Relevant bibliographies by topics / Cultural Creative Industry Parks

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cultural Creative Industry Parks'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Cultural Creative Industry Parks"

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Chen, Xiang Nan, and Yang Shen. "Development Study on Cultural Creative Industrial Parks of Suzhou Central City." Applied Mechanics and Materials 507 (January 2014): 549–54. http://dx.doi.org/10.4028/www.scientific.net/amm.507.549.

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As an effective form gathering cultural creative industry development, cultural creative industrial parks develop rapidly in clusters in many cities. Creative industrial parks in Suzhou central urban area have experienced many development stages, and are dually influenced by ancient city protection and reduce the secondary industry and develop the third industry in the characteristic of spatial layout. Creative industrial parks show development characteristics that differentiate from the other cities. The author will take cultural creative industrial parks of Suzhou central city as a research object, and comb the spatial layout and development type of creative industrial parks as well as the problems encountered in order to provide strategies for optimization of Suzhou cultural creative industrial parks.
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Zheng, Jane. "NORMATIVE APPROACHES IN MAKING CULTURAL QUARTERS AND ASSESSMENT OF CREATIVE INDUSTRY PARKS IN SHANGHAI." JOURNAL OF ARCHITECTURE AND URBANISM 42, no. 2 (2018): 134–54. http://dx.doi.org/10.3846/jau.2018.6212.

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This article aims to synthesize the principles of making cultural quarters in literature and test their applicability in creative industry parks in the Chinese context. Extant literature on creative industry parks in China lacks an evaluation instrument for evaluating the performance of creative industry parks. This research reviews normative theories regarding cultural quarter making and identifies three approaches, namely the area-based approach in cultural quarter design, architectural design principles (tailored to cultural quarters), and a comprehensive framework that comprises three dimensions, i.e., activity, built form, and meaning. These normative approaches were applied to evaluate the quality of creative industry parks that emerged in Shanghai in the recent decade. Qualitative research methods, including on-site reconnaissance, observation, and interview, were adopted. The former two approaches revealed good design practices in Shanghai’s creative industry parks. A systematic evaluation of the said parks through a comparative study suggests significant disparity in the dimensions of architectural design and place making. Additionally, indicators of state support for micro and small creative industry companies and arts funding are less applicable in Shanghai. These findings reveal the role of the private sector in constructing a diversified creative environment which was previously enshrined by the state. With these outcomes, this research partially endorses the value of the normative theories to guide the practice of making and evaluating cultural quarters in the Chinese context.
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Qi, Quan-Song. "GRA and CRITIC Method for Intuitionistic Fuzzy Multiattribute Group Decision Making and Application to Development Potentiality Evaluation of Cultural and Creative Garden." Mathematical Problems in Engineering 2021 (July 8, 2021): 1–9. http://dx.doi.org/10.1155/2021/9957505.

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In recent years, cultural and creative industry park is becoming a kind of hot industry to promote industrial restructuring and to improve the quality of urban space. For this reason, cultural and creative industrial parks are planning to build across the country. Currently, cultural and creative industrial parks that develop better than others thank to the government’s overall planning, construction, marketing, and management. At the same time, the new cultural and creative industry parks face enormous challenges, such as how to have together the cultural and creative industries and related groups or how to have area cultural creativity. And it is frequently regarded as a multiattribute group decision-making (MAGDM) process. Thus, a novel MAGDM process is needed to tackle it. Depending on the conventional grey relational analysis (GRA) method and intuitionistic fuzzy sets (IFSs), this paper designs a novel intuitive distance-based IF-GRA method for development potentiality evaluation of cultural and creative garden. First of all, some necessary theories related to IFSs are briefly reviewed. In addition, since subjective randomness frequently exists in determining criteria weights, the weights of criteria are decided objectively by utilizing the CRITIC method. Afterwards, relying on novel distance measures between IFSs, the GRA method is extended to the IFSs to calculate assessment score of each alternative. Eventually, an application about development potentiality evaluation of cultural and creative garden and some comparative analysis is given. The results think that the designed method is useful for development potentiality evaluation of cultural and creative garden.
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Wang, Jici, Chun Zhang, Ching-Ning Wang, and Ping Chen. "Local Milieu in Developing China's Cultural and Creative Industry." International Journal of Asian Business and Information Management 1, no. 1 (2010): 10–22. http://dx.doi.org/10.4018/jabim.2010010102.

