarious performance of the anime business overseas, and examines it through an entrepreneurial anime business project trying to bridge the Japanese anime business into the Indian market. The ethnography of the project centres on its founding entrepreneur, focusing on how he tried to ally with insiders in the Japanese anime sector and the Indian market. The thesis's 12-month fieldwork accompanied his business in Japan (Tokyo) and India (Delhi), revealing a perspective of the entrepreneur as a broker who intermediates between the discrepant positions of his stakeholders to keep his business afloat. It also highlights the two most critical discrepancies: the dichotomies of art versus commerce (one of the central topics in creative industries studies) and the 'Japanese' versus 'Indian' ways of doing business (one of the prominent topics in Japan's political economy vis-à-vis the Asian region). The ethnography found the entrepreneur's liminal dual agency in bridging, blurring and reorienting the dichotomies was a driving force carrying his business forward. This thesis counterbalances previous anthropological studies on the creative industries (including anime) that tend to advocate the centrality of creators and fans, by focusing on the businessperson in a creative project. It also suggests that the broker is a crucial point of reference when examining how to create workable compromises between art and commerce, and allowing Japanese and Asian businesspeople to get along. The thesis also enhances our understanding of entrepreneurship by revealing most of its function as brokerage.

Submitted by Marie Dowlatyari (marie.dowlatyari@sciencespo.fr) on 2017-11-27T13:57:24Z No. of bitstreams: 1 2017 11 24_Master Thesis.pdf: 698852 bytes, checksum: 0809cc472101f4735eb6dd199f2e8ba9 (MD5) / Approved for entry into archive by Josineide da Silva Santos Locatelli (josineide.locatelli@fgv.br) on 2017-11-28T12:00:58Z (GMT) No. of bitstreams: 1 2017 11 24_Master Thesis.pdf: 698852 bytes, checksum: 0809cc472101f4735eb6dd199f2e8ba9 (MD5) / Made available in DSpace on 2017-11-28T12:31:17Z (GMT). No. of bitstreams: 1 2017 11 24_Master Thesis.pdf: 698852 bytes, checksum: 0809cc472101f4735eb6dd199f2e8ba9 (MD5) Previous issue date: 2017-10-31 / The purpose of this work is to explore the way the Rouanet Law has been applied in Brazil by addressing participants’ meanings on it and its use to explain why some manage and others fail, as well as their fundraising strategy; finally, this study proposes a series of recommendations to improve the situation of culture financing in Brazil. This paper adopts a qualitative methodology, starting by presenting the Rouanet Law in the text, before exploring current literature on the topic and key findings: general market information from the Ministry of Culture and case studies using the Simbiose Social database and a series of semi-structured interviews of projects and sponsors. The main limitation in writing this work has been the genuinely rare answers obtained [from sponsors who invest money via the Rouanet Law] for interviews. Existing literature on the Rouanet Law deeply lacks micro-data, in particular case studies and interviews. This is what this work offers to do, as well as addressing participants’ meanings on their experiences with the Rouanet Law. In this article, we expect to find and specify the deep differences in the way small social impact projects find funding as opposed to big projects of the creative industry. / O objetivo deste trabalho é explorar como a Lei Rouanet foi aplicada no Brasil, abordando os significados dos participantes sobre isso e seu uso para explicar por que alguns conseguem e outros falham, bem como sua estratégia de captação de fundos. Finalmente, este estudo propõe uma série de recomendações para melhorar a situação do financiamento da cultura no Brasil. Este artigo adota uma metodologia qualitativa, começando por apresentar a Lei Rouanet no texto, antes de explorar a literatura atual sobre o tema e as principais conclusões: informações gerais sobre o mercado do Ministerio da Cultura e estudos de caso usando o banco de dados da Simbiose Social, além de entrevistas semi-estruturadas de projetos e patrocinadores. A principal limitação na redação deste trabalho foi as respostas realmente raras obtidas [de patrocinadores que investem dinheiro através da Lei Rouanet] para entrevistas. A literatura existente sobre a Lei Rouanet falta profundamente de microdados, além de estudos de caso e entrevistas. Isto é o que este trabalho propõe fazer, bem como adotar os significados dos participantes sobre suas experiências com a Lei Rouanet. Neste trabalho, esperamos encontrar e especificar as diferenças profundas na forma como pequenos projetos de impacto social encontram financiamento em oposição a grandes projetos da indústria criativa.

