After globalized division of labor, the upstream and downstream in industry have become more valued. Designing, advertising, and marketing are exactly the focus of cultural creative industries. The destruction of environment that comes with economic development also forces Chinese government to consider the environmental issue and transformation in industries: developing cultural creative industry to enhance the profit, which ensures sustainable development in economy. This study focus on how cultural creative industrial parks help the expansion of cultural creative industries in Shanghai. ¡§Tianzifang,¡¨ ¡§M50,¡¨ ¡§Red Town,¡¨ and "Bridge 8" are for example in terms of how cultural creative industrial parks ¡§innovate¡¨ and improve cultural productivity in Shanghai, helping the sustained and stable development in the industry. With the history of concession, Shanghai is the gateway to China. Researches show that this fusion of Chinese and Western culture is open, diverse and tolerant. The establishment of Shanghai cultural creative industrial parks builds the platform for exchange and interaction among culture, industry, and consumers. The parks are also capable of revitalizing the uniqueness in Shanghai culture, creating employment, and cultivating the cultural creative markets. The parks are customer-oriented at present, highlighting the hardware and entertainment venues, which disappoints the cultural creative workers. As the core of creative industries is in creative work, improving the working environment and meeting satisfaction of the enterprises and workers will be the matter in the future.

Abstract The economical pioneer of new era ¢w The cultural and creative industries become the chief pattern in New Economy. I take the example of ¡§bridal photography industry¡¨ which is deep into the Chinese culture, and still act as a role model after going through industry life cycle, to found a successful pattern for cultural and creative industries. The applications to the cultural and creative industries from the key success factors in bridal photography Industry are as follow¡G 1. The cluster effect is shown not only in the ¡§bridal photography street¡¨ but other kinds of cultural and creative industries. 2. The vertical and horizontal integration concepts in the wedding industryi chain can be applied to cultural and creative industries, it can create more production value for the firm ¢w for the cultural and creative enterprises, ¡§industrialization¡¨ is the key point, to make it work, the enterprises should dropped their preconceived ideas and cross their limitation, thus they could compete with each other under the developing process of industry. 3. Value-added application ¢w First--Differentiation¡Git makes the bridal photography industry become the specialty in Taiwan; Second--Duplication¡Xstandardization¡Bhigh level expression and module¡Gwhile considering the booming expansion, cultural and creative industries can learn from the concept of cost-down in mechanical industry, that is, make their product duplicable, come off the hand-made, and develop successful module; third ¡V Authorization. The original creation process of cultural and creative industries is extremely tough, if they can use the authorization well, then they should create more production value and influence. 4. The technology urged the industry to go for two extremes¡GThe very few artists standing on the top, and the main stream of industry which caters to trend; embracing technology is the best option when cultural and creative industries confront new era. 5. Open up the exporting and tourism markets. 6. The blue ocean strategy for individualization era ¡V The new consumption stage¡Gselling the wonderful lifestyle, customer-orientation¡Bemotional marketing¡Bsymbolic economic and luxury marketing; using the human resources well and creating high value-added. Other warnings are about the difficult financing policy, the over-supply after industrialization, the competitor after globalization and the extra pressure problems from social economic state. The cultural and creative enterprise and the industry should drop the preconceived ideas or take others to slightly, they should learn the advantages from each other¡GThe cultural and creative enterprise should emulate the concepts of standardization¡Bhigh level expression¡Bmodule or cost-down from industry, and the industry can observe the variation ability of duplication form The cultural and creative enterprise, and create high value-added by authorization.