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This paper examines the role of creative milieu and cultural heritages in the development of Chinese cultural industry. Through case study of Beijing’s Nanluoguxiang, where several arts institutions and theaters concentrate, it depicts the birth and growth of a creative place for free artists in the institutional changing of Chinese cultural setting. Based on field survey data from artists, managers and visitors, it shows the spouting and growth of local creativities in a transitional economy needs atmosphere of tolerant and frequent social gathering, especially in spaces like cafes and bars. It also suggests that making a good use of local cultural and creative resources like heritages and folk customs enables the superiority of localization standing out in the wave of globalization. The key findings indicate that the newly-built creative parks might be useful to breed the creative products, but not necessary.
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Baker, Carissa. "Creating Cultural and Historical Imaginaries in Physical Space: Worldbuilding in Chinese Theme Parks." Southeast Asian Review of English 58, no. 1 (2021): 88–108. http://dx.doi.org/10.22452/sare.vol58no1.8.

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Theme parks are fascinating texts built on spatial narratives and detailed storyworlds. Worldbuilding and subcreation are literal in these spaces, but they likewise contain symbolic experiences that represent cultural and historical imaginaries. China is one of the largest markets in the global theme park industry. The design ethos in many parks is to represent fantasy versions of reality or depict cultural beliefs. This article offers analysis of examples in Chinese parks that signify simulated place or culture (for example, Splendid China’s parks), a romanticized historical time (the Songcheng parks), local stories (Sunac Land parks), and national cultural stories (the Fantawild Oriental Heritage model). Each of these spaces presents narratives and immersive environments that have the power to engage visitors on physical, sensual, conceptual, and emotional levels. They are second worlds to play in, imagine in, and to consume fantasy in while also providing a shifting model of theme park experience.
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Wang, Juan, and Jun Zhou. "Research on layout and construction performance of cultural and creative industry parks in Xihu District of Hangzhou." IOP Conference Series: Earth and Environmental Science 153 (May 2018): 062027. http://dx.doi.org/10.1088/1755-1315/153/6/062027.

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SERGEYEVA, Aigul, Aitolkyn TLEUBAYEVA, Miroslava OMIRZAKOVA та ін. "Сreation and Development of Ethnic Theme Parks in Kazakhstan". Journal of Environmental Management and Tourism 11, № 4 (2020): 829. http://dx.doi.org/10.14505//jemt.v11.4(44).06.

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Ethnic tourism is an integral part of cultural and educational tourism. One of the priorities in ethnic tourism is the creation of ethnic theme parks (ethnic parks). Namely ethnic parks allow to learn about the traditions and culture of various ethnic groups directly by immersion to the environment. In developed countries, ethnic parks have become highly profitable activities in the tourism industry. This article discusses the potential for the development of ethnic tourism and creation of ethnic parks in Kazakhstan. The main directions and problems of the development of this field of activity are revealed. Current state of ethnocultural centers of the Republic of Kazakhstan is analyzed. In particular, examples from foreign practice are given. Recommendations are given on factors restraining the development of ethnic tourism and the creation of ethnic parks in Kazakhstan, a model for the development of national cultural tourism is proposed.
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Хуснутдинова, Светлана, Svetlana Khusnutdinova, Мария Сафонова, and Mariya Safonova. "INTANGIBLE HERITAGE AS A SOCIAL FACTOR OF THE DEVELOPMENT OF URBAN AREAS IN A SERVICE ECONOMY." Service & Tourism: Current Challenges 10, no. 3 (2016): 18–25. http://dx.doi.org/10.12737/21094.

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The article is devoted to study the role of intangible cultural heritage in the development of modern urban areas. Modern cities are experiencing a transformational load associated with the transition from industry to the post-in- dustry – service industry comes on the place of the plants, and one of the leading sectors becomes tourism. Social and environmental factors on the one hand, reflect the general level of development of the city and, on the other hand, in a post-industrial economy are the main actors in the development of all areas, including city tourism. Intangible cultural heritage is seen as a social factor, the formation of which is related to the environment (natural- ecological spheres), and history of the city. Intangible cultural heritage serves as a catalyst for the creative economy and the events of the city, which in turn have a positive impact on city tourism. The city squares, streets, parks are becoming the immediate territorial areas, where the intangible cultural heritage are demonstrated to the citizens and tourists and their level of status, comfort and attractiveness depends largely on the implementation of the tourism potential of the intangible heritage. Cities skillfully combining the intangible heritage, creative industries, event and educational tourism receive an additional impulse for the development of city tourism and the whole economy of the city. The Republic of Tatarstan last decade is actively moving towards the formation of territorial attractive tourism product. Kazan has ranked among the leading cities of domestic tourism sector. Moreover, any tourism city is interested in attracting more tourists for longer periods, which is possible due to the diversity of the program in the city or region. Intangible cultural heritage can play an important role in solving this problem. In the article using the example of the three cities of the republic – Kazan, Chistopol and Elabuga – is shown as a combination of social factors, such as intangible cultural heritage, and natural factors can create an attractive tourism route. Publication of the article was supported by Russian Humanitarian Research Foundation and government of the Republic of Tatarstan as part of scientific project № 15–13–16004.
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ХУСНУТДИНОВА, Светлана, Svetlana KHUSNUTDINOVA, Юлия ЗАКИРОВА, and Yuliya ZAKIROVA. "CITY ENVIRONMENT AS A NECESSARY CONDITION FOR THE DEVELOPMENT OF ACTIVE LIFESTYLE AND ACTIVE TOURISM." Service & Tourism: Current Challenges 11, no. 3 (2017): 59–70. http://dx.doi.org/10.22412/1995-0411-2017-11-3-59-70.

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The article is devoted to the study of the possibilities and peculiarities of the city environment from the point of view of providing the necessary conditions for the active city lifestyle and active tourism. Cities are interested in the develop- ment of tourism, as an industry that actively attracts investments in the economy, creating a huge variety of workplaces and selfemployment, contributing to the growth of the tax base, preserving local uniqueness and historical and cultural heritage that stimulates creative industries. Obviously, it is impossible, and it is not necessary to create two different cities – “for tourists” and “for citizens”. It means that infrastructure, including transport, street network, cafes and restaurants, entertainment and shopping centers, parks and embankments are actively used by both citizens and tourists. Moreover tourists are attracted by the same objects and events that are in demand among local residents. Accordingly, the creation of a comfortable, safe, friendly city environment is a prerequisite for development, both in terms of improving the quality of life of citizens and attracting tourists. Cities are interested in diversifying the offer for tourist and should contribute to the formation of material and unmaterial factors for the active tourism development. Material factors include the corresponding infrastructure, high-quality ecological situation and a number of others. Unmaterial factors are formed on the basis of city culture, one of the values of which is the active way of life. Priority should be given to the development of the infrastructure of safe school routes, stimulating active modes of movement in the daily regime, creating accessible and safe areas for various sports and outdoor activities.
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Casadei, Patrizia, and Neil Lee. "Global cities, creative industries and their representation on social media: A micro-data analysis of Twitter data on the fashion industry." Environment and Planning A: Economy and Space 52, no. 6 (2020): 1195–220. http://dx.doi.org/10.1177/0308518x20901585.

