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Brown, Adam. "Democratising popular culture : comparing and contrasting some cultural industries." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240742.
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Luca, Mariavittoria <1991>. ""Cultural and Creative Industries: the Role of Culture in the Economy"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10068.
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In the first chapter I will discuss the cultural industry making an historical overview, classification and analysis concerning the measurement methods related to it.
In the second chapter I will speak about the cultural attractors (museums, theaters) and how these drivers create new jobs.
In the third chapter instead I will consider the relationship between the creative and traditional industries.
The final chapter will be about the policy and the access to finance for the cultural and creative sectