<p>Tanzania is one of the world’s poorest countries. But it has a lot to offer and in recent years both tourists and companies have realised this. This thesis focuses on the companies and takes a closer look at the growth performance and the inflow of Foreign Direct Investments (FDI) to Tanzania. By presenting a case on the cement industry in Tanzania the thesis also provide some insight in the mechanisms of FDI on a more practical level. The findings conclude that the FDI and growth have both increased extensively since the 1990’s, but I refrain from comments on the causality of this relationship. The economic reforms that the country underwent in the 1990’s are thought to have played a key role in the development of the country. From the case presented we draw the conclusion that a FDI can affect the value chain as well as the whole country in numerous ways.</p>

Tanzania is one of the world’s poorest countries. But it has a lot to offer and in recent years both tourists and companies have realised this. This thesis focuses on the companies and takes a closer look at the growth performance and the inflow of Foreign Direct Investments (FDI) to Tanzania. By presenting a case on the cement industry in Tanzania the thesis also provide some insight in the mechanisms of FDI on a more practical level. The findings conclude that the FDI and growth have both increased extensively since the 1990’s, but I refrain from comments on the causality of this relationship. The economic reforms that the country underwent in the 1990’s are thought to have played a key role in the development of the country. From the case presented we draw the conclusion that a FDI can affect the value chain as well as the whole country in numerous ways.

Abstract Facing the trend of globalization and new era of regional economy, corporations in the economical fact of ECFA are standing to embrace a whole new beginning for new economy age! The researcher currently works at VATM International Business Managerial Consulting Co., Ltd. and the company¡¦s major services are to provide consultation for financial and tax affairs, and operational management for executive officers. In her own professional development, from offering consultation as an accountant to executive management, operational strategies, and innovative concept, she realized that within the whole process of operational service, the use of time for decision making and abilities for information interpretation become the greatest operational issue that corporations need to face when tackling competition. It is also the most neglected ability that entrepreneurs must cultivate. A consultant from one perspective is to provide major resources for corporation operators¡¦ decision making and from another angle is to sustain the quality of information of corporations. The importance of a consultant is undeniable.In other words, the role of a consultant is not as the doctor of a corporation from the traditional viewpoint, but as the invisible chief staff and external inspector and mentor. The researcher believes that a consultant should take Entrepreneur-Schweitzer¡¦s perspective and face the problems of corporations from a humanist standpoint. The present study focuses on the psychological journey of launching a new business and self-reflection of an individual consultant. The study offers appropriate roles and positions a competent consultant should take. From the whole process of self-reflection and launch for an enterprise, the researcher suggests ¡§ManageAccountanize¡¨(business management accountanize)for consultation field as a concept for problem solving but not the idea of Balanced scored which the consultants use in general. In addition, this study also investigates the consulting industry value chain and knowledge value chain so as to approve the value of professional consultants. The researcher provides insights of the necessities of consultants including academic theoretical applications and establishment of consultation authority.