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The creative and cultural industries form an important part of many urban economies, and the fashion industries are one of the exemplar creative industries. Because fashion is based on intangibles such as branding and reputation, it tends to have a two-way relationship with cities: urban areas market themselves through their fashion industry, while the fashion industry draws heavily on the representation of place. In this paper we investigate this interlinked relationship between the fashion industry and place in four of the major cities of global fashion – London, New York, Milan and Paris – using data from the social media platform Twitter. To do this, we draw upon a variety of computer-aided text analysis techniques – including cluster, correspondence and specificity analyses – to examine almost 100,000 tweets collected during the Spring–Summer fashion weeks of February and March 2018. We find considerable diversity in how these cities are represented. Milan and Paris are seen in terms of national fashion houses, artisanal production and traditional institutions such as galleries and exhibitions. New York is focused on media and entertainment, independent designers and a ‘buzzy’ social life. London is portrayed in the most diverse ways, with events, shopping, education, social movements, political issues and the royal family all prominent. In each case, the historical legacy and built environment form important parts of the city’s image. However, there is considerable diversity in representation. We argue that social media allow a more democratic view of the way cities are represented than other methodologies.
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Dissertations / Theses on the topic "Cultural Creative Industry Parks"

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Simon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.

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Zheng, Jie Jane. "Urban governance and "creative industry clusters" in Shanghai's urban development." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43085258.

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Dowlatyari, Marie. "The rouanet law: funding cultural projects or a creative industry in Brazil?" reponame:Repositório Institucional do FGV, 2017. http://hdl.handle.net/10438/19172.

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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)
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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.
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Ozimek, Anna Maria. "Videogame work in Poland investigating creative labour in a post-socialist cultural industry." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22074/.

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The Polish videogame industry has come a long way from its origins on the grey markets in the Polish People’s Republic to its recognition as a national speciality. However, in this atmosphere of celebration, and in the promise of securing its bright future from the government, there is one element rarely present in these discussions – the industry’s workforce. While video games that are developed, localised and tested in Poland are played by people all over the world, the working lives of the people who contribute to these games’ development are under- explored. This research investigates Polish videogame practitioners’ interpretations and negotiations of the risk associated with working in the Eastern European videogame industry. An investigation of working in the Polish videogame industry is not only a matter of discussing working practices and the unstable nature of being employed in videogame production but also about discussing the changes in approaches to work and cultural production in the context of a post-socialist country. This research is inspired by autonomist Marxism and neo-Foucauldian theoretical frameworks widely used in studies about creative labour (Gill and Pratt, 2008; McRobbie, 2016; Gill, 2011a; 2002; Scharff, 2018; Dyer-Witheford and de Peuter, 2009). Videogame practitioners’ approach to the risk associated with working in videogame production is conceptualised through a discussion of the construction and negotiation of entrepreneurial subjectivities. However, in this research, I acknowledge the limitations of these theoretical frameworks by addressing their deterministic stances in discussing creative workers’ subjectivities (e.g. Scharff, 2018). This study overcomes this limitation by drawing on alternative approaches in discussing workers’ subjective experiences of work (Hesmondhalgh and Baker, 2011; Banks et al. 2013; Taylor and Littleton, 2012).
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McRobbie, Angela. "Art world, rag trade or image industry? : a cultural sociology of British fashion design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/7359.

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This thesis argues that the distinctiveness of contemporary British fashion design can be attributed to the history of education in fashion design in the art schools, while the recent prominence and visibility is the result of the expansion of the fashion media. Fashion design had to struggle to achieve disciplinary status in the art schools. Tarnished by its associations with the gendered and low status practice of the dressmaking tradition, and then in the post war years, with the growth of mass culture and popular culture, fashion educators have emphasised the conceptual basis of fashion design. Young fashion designers graduating from art school and entering the world of work develop an occupational identity closer to that of fine artists. This is a not unrealistic strategy given the limited nature of employment opportunities in the commercial fashion sector. But as small scale cultural entrepreneurs relying on a selfemployed and freelance existence, the designers are thwarted in their ability to maintain a steady income by their lack of knowledge of production, sewing and the dressmaking tradition. The current network of urban `micro-economies' of fashion design are also the outcome of the enterprise culture of the 1980s. Trained to think of themselves primarily as creative individuals the designers are ill-equipped to develop a strategy of collaboration and association through which their activities might become more sustainable. While the fashion media has also played a key role in promoting fashion design since the early 1980s, they are overwhelmingly concerned with circulation figures. They produce fashion images which act as luxurious environments for attracting advertising revenue. Consequently they carry little or no coverage on issues relating to employment or livelihoods in fashion. But their workforce is also creative, casualised and freelance. In each case, these young workers are the product of the shift in the UK to an emergent form of cultural capitalism comprising of low pay and the intensification of labour in exchange for the reward of personal creativity. This current sociological investigation aims to open the debate on the potential for the future socialisation of creative labour.
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Ke, Ya-Ting, and 柯雅婷. "The Marketing Strategies Of Cultural And Creative Industrial Parks -With The Cultural And Creative Industry Park Of National Taiwan University Of Arts As An Example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/78697166426863940110.