There is a shortage of information systems (IS) professionals in South Africa. This IS skills shortage is growing, as attempts to reduce the scarcity of IS skills through (i) ICT-enabled education-focussed development and (ii) IS education initiatives are not increasing IS skills levels in South Africa fast enough to keep up with global growth trends in IS skills. The South African demand for tertiary-level IS skills continues to outgrow the supply. This study aims to explain the nature of this skills shortage, and to address this shortage by finding ways to increase the quantity and quality of students enrolling for and graduating in IS [and IS-related] graduate courses at tertiary education institutions in South Africa. This study, in three sequential parts, finds (i) ways to improve the impact and sustainability of existing ICT-enabled education-focussed development projects, (ii) reasons and solutions for the lack of tertiary level IS students (and graduates) from a human capacity-building perspective, and (iii) meaningful results from two case study projects engaged in by the researcher that suggest short transition and reskilling courses as a workable solution to the mentioned skills shortage. The findings from these three parts lead to practical considerations for South African IS departments, informed by a graduate development framework, that will guide IS departments towards optimising the quality and quantity of tertiary-level IS students in South Africa. The resulting framework, the IS Graduate Development Framework, includes a sensitivity towards increasing the employability and entrepreneurial potential of IS students. The results from using the framework as measuring tool include several new insights regarding the kind of IS development project [or course] that best facilitates the development of more high-quality, industry-ready IS graduates, and lead to practical improvements in existing IS courses at a local university. These improvements include the development of a mobile application, as part of one of the case study projects, to facilitate higher levels of industry involvement, sufficient information delivery, changing popular perceptions of IS, and long-term relationships with students that can be used to motivate student career choice. / Thesis (PhD)--University of Pretoria, 2013. / lk2013 / Informatics / unrestricted

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2018-01-24T20:53:58Z No. of bitstreams: 1 Andre Luis Marques Ferreira dos Santos.pdf: 3359520 bytes, checksum: 44628dce3b0bf9344584d99777736b0f (MD5) / Made available in DSpace on 2018-01-24T20:53:58Z (GMT). No. of bitstreams: 1 Andre Luis Marques Ferreira dos Santos.pdf: 3359520 bytes, checksum: 44628dce3b0bf9344584d99777736b0f (MD5) Previous issue date: 2017-08-30 / The internet has contributed to the appearance of new kinds of businesses, which require a peculiar scientific approach in order to enlarge the operational results of the said enterprises. This context gave rise to a new set of organizations, businesses focused on intellectual production, the so-called creative industries. One of the ways to assess these intellectual capital companies is the optimization of human resources time, also known as Human Resources Specialists (HRS). The optimization of HRS’ consists in identifying which resources must be allocated to each project and the order in which the given tasks must be undertaken. In literature, this subject is known as “integrated problem of resources allocation and task scheduling”, commonly studied in manufacture businesses as “job shop problem”, but there is very little reference of the subject in the context of creative industries. Based on this assumption, the goal of this piece of work is to apply heuristic techniques to solve the HRS allocation and task scheduling problems within creative industries in an integrated way. Therefore, the model developed herein becomes relevant to researches involving the use of intellectual capital. The mentioned model consists in representing, through computer simulations, the operation of a competitive intelligence department and, making use of heuristics, determine the best scenarios for system optimization. In other words, to identify which of those scenarios makes viable to perform all projects in the shortest time possible. This model was based in real data, collected in two years of thorough observation of a company, the study object of this work. The outcome was satisfactory and the proposed model has achieved its objective. / A Internet contribuiu para o surgimento de um novo tipo de organização, as indústrias criativas, empresas com negócios focados no capital intelectual, os quais podem ser avaliados por meio da otimização do tempo dos recursos humanos, também intitulado como, recursos humanos especialistas (RHE). A otimização dos RHE consiste em identificar quais os recursos devem ser alocados para cada projeto e em qual ordem as tarefas devem ser realizadas, tema conhecido na literatura como “problema integrado de alocação de recursos e sequenciamento de tarefas”, comumente estudado nas empresas de manufatura como job shop problem, mas com pouca referência no contexto das indústrias criativas. Partindo desse pressuposto o objetivo deste trabalho foi desenvolver um modelo de simulação e otimização computacional, para resolver de forma integrada o problema de alocação de RHE e sequenciamento de tarefas dentro de uma indústria criativa. Assim, este trabalho torna-se relevante para as pesquisas que envolvam o uso de capital intelectual. O modelo desenvolvido neste trabalho consiste em representar por meio de simulação computacional o funcionamento de um departamento de inteligência competitiva e determinar os melhores cenários para otimizar o sistema, ou seja, identificar quais cenários viabilizam realizar todos os projetos em um menor tempo possível. A parametrização do modelo foi realizada com base em informações reais, coletadas em dois anos de observações na empresa objeto de estudo desta pesquisa. Os resultados mostram que a utilização de métodos computacionais de otimização pode contribuir na tomada de decisão para minimizar o tempo de realização dos projetos e para identificar os pontos de ociosidade do sistema em ambientes dinâmicos.