Nous essayons tout au long de cette thèse de lever le voile sur les aspects obscurs d’une industrie particulière, celle des médias, dans un pays à l’environnement politico-économique d’autant plus complexe : la Chine. Après avoir dans un premier temps défini la convergence des médias, nous verrons quelles sont les différentes formes que celle-ci peut prendre dans l’empire du milieu en comparaison avec les pays occidentaux puis nous expliquerons les raisons qui nous permettrons de comprendre en quoi il est tout à fait logique que la Chine prenne sa propre voie dans tous les domaines et en particulier celui des médias. Nous montrerons ensuite les influences que la convergence peut avoir sur une industrie en particulier : celle du cinéma ; comment tous les maillons de la chaine de valeur, depuis l’investissement jusqu’à la distribution en passant par la production, connaissent grâce à l’évolution des nouvelles technologies médiatiques et leur convergence, une révolution constante. A travers l’étude des lois et autres consignes censés réguler cette industrie, mais aussi des flux complexes que la Chine échange avec l’extérieur tout en essayant de les contrôler, nous montrerons en quoi les enjeux sont si importants dans ce marché en constante évolution. Nous présenterons les principaux acteurs de cette convergence en Chine en les comparant notamment avec le géant américain Netflix puis nous nous poserons la question suivante tout au long de ce travail : comment ces entreprises d’Internet transforment-elles la face du cinéma d’aujourd’hui ? / We will try all along this thesis to lift the veil on the vague aspects of a complex industry: medias, in a country with an even more complex political and economic environment: China. After defining de concept of media convergence, we will see what are its different forms in the Middle Kingdom in comparison with Western countries. We will explain the reasons why China is naturally taking its own path and not necessarily following the Western models, especially in the media industry. We will then show how the convergence influences one industry in particular: the film industry; how all the links of the value chain from investment to production and distribution are affected by the constant evolution of the new media technologies and how they merge with each other. By reviewing the different laws and other instructions that are supposed to rule the film media industry, but also by analyzing the complex flows between China and the rest of the world that the government tries to control, we will show how much is at stake in this huge market. We will present the main actors of this convergence in China comparing them particularly with the American giant Netflix. How these internet giants transform today’s film industry? This is the question we will try to answer all along this research.

Diploma Thesis called “Development of competitiveness of company” deals with Hotel Arigone*** precautions for the hotel competitiveness improvement. The precautions were designed after reviewing of analyses data and evaluation of surveys which were the base for SWOT analysis adjustment. These precautions include location utilization, environmental measures, event marketing and stay packages.

Each year, only around 10% of the produced films will go to theatrical release, and 90% of the produced films might be the missing jewels lost in time. In Taiwan, movie distributors will act as this filter role to find out those 10% films. In this case, we will introduce the basic knowledge of the industry and discuss the evaluation process of the distributors and at the end reaching our conclusions and suggestions.

近年來世界各國的電視產業均開始從類比邁向數位時代，然而有線電視數位化亦已成為其未來的發展趨勢，對於有線電視業者目前除積極提供原有的影音視訊服務外，也開始紛紛推出互動電視等進階服務。因此有線電視在數位化之後首先面臨的問題就是頻道數大幅增加，而要如何經營、如何提供多樣化的服務、及如何定價這些都將會是急待解決的問題。故本研究希望從經濟學的角度、互動數位有線電視整體產業的影響並考量消費者的利益，採用一個創新的方法「創意問題解決理論」(Theoria Resheneyva Isobretatelskehuh Zadach，TRIZ)來討論互動數位有線電視的定價策略。本研究主要研究目的希望以TRIZ的創新方法求出理想解，並建議未來互動電視之定價策略，提供政府政策做為未來訂定數位電視價格之參考。 本研究建議有線電視在進行互動數位電視發展時應針對不同的頻道服務採取不同的差別定價：對於免費收看的頻道可依據廣告播出的形式分為基本免費頻道與選擇性免費頻道，而付費頻道則可分為單一計價方式、組合計價方式與差別計價。對於法規政策本研究則建議取消費率上限原則、重新訂定節目廣告化與廣告節目化的認定原則與開放有線電視跨區經營的限制。 / In recent years, global television industry is moving from analog to digital era, and digitalization becomes a trend. The cable operators start to offer advanced services such as interactive televisions in addition to their existing video and audio services. Major issues facing the cable operators include how to operate their businesses, how to provide a variety of services, and how to justify their prices with the substantially increasing channels after digitalization. This study is to discuss the pricing strategy of the digital cable TV using an innovative method of “creative problem-solving theory”(Theoria Resheneyva Isobretatelskehuh Zadach,TRIZ) from the perspectives of economic development, industry, and consumers. We also recommend the pricing strategies for the digital cable TV industry and the government’s price policy based on the TRIZ results. This study suggests that the pricing policy for the digital cable TV industry is to offer different services with reasonable price discrimination. For example, free channels can be categorized into basic cable channels and optional cable channels with cable TV advertising. The pricing strategies for the pay channels are the fixing pricing strategy, product bundle pricing strategy, and differential pricing strategy. This study also suggests the authorities to make rate cap expiration, to re-regulate the advertising nature of programs and program-like television advertisings, and to cancel the limitation of the service area of the cable system.