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碩士
國立臺灣藝術大學
書畫藝術學系造形藝術碩士班
100
In the 21st century, the economy of cultural and creative industries has grown rapidly in many countries and has been eagerly promoted. As for government policies, "to cultivate high-quality innovative talent" and "to strengthen school and industry links" are two fundamental measures for policy development. In order to bridge the academic world and industry, National Taiwan University of Arts trains its students to be more competitive in the employment market, and also established the Cultural and Creative Industry Park. The Cultural and Creative Industry Park of National Taiwan University of Arts (CCIPNTUA) has been established for more than five years and is the only cultural and creative industrial park which is operated by a university. Though CCIPNTUA is a considerable achievement, it is in a difficult plight for the running; low revenue and small amount of consumption point out the problems in the marketing aspects of the park. Therefore, this study aims to explore cultural and creative industrial park marketing strategies based on the case of CCIPNTUA. There were in-depth interviews with 14 scholars, product manufacturers, and executives of the park. According to these interviews, there are two major points of focus. First, the market environments of the CCIPNTUA are listed. There are 8 strengths and 9 weaknesses in the internal environment, and, 8 opportunities and 5 threats in the external environment. Second, the marketing strategy of CCIPNTUA is divided into two stages. In developing the cultural and creative industrial park, the first stage is creativity-oriented marketing strategies and the second stage is consumer-oriented marketing strategies. The researcher pointed out 39 marketing strategies in the aspects of product, place, promotion, price, people, physical evidence and process. Finally, recommendations for schools, government, industry, and future researchers are proposed.
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Lin, Hou Chun, and 林厚君. "A Comparative Study on the Governance Models of Creative and Cultural Industry Parks in Taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/33672813753597244867.

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碩士
國立暨南國際大學
公共行政與政策學系
99
In 2002, the project “Challenge 2008─the Six-year National Development Plan” was proposed by the Executive Yuan. The Cultural and Creative Industry was listed in the one of six key emerging industries. For the first time in Taiwanese history the Cultural and Creative Industries Park is listed among the National Cultural Policy. Therefore, the five abandoned spaces was planned to Cultural and Creative Industries Park (there are Huashan Cultural and Creative Industries Park, Taichung Cultural and Creative Industries Park, Hualien Cultural and Creative Industries Park, Chiayi Cultural and Creative Industries Park, Tainan Cultural and Creative Industries Park), and to promote the beginning of Cultural and Creative Industries. However, Business models of Cultural and Creative Industries Park have a test now. Council for Cultural Affairs of the Executive Yuan let the five of Cultural and Creative Industries Parks to three kind of business units: Taiwan Cultural and Creative Development Company (Huashan Cultural and Creative Industries Park), Cultural Affairs Bureau of Chiayi City (Chiayi Cultural and Creative Industries Park), and Council for Cultural Affairs of the Executive Yuan (Taichung Cultural and Creative Industries Park, Hualien Cultural and Creative Industries Park, Tainan Cultural and Creative Industries Park). When Cultural and Creative Industries Parks operate, different operators for the imagination of cultural and creative industry park will be different. Therefore, I choose five of Cultural and Creative Industries Parks to be my study place, and study the different kind of governance models. According to the study, Cultural and Creative Industries Parks are developed for ten years, but the pace of development and the effect is not as good as imagined and expected. The reason is not only the problem of government funding, but also the law progressed at a slow pace, so that the investors and artists don’t know what to do. Also Council for Cultural Affairs let Cultural and Creative Industries Parks contracting out year by year. Although they hoped to raise the popularity of Cultural and Creative Industries Parks, but the development had always been to stay in situ. Thus it can be seen, whether hardware or software infrastructure should be a long-term plan, and give small and medium-sized enterprises help and subsidies by the law. It can make better and faster, and hope that stimulate the local economy and the development of the creative city.
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Fang, Fang, and 房芳. "A Paradigm Study of Cultural Governance in Cultural and Creative Industry Parks: A Comparative Analysis of Taipei and Nanjing Cases." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/bba77h.