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數位科技蓬勃發展所帶來的數位浪潮，無遠佛屆影響每個人生活與行為，重視與善用科技已是未來產業發展之重要趨勢之一，而文創業者如何因應變千萬化的數位環境，並藉藝術、人文與科技如何整合，並創造更多的能量，是本研究關心的話題。 本研究探討web2.0自2005年興起後至2012年3月七年間之數位科技新趨勢，對文創產業帶來的加值與影響，以內容分析法為主，個案研究法為輔，總共蒐集38個文創營運模式創新中英文個案，利用營運模式四大支柱—營運面、產品面、顧客面、收益面—作為交叉分析的依據，進而歸納出四大構面下，受科技所激發之文創營運模式創新行為(what)，此外並更進一步探究其中兩創新個案之轉型過程與經營策略(how)。 本研究共有下列幾點發現： 1. 營運面—數位科技驅使文創業者異業結盟或跨足科技領域經營/網路平台拉近產業上下游距離，造成合作夥伴改變/設計新思維/網路效率提高產品替換率。 2. 產品面—加深消費者體驗/融入趣味化元素/更豐富多元與實惠之產品/創造新型態藝術作品。 3. 顧客面—產品通路不斷創新/社群經營提高顧客互動性與黏著度/創造精準行銷新管道/行銷工具多媒體化並無所不在/開拓年輕新族群/服務升級。 4. 財務面—降低成本/改變內容業者獲利模式/延長產品生命週期，增加獲利能力/集體行銷，創造群聚效應/累積小眾市場，發揮長尾經濟。 欲成功藉科技之力成功推動轉型爭取競爭優勢，文創業者必須了解數位環境經營的特殊性、爭取上層支持、聆聽消費者聲音、保持獲利模式彈性，並搭乘科技轉型列車，不斷解決問題與創新。本研究希冀幫助文創業者深入了解數位科技所帶來之創新與加值，提供其在思考現狀突破以及數位時代下經營之參考。 / Rapid technology advancement brings overwhelming influences on people’s lives and behaviors in digital era. The use of technologies becomes more and more crucial to the development of business. The purpose of this study is to find out how companies in cultural and creative industries improve core competence by leveraging Information and Communication Technologies. This study focuses on latest ICT that is used within 7 years from the beginning of Web2.0 until March 2012. The study includes 38 business model innovation cases with content analysis as the primary research method, to conclude the influence of technologies on 4 business model pillars in cultural creative industry---Infrastructure, product, customer, finance. The thesis also delves into progress and insight of how two cases successfully transform business by using technologies. The finding shows that in order to transform successfully by leveraging ICT, company leaders need to understand the different requirements in digital business environment, to gain as much support from company superiors as possible, to listen to customers, to keep flexibility, and to keep solving problems. The purpose of this study is to help companies in cultural creative industry have better understanding of the digital environment, grab opportunities in time, and keep competitive edges in digital era.

本研究擬從個人空間體驗出發，從其角度研究松山文化創意園區空間實際所帶給進入空間的消費者體驗為何。期望藉由消費者的觀點，讓我們檢視個案的角度與發現較貼切、細緻解決問題的方式。進而可以針對現況提出建議與未來的方案參考。為回應上述的研究目的與問題，在研究方法上採取深度訪談與參與觀察法並行。本研究結果顯示，整體空間的利用與運用的感受是正面的。空間的規劃一次滿足不同消費者的需求與提供休憩地方。在空間的規劃是否適當上內容是主要決定因素。例如展覽性質與空間性質不符合、過於商業化。商業空間內容占用整體空間比例過高。其次，利用空間時，是否尊重空間本身歷史與原貌的態度。 在消費空間的佈局設計發現，整體園區中利用不同空間組合、搭配與混搭。創造出空間的層次與體驗。形成不同的消費空間形式。最後，消費者對於文化創意園區的期待與想像，對空間再利用抱持積極與正面的態度。可惜的是，對於松山文化創意園區所延伸出對文化創意產業的定位，與屬於我們的自身文化本質的討論是缺乏的。這也是未來可以再進一步深思研究的方向。 / This study is based on the personal spatial experience toward Songshan Cultural and Creative Park. From the consumers’ point of view, we depict and review the actual spatial experience, so as to find out more detailed and appropriate observations for space utility. It is hoped that this research finding can be used to make recommendations for the current situation and future modification. According to the above research object, the research methodology employs in-depth interview and participant observation at the same time. Major study findings are: 1.The overall experience of space usage is positive. 2.The space provides services and contents to meet different consumers’ needs. 3.The main concern of space evaluation depends on the space contents, for example, the feature of exhibitions is too commercial, and the proportion of space usage for the cultural related events is relatively low. 4.The space is designed for different functions and objectives and thus creates different forms of consumption space. Overall, the respondents have positive and proactive attitudes toward the Songshan Cultural and Creative Park space usage. However, we still need to keep in mind that, whether the true value behind the reused space reflects its cultural and historical contextual experience, is the subject to be pursued in the future.

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.