數位科技雖然是政府與產業所體認的技術發展趨勢，各國政府也都積極以硬式導入或發展數位內容來逐步推廣，這些努力的確在社會大眾間引起很大的注意，但任何科技的推動皆須有賴市場的回饋才得以持續，所以在推展過程中，外在環境的角色，與企業內部策略的擬定都會對整體數位電視的價值鏈發展產生影響。因此當大家都把目光放在數位電視發展未來的遠景時，過程（Process）中的衝擊與契機卻是需要及早發掘與因應的。 本研究以「價值系統（產業價值鏈）」與「五力分析」為理論架構，套用於有線電視數位化過程，以發展出本研究研究架構，以此觀點蒐集相關資料、擬定問卷主軸與規劃訪問對象，然後分別從產業價值鏈來進行有線電視產業的內部分析，以五力分析來觀察外部環境態勢。 研究結果發現雖然研究中所觸及的相關組織或單位都對數位化抱有很大的期望，但彼此對數位化的認知卻是存在不同的歧異，因此本研究的分析與建議正可答覆業者這方面的遲疑與卻步。以本研究所聚焦的有線電視頻道經營者與系統業者來看，對頻道業者而言，未來發展與其說是朝向「數位內容產業」，更確切地說應該是新興「文化創意產業」的數位化，應該加入更多對社會與文化的認同與規範，如果還是落在「產業」的概念來推動，過多的政經角力最後將又是另一個畸形的電視生態；對系統業者，市場的接受度是科技發展的根本問題，對消費者的重視畢竟才是長遠發展的基礎，就算免費推廣機上盒，裝到每個家戶中，但真正的內容與營利模式才是必須審慎評估的，不然最終消費者與業者還只是執著於前段免費頻道的多少與質量，並沒有感受數位化的好處。 / Although the government and private industry regards digital technologies as mainstream in the future and in both the developed and developing countries digital television have been spread by the promotion of the digital receiver and content, the success of new technologies depends on the adoption and response of the market. External environment and internal strategies related with market both affect the development of digital television value chain. Then we should not only put emphasis on the vision of DTV, but also dig out the impact and moment to the industry and find the solution during the digitalization process. The analytic concept of this survey is based on Porter’s “industry value chain” and “five force analysis”, with which the framework of the dissertation combines cable digitalization. According to the framework, researcher searches and collects relevant data, sets up the questions and interviewees of in-depth interview, analyses the changes of cable television industry value chain and observes the transformation of competitive atmosphere. In the conclusion, different managers and authorities that have had expectation towards DTV possess different perspectives in digitalization because of the lack of understanding. So the suggestion and analysis caused by dissertation responds to the doubt and hesitation of the industries. As the cable channel operators, they need to transform into digitalized “cultural creative industry”, not “digital content industry”. The difference between both industries is the addition of the culture that imports more identification and features from society. Moreover, the channel operators should redefined as content provider fitting in with all the channels, like MOD, DTTV, DBS and so on. From the point of view of cable distributors, customer relation management (CRM) will be the most important and difficult work. The distributors need to find out how to communicate with consumer what the benefit of digital television is as soon as possible.