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博士
元智大學
文化產業與文化政策博士學位學程
107
This study mainly discusses the comparison of the cultural governance paradigms of the cultural and creative industry park in the two sides of the Taiwan Straits. It is based on the theory of Cultural Governance. The paper proposes a governance paradigm: PCO View including Policy, Construction and Operation of cultural and creative industry Park based on the literature research of cultural governance of the cultural and creative industry park of cross-strait. After more than ten years of development, the cultural and creative industry park of cross-strait formed a scale and own characteristics. They have made a lot of contributions to the development of local economic and cultural prosperity. However there are some issues such as unclear positioning, over-commercialization, incomplete industrial chain, and cultural real estate. The economic, cultural, spatial and social functions of cultural and creative industry park have not been fully and effectively realized . The underlying reason behind it is the dilemma of cultural governance. This study takes Taipei Huashan Cultural and Creative Industry Park, Taipei Songshan Cultural and Creative Industry Park, Nanjing Chenguang 1865 Creative Industry Park and Nanjing Creative East 8 District as examples. In-depth interviews six types of policy stakeholders, including the government, cultural and creative industry park operators, stationed enterprises, non-profit organizations, consumers and surrounding communities, and it also includes related scholars. Then analyze and compare in the PCO View with the experience of respondents. The study found that both cultural and creative industry parks of cross-strait have problems such as vague positioning, low level of public service in cultural and creative industries, poor public-private partnerships, and lack of links with community. Taiwan can learn from the mainland's governance experience in government support policies, investment principles and industrial agglomeration. The mainland can learn from Taiwan's governance experience in consumer, non-profit organizations and public welfare in the park. Finally, the paper puts forward some research suggestions on the cultural governance for cultural and creative industry park of cross-strait, in order to solve the dilemma of the cultural governance in the cultural and creative industry parks, and realize the sustainable development of the cultural and creative parks of cross-strait.
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Chen-Mei-Tian and 陳美甜. "Analysis of Cluster Development for Cultural Industry - Taichung Creative and Cultural Park." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/52196311915909628179.

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Wang, Yang-Ming, and 王揚名. "A Study into Strategies of Industry and Academia Cooperation between Creative and Cultural Industry Parks and Universities: A Case Study on the Collaboration between Hua Shan Creative and Cultural Industry Park and the College of Design, National Taipei U." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/f6w4hc.