我國「文化創意產業發展法」於2010年三讀通過，根據第3條之定義，文化創意產業共計15類產業，及一款經中央主關機關指定之產業。法令規章所建構之文化創意產業類別體制，於文化創意產業政策實務推動中之執行完整度，扮演著極為重要角色。 本研究爰從文獻分析，針對文化創意產業政策計畫演變，比較我國與韓國文化創意產業制度設計。在個案選取上，以珠寶產業為例，探究文化創意產業政策執行實務，說明官僚組織設計，對文化創意產業政策執行影響的情形，並提出若干省思及相關建議。 / Taiwan's "Cultural Creative Industry development act" was adopted in 2010 after the third reading. According to the definition in article 3, there are a total of 15 types of industries that are classified as part of the "Cultural Creative Industry" , as well as other industries designated by the Central Competent Authority. The classification system of the Cultural Creative Industry decreed in the regulations plays an extremely important role in implementing the promotion of practical Cultural Creative Industry policies. The present study aims to elucidate the changes in policy planning of the Cultural Creative Industry through a literature review and compare the design of Taiwan's Cultural Creative Industry policies with those of South Korea. The jewelry industry was selected as a study case to investigate the practicality of policy implementation of the Cultural Creative Industry, explain the influences on the policy implementation by the design of the bureaucratic organization, and propose a number of reflections and related suggestions.

In many markets for cultural goods, gatekeepers select the cultural goods, relatively few cultural goods are selected, and the criteria for selection are unclear to both artists and gatekeepers. Not knowing whether cultural goods are of the 'right' quality to be selected, artists and gatekeepers become preoccupied with handling quality uncertainty. This thesis studies such handling of quality uncertainty before, during, and after aspiring writers attempt to succeed in the publishing market. Drawing on eighty interviews with mainly aspiring writers and publishers in Sweden, three papers investigate three phases of handling quality uncertainty in the publishing market. First, in attempting to get published, writers handled uncertainty about how the quality of their work would be evaluated in the publishing market by using appraisal devices: trusted, knowledgeable appraisals of their work’s chances of success or failure on the publishing market. Second, publishers responded to uncertainty about the quality of manuscripts by learning to consider means before ends, such that certain qualities of their reading experience became the necessary means for realizing that the manuscript might be publishable. This realization moved the manuscript from the discovery phase to justification phase, in which publishers made a final decision to select or reject the manuscript. Third, for the rejected writer, the uncertainty of not knowing how the publisher had determined the quality of the manuscript made it possible to excuse the course of events. Writers gave reasons why their manuscript had been rejected based on how they imagined publishers had determined its quality. They accepted the occurrence of failure but dismissed the responsibility for having failed. Writers also engaged in justifications, refusals, and concessions of the perceived failure. These concepts for analyzing the publishing market are based on a perspective that takes into account subjectivity, temporality, and the condition of quality uncertainty. The perspective and concepts are useful for understanding other market situations in the cultural industries, wherein the successful hiring of cultural workers and the acquisition of cultural goods are rare relative to the number of aspirants, and wherein assessments are conditioned by quality uncertainty that needs to be handled. / ERC 263699-CEV