1989年起，對台灣零售產業發展是一巨大的變革，萬客隆、家樂福等量販店產業的崛起是最具備現代化改革的代表，2000年以後，福元批發倉儲等相繼退出量販店市場，2003年年初萬客隆的停業與高峰百貨2003年年底的跳票倒閉事件更令人震撼，藉由本產業分析的研究期望能對成功與失敗案例背後成因有更深入的了解。 本文中第一章主要說明研究動機、目的、架構與限制，並對部分學者提出的產業分析文獻做一番探討，藉此，突顯與本研究中「產業矩陣分析法」之差異。第二章對量販店產業的定義與其發展沿革做說明，由於量販店所販售的商品與超商、超市、專賣店、百貨公司與甚至傳統市場有所競爭，對於超商、超市、專賣店、百貨公司與傳統市場等本文將其界定為量販店之間接競爭相關產業，文中也做了簡略的介紹，在本章最後說明量販店產業經營時所面臨的種種困難。 「產業矩陣分析法」的應用在於對產業經營流程中所涉及的價值單元(value unit)從投入(input)到產出(output)的產業價值鏈做系統化的分析，第三章主要在界定量販店產業經營流程與產業價值鏈，並對產業中投入部分的價值單元與產出部分的價值單元給予適切的定義。企業的策略需要因應產業環境變化而做適度的調整。「產業矩陣分析法」是從個別企業的立場著手，將產業價值鏈與策略型態構面和產業型態構面交叉分析，透過產業矩陣的應用，將產業分析與策略分析結合，從中為自己所屬的企業找出最適宜之經營策略應是「產業矩陣分析法」之真正精髓所在。第四章是藉由「產業矩陣分析法」來分析台灣量販店產業特性，將量販店產業的產業背景資料一一呈現，就如同一幅產業空照圖，而個別量販店業者要以哪一種策略進入這個寶山，就看個別企業的本事了。 第五章為本文之總結，文中對量販店產業可能的發展趨勢與經營策略做一些整理，並對政府有關單位提出一些建議，也期望對台灣量販店產業的發展有些許的貢獻。 / Since 1989, the development of Taiwan’s retail industry has been through a dramatic transformation with Marko and Carrefour representing the most contemporary innovative changing Hypermarkets. From year 2000 onwards, Fu-Yuan warehouse subsequently disappeared from the Hypermarket industry. At the beginning of year 2003, the stopping of operation of Marko and the closing of Kao-Mart department store represented more shocking news. Therefore the purpose of this study is to conduct an analysis of the hypermarket industry in order to gain a deeper insight of the successful and failed cases of hypermarkets. The first chapter explains the motive , objective, structure and limitation of this study and also gives a brief discussion of the exiting literature of the analysis of the industry through which the uniqueness of “The analysis of the Industry Matrix” could be emphasized. The second chapter explains the definition of the hypermarket industry and the chronicle of the development of the industry. The products sold by convenient stores, supermarkets, department stores and traditional markets are similar to the products of those of the hypermarkets. Therefore convenient stores, supermarkets, department stores and traditional markets are regarded as indirect competitors of those of the hypermarkets .The definition of these above mentioned industries will also be explained. The later parts of this study explain the various difficulties that may be encountered during the operation of the hypermarkets. The main application of “The Industry Matrix Analysis Method” is to systematically analyze every value unit from input to output of the entire industry value chain. The third chapter mainly explains the operation procedure and the industry value chain of the hypermarket industry and also gives the appropriate definition of the input value units and output value units of the industry value chain. The strategies of a firm must be constantly reviewed and changed according to the changing in the industry environment. “The Industry Matrix Analysis Method” is based on individual firms and is used to analyze the strategy dimensional types and industry dimensional types crossly with the entire industry value chain. By means of“The Industry Matrix Analysis Method”, the industry and strategy analysis could then be combined to find out the most appropriate operation strategies of the firms. This is the core spirit of “The Industry Matrix Analysis Method”. The fourth chapter involves using the “The Industry Matrix Analysis Method”to analyze the characteristics of Taiwan’s hypermarket industry and to present the background information of the hypermarket industry as same as the industry’s bird’s eye perspective picture. Which strategies the firm will take and which firms may dominate the hypermarket industry market depending on their own competence. The last chapter includes the summary of this study. The possible future trend and appropriate operation strategies are summarized. Suggestions for the government are also included. The author expects that this study could make some useful contributions for the development of Taiwan’s hypermarket industry.

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.