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碩士
國立臺北科技大學
建築與都市設計研究所
97
As one of the brainchildren from the “Coordination of the Cultural and Creative Industry Development Plan” that the Council for Cultural Affairs (CCA) put forth in 2003, Hua Shan Creative and Cultural Park is the first and the most discussed project of the five creative and cultural parks. Despite its increasingly important popularity to host art and cultural performances and exhibitions in greater Taipei area in recent years, the lack of explicit development prospect and the missing of permanent business installation impair the intensity of its influence on promoting entire creative and cultural industry. In view of the situation, this study intends to reflect on the experience of the collaborations of each of the five national and international industry parks with universities by applying method of comparative analysis and conducting comprehensive interviews. It is expected to pinpoint out factors that intervene the collaboration between parks and universities in relation with these facets: 1). preliminary guiding and planning on the part of the government; 2). development goal of the cooperated university; 3). corporate guidance from small and medium enterprises; 4). Central land expansion and infrastructure; 5). legislative stimulation and incentive policy; 6). University’s attitude and approval towards the industry and academia cooperation; 7). selection of industry park site; 8). integrated computing network system; 9). multi-cooperation model; 10). geological closeness with the university. Upon completing the inductive analysis over the real-case experience as well as integrating and analyzing data of current status, the study selects five units including industrial-educational circle, National Taipei University of Technology (NTUT), Hua Shan authority and official sector as its research target to carry out interviews in depth, with a focus on potential outcome of and sensible method for the industry academia cooperation between Hua Shan Park and NTUT. An induction based on the results of interviews proves the feasibility of applying industry academia cooperation on Hua Shan Industry Park. Finally, a SWOT analysis is applied on these inductive results of real-case experience and interviews to study and conclude comprehensive strategies for the target of the industry academia cooperation between Hua Shan Creative and Cultural Industry Park and College of Design, which can be subdivided into action plan of three stages: short-term, medium-term and long-term. The distinction of stages can refer to these suggestions: for short-term, the purpose of this stage is to set up positive interaction; to reach consensus and to foster interaction, i.e., to lay the foundation of cooperation. For medium-term, it is required to initiate cooperation in practice; to reinforce industrial-educational link; and to expand industrial-educational scope. For long-term, it is expected to build a cultural-creative industry network by means of regional integration; to set up industrial-educational organization in charge of coordinating distribution of industrial-educational resources and of sorting information updated from the marketplace; to enhance the influence of the Park in terms of concept and physical space; to connect and to put the governmental policies on cultural and creative industry into practice.
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Books on the topic "Cultural Creative Industry Parks"

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Yuan Yuan, Vivian. The Economic Logic of Chinese Cultural-Creative Industries Parks. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3540-6.

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1922-, Curtis Joseph E., ed. Creative management in recreation, parks, and leisure services. 6th ed. McGraw-Hill, 2000.

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Kraus, Richard G. Creative management in recreation, parks, and leisure services. 4th ed. Times Mirror/Mosby College Pub., 1986.

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Kraus, Richard G. Creative management in recreation, parks, and leisure services. 5th ed. Times Mirror/Mosby College Pub., 1990.

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Geometry, Studio. We Indonesians rule: A collection of inspiring stories behind the journey of the Indonesian creative industry. Studio Geometry, 2014.

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Hu dong xiu xian ruan jian chuang yi chan ye. Dong fang chu ban zhong xin, 2009.

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Mal'shina, Nataliya, and Andrey Garnov. Culture and creative industry: the control of flow processes. INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1158704.

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The cultural industry should become attractive for capital investment through the development of project activities, organizational and economic support mechanisms in the form of integrated structures, as well as through the development of mechanisms for its financing: multi-channel cultural financing systems and public-private partnerships that would create prerequisites for the emergence and implementation of new ideas and projects in the field of culture, contributing to its formation as a full-fledged source of state income. As a result of the implementation of this project, original new fundamental theoretical positions and empirical data in the field of the cultural and creative industries were obtained. The research focuses on the analysis of the fundamental foundations of the functioning of the cultural and creative industries, solves the scientific problems of evaluating its effectiveness and justifying the directions of support and financing, develops strategies and mechanisms for the development of the Russian cultural industry in accordance with the specifics and needs of regional economies. For a wide range of readers interested in the development of the cultural industry.
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Harrison, Rodney. Shared landscapes: Archaeologies of attachment and the pastoral industry in New South Wales. UNSW Press, 2004.

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Kenya. Ministry of State for Planning, National Development and Vision 2030. Infrastructure, Science, Technology and Innovations Directorate. Harnessing indigenous knowledge for sustained creative industry development: A case study of Nairobi Metropolitan Region (Machakos, Kajiado, Kiambu and Nairobi counties). Office of the Prime Minister, Ministry of State for Planning, National Development and Vision 2030, 2012.

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International perspectives on business innovation and disruption in the creative industries: Film, video and photography. Edward Elgar, 2014.