何以跨國出版公司，能夠在國際市場成功經營? 經研究了解，除了選擇尊重智財權的市場，還有多元運用經營模式，皆是發展無形『智慧財產』的必要條件。二次世界大戰之後，歐美跨國出版公司對於全世界『智慧財產權』的法律積極運作，唯有在智財權受法律保護的國家之下，出版業才有利可圖。舉亞洲為例，日本是最先響應智財權的法令推動的國家，戰後的日本受到重創，從廢墟中重新建立，新法律的推動，不僅重視本土的智慧財產權外，更重視對外來智慧財產權的保護。推出這樣的法案無異是送了一個很強的訊號給美國；歐英跨國出版公司陸續在日本建立亞洲分公司，以日本為跳板，開啟亞洲其他的市場。 至於台灣的早期的出版發展，可以追溯到70、80時期日治時代的出版事業（參考註一 ），直到90年代台灣經濟起飛，帶動國內多項產業蓬勃發展。當時台灣的商業人士拎著公事包在全球做生意，國際貿易成為時代顯學；其中在台灣世貿每年舉辦的『國際書展』吸引了無數的愛書人，擁擠的會場，不因出版業文化與語言地域限制而限縮，版權（翻印與翻譯）交易熱絡，堪稱亞洲排名第一；在1992智財權法的實行，促使所有不合法的翻譯，以及翻印書籍在1994年 『612大限』以前清空，從此台灣揚棄『海盜王國』的名稱。 研究者試圖提出如何突破台灣有限市場，進入國際市場，並借鏡跨國出版公司全球化運作之經營模式，強化在國際市場運作實力，達成企業成長的目標與海外國際市場經營發展。 本研究論文案例，舉用台灣市場中對國際化方面有經驗並多元發展的原創出版公司四家為例，以及一家跨國出版公司為輔，進行質化研究分析，深入訪談做成紀錄，並對照比較各家執行國際化的現況與模式運用，同時另外分析整理出適合國內出版業者，便於採用的國際市場擴展的經營模式矩陣。研究者希望對業者可以產生輔佐參考的功用。 然而研究的部分限制是，無法進行全面性的訪談個案或因為時間、空間與能力的限制等；最後，研究者提出三項作為未來研究參考，數位出版在近幾年因為電信、電訊、與IT資訊的整合運用，ㄧ是、出版業國際購併案例的研究；二是、如何將文創產業數位內容作更廣泛運用與實際的發展；三是、未來華語的學習熱潮，是否可以透過歐美跨國公司的經營模式，作為參考。 / Why does the international publishers can manage the international market successfully? Through the study we can understand not only the enforcement of the intellectual property (IP) law in place is important, but also the practice of various of business models . After World War II, international publishing companies were aggressively engaged in the implementation of intellectual property (IP) law, in order to provide regulation and protection to ensure their business profits in global market. In Asia, Japan was the first country to deploy specific law to protect both local and foreign businesses that involve intellectual property, for those who intended to expand their business into Asia. As a result of that, Japan became their first priority of choice to setup the overseas branches. The development of publishing industry in Taiwan could retrospect to the 70’s to 80’s, the period of time that Taiwan was under the reign of Japan. Given the economic booming in the 90’s, Taiwanese businessmen thus had the opportunities to extend their antennae all over the world. International trading gradually became important and prevailing ever since. This annual event , International Taipei Book Fair (TIBF), held by the World Trade Center in Taiwan, always attracts vibrant attendance from both international traders and end customers. The trading volume in copyrights at the TIBF is huge and considered as the number one in Asian book fair markets. The enforcement of IP law in Taiwan in 1992 was a key action that helped to eliminate Taiwan’s notoriety as a "Piracy Kingdom." Pursuant to such law, all illegal translations and unauthorized copies must be destroyed before the D-Day "612 deadline" in 1994. Since then, Taiwan has successfully turned over its long-haunted negative image in IP protection. The business models are cited and organized from the interviews of four domestic and one international publishing company. The comparison of each Business models has summarized as a comprehensive chart for deduced case analysis. This study is conducted by a qualitative research method with the information abridged form in-depth interviews. It elucidates the current operation and unique internationalization experience of each referred company. Following the analysis of the Business model, current study gives a full set of internationalization model matrix suitable for domestic publishers who are interested in business globalization to use as a practical reference. By drawing references and citing the business models from some of the major international publishers, the author is trying to make points of the strategic proposition and maneuvers on how to efficiently and successfully reach beyond the domestic market and be possessed of considerable shares in the competitive international market. The conclusion and suggestion drawn from current research are based on representative cases, yet expected to be able to precisely indicate the essence of business acquisitions internationalization in publishing industry first. To envision the prospects of publishing industry advocated by technology advances, the transformation of digital contents and its impact on the development of digital publishing have been outlined and proposed as well.