華山創意文化園區的產業化發展受到一個由國家、藝術社群與企業三方構成的社會結構影響，藝術社群、國家與企業三者在不同階段扮演了關鍵的角色。此轉型過程經歷文化創意產業化的價值張力現象和政策磨合，揭示了上述行為者對於空間規劃與產業發展的不同主張，一方面造成其不同的信任與競合關係；另一方面也造成空間功能的轉向－此地區由一個位於前端的藝術創作聚落轉變成為靠近後端的大眾文化消費園地。 本文認為文化創意產業化的過程將引發行為者不同的價值取向，其原因為：一、精緻藝術與通俗文化的特性不同；二、創作前端與市場後端的需求與運作邏輯不同。而為了尋求文化與產業的永續發展，政府必須回應這種特殊的產業特性，扮演彈性的平台角色，一方面能夠觸動行為者的相互交流、理解與信任關係，使其自由溝通並跨界合作，誘發各種創新的可能；另一方面需要釐清空間的角色與功能，讓有效的補助與保護機制連結網絡關係及群聚效應。如此一來，這樣的制度環境能夠鼓勵創新，不因產值思維而壓抑創意，而創作前端與市場後端能夠充分活化與溝通，進一步完整價值鏈機能。 / The industrialized development of Huashan Creative Park was influenced by the social structure, composed of the state, the community of artists and the enterprise. These three factors played crucial roles within different phases. The Industrialization of culture and creativity resulted in tensions between discrepant values as well as policy modification within the transition, which displayed diverse positions toward spatial planning and industrial development from different factors. The tensional phenomenon not only altered the relationships of trust and contention among factors but also brought about functional change of the space－this cluster of art creation near the front end of value chain turned into a pop culture consuming park near the back end. This paper argues that industrialization of culture and creativity will lead to dissimilar value orientations of factors because of two reasons：the first, distinct features of fine art and pop culture；the second, different needs and logic of creating front end and consuming back end of the value chain. In order to build up sustainable development of culture and industry, the government is suggested to deal with this kind of special industrial feature and take a role as a flexible platform. On the one hand, this platform should induce interaction, understanding, and trust between factors as well as generate free communication, synergies among multi-fields, and all possibilities of innovation, on the other hand, it can clarify the significances and functions of spaces as well as connect network and cluster effect to complete the function of value chain by an appropriate protective system and subsidies. As a result, this institutional environment can encourage innovation and interaction between creation and market instead of oppressing creativity due to output value requests.

台灣整合行銷產業受限於市場規模小及與市場景氣連動性高的因素下，面臨利潤被壓縮的挑戰，提出創新服務勢必為未來發展的趨勢。另一方面，雖然政府大力投入資源於文化創意產業，民國一百年甚至被馬總統宣告為台灣設計年，但多數的創意品牌設計卻無法面臨市場機制的挑戰。本研究試圖探討能否導入整合行銷傳播模式於文化創意產業鏈，發揮以市場為導向的價值建置跨業資源整合平台，改變過往的產業開發商品模式。 　　本研究架構以「新視紀整合行銷集團」及其建置的「有藝氏創意商品整合平台」為例，綜合交易成本理論分析和透過與「有藝氏創意商品整合平台」實際運作成效，分析整合行銷傳播模式應用在文化創意產業的可行性與綜效。 　　研究結論發現，導入整合行銷傳播模式的「有藝氏創意商品整合平台」有效降低整體現在文化創意產業鏈開發商品過程中發生的交易成本，除提高創意商品化的可能性之外，亦加快商品從研發到上市的速度，而消費者則是整體產業鏈交易成本降低的最大受益者。 / The integrated marketing industry in Taiwan faces a low gross-profit challenge because the limited market share and its growth is highly relevant to the worldwide economy. Providing a creative service becomes a trend for the industry to respond those tough situations. Although the Taiwan government has been putting a lot of resources into the cultural and creative industry and President Ma Ying-Jeou announced that the year of Taiwan centenary (2011) is “Taiwan Design Year,” most of Taiwanese design companies could not cross through a marketing chasm successfully. Most creative products could not been accepted by mass consumers. Thus, this research seeks to explore the application of integrated marketing communications in cross-disciplinary and then analysis the feasibility of changing creative product developing processes with the integrated marketing communications model. This research uses the transaction cost theory and takes New Vision Integrated Marketing Communications Group and its subsidiary company, Unique Art Integrated Platform of Creative Products, as case study to evaluate the efficiency in creative product developing processes. This research concludes that “Unique Art Integrated Platform of Creative Products” which applied the integrated marketing communications model into the cultural and creative industry in Taiwan, indeed increased the possibility of developing creative products, decreased transaction costs in developing creative products, and shortened the whole developing process, from searching for a design to launching a product. Most importantly, consumers are beneficiaries, spend less money to buy creative products, because of this new business model.