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Book chapters on the topic "Cultural Creative Industry Parks"

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Drummond, Fiona, and Jen Snowball. "Rural cultural and creative industry clustering." In Developing Creative Economies in Africa. Routledge, 2021. http://dx.doi.org/10.4324/9781003191681-8.

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Yecies, Brian, and Aegyung Shim. "South Korea’s creative industry markets." In Routledge Handbook of Cultural and Creative Industries in Asia. Routledge, 2018. http://dx.doi.org/10.4324/9781315660509-15.

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Chung, Pei-chi. "Revisiting Creative Industry Models for Game Industry Development in Southeast Asia." In Global Game Industries and Cultural Policy. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40760-9_7.

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Fung, Anthony. "Creative Industry and Cultural Policy in Asia Reconsidered." In Global Game Industries and Cultural Policy. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40760-9_2.

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Barreca, Manuela, and Marco Meneguzzo. "Promoting Collaboration Through Creative Networks: The Puglia Music Industry." In Cultural Initiatives for Sustainable Development. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65687-4_9.

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Sobande, Francesca. "Black Women’s Digital, Creative, and Cultural Industry Experiences." In Palgrave Studies in (Re)Presenting Gender. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46679-4_3.

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Yuan Yuan, Vivian. "Comparison of the Two Cases." In The Economic Logic of Chinese Cultural-Creative Industries Parks. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3540-6_6.

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Yuan Yuan, Vivian. "Research Implications and Conclusions." In The Economic Logic of Chinese Cultural-Creative Industries Parks. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3540-6_7.

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Yuan Yuan, Vivian. "Introduction." In The Economic Logic of Chinese Cultural-Creative Industries Parks. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3540-6_1.

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Yuan Yuan, Vivian. "Correlated Concepts and Theory Developments." In The Economic Logic of Chinese Cultural-Creative Industries Parks. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3540-6_2.

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Conference papers on the topic "Cultural Creative Industry Parks"

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Lin, Rungtai, and Chun-Liang Chen. "Constructing Service Innovation Model for Cultural and Creative Industries - A Case Study of NTUA Cultural and Creative Industry Park." In 2011 International Conference on Information Management, Innovation Management and Industrial Engineering (ICIII). IEEE, 2011. http://dx.doi.org/10.1109/iciii.2011.370.

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Liu, Qin-Liang, and Xue-Fang Xie. "Research on the Path of Innovation and Development of Urban Cultural and Creative Industry--A Case Study of 1933 Cultural and Creative Industry Park." In 3rd Annual International Conference on Management, Economics and Social Development (ICMESD 17). Atlantis Press, 2017. http://dx.doi.org/10.2991/icmesd-17.2017.7.

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Yuan, Jun, and Yanhong Liu. "Research on tourism development of cultural and creative industry park based on the network text analysis : A case study of dafen oil painting village in Shenzhen." In 2017 3rd International Conference on Information Management (ICIM). IEEE, 2017. http://dx.doi.org/10.1109/infoman.2017.7950343.

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Lin, Shuao. "Creative Industry: Cultural Production or Cultural Control?" In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.044.

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Chen, Yi-Wen. "Value creation in cultural and creative industry." In 2012 IEEE 3rd International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2012. http://dx.doi.org/10.1109/icsess.2012.6269521.

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Liu, Ying. "Basic Theory Study on Cultural Creative Industry." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.331.

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Qiu, Yue. "Research on risk of Beijing Cultural Creative Industry." In 2012 7th International Conference on System of Systems Engineering (SoSE). IEEE, 2012. http://dx.doi.org/10.1109/sysose.2012.6333585.

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Yin Qianliang. "Talking about design and cultural and creative industry." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375067.

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Zhang, Jian. "Creative-thinking about Lacquer Cultural Industry in Fuzhou." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.156.

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Zhang, Chenxi. "Hanfu Culture Network Creative Industry Research." In Proceedings of the 2019 International Conference on Economic Management and Cultural Industry (ICEMCI 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.191217.111.

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