台北都會區正在面臨轉型，由於老舊建築的生活機能不佳、公共設施也不足，加上安全防災不齊全，所以民間和政府都積極參與都市更新，讓市容煥然一新。這不單只是硬體上拆除重建或建築翻新而已，而是要展現各地方獨特風格形式與魅力，進一步帶動經濟活力，提供下一波成長的競爭力，讓城市每個角落呈現更多創意的嶄新面貌。面對此一目的，本研究希望從此一方向進行探索性研究，探討在都市重生過程中，有時限的閒置空間如何再作利用，帶給企業或機關學校延展性的資源，產生競爭優勢，並且讓空間到期之後，還能順利讓空間重生，提供城市成長的競爭力。 關於再生空間，國內外均有許多實例以文創產業活化閒置空間的案例，但此類再生空間都是以永續經營發展為目標，對於有時限的空間再利用，則鮮少著墨，因此本研究希望了解(1)空間經營組織該如何以文創事業導入都市再生過程中的閒置土地? (2)以文創事業導入都市再生過程中的閒置土地再生空間樣貌為何? (3)空間經營組織在經營再生空間之後，如何建立核心資源?本研究藉由文獻次級資料與報章雜誌的回顧分析，並以都市再生空間為基礎發展出個案研究的基礎架構。選擇之代表研究對象為尚處初步階段的案例，包括城中藝術街區和127公店，希望透過本研究，能給台北都會區發展轉型實務與學術的發展。 本研究初步結論包括：(1) 各組織在動態網絡中，擷取彼此優勢，互賴繁衍生長。(2) 對於使用有年限的再生空間，文創事業不以一般營利為主要導向，給予產業更多靈感。(3)文創事業體的成長是空間經營組織的核心資源。本論文最後進一步提出實務上待克服之地方及後續研究上的建議。 / Due to poor life function of the old buildings, including shortage of public facilities, incomplete security disaster prevention system, and Taipei metropolitan area is force to face urban regeneration which is encouraged by local government and locals. As to the process of urban regeneration, this does not just demolish the old building or reconstruction on the renovation itself, but to show the form of local unique style and charm, to further promote economic vitality by providing growth competitiveness. Therefore, this study wants to be a base for following research in this topic. There are lots of examples of reusing vacant spaces among domestic and foreign countries, but the goal of managing these spaces is making them sustainable. As for reusing time-limited space, the discussion is not mentioned a lot. The purpose of this study is to understand (1) how do organizations that run the vacant spaces cooperate with culture creative industries during urban regeneration process? And what are their relations? (2) What are the space characteristics during culture and creative industry into urban regeneration process? (3) What are the benefits for the organization participating in urban regeneration, and how can the organizations build core resource such as core competence? Through reviewing of secondary data such as literature newspapers and magazines, this study derives the research structure. The cases of this study are still in the initial stage, including UrbanCore Arts Block and store no. 127. This study is hoping to give Taipei metropolitan area practical and academic development in urban regeneration process. The study finds: By cooperation with culture and creative business, companies and organizations learn to develop human resources as the main target. Also, as for time-limited space, cultural and creative business is not lean to consumer-oriented, but to give industry more inspiration. Finally, the growth of cultural creative business is also the core resource for the organizations that run the vacant space. In the end, this paper further proposes difficulties on local practice and recommendations on the follow-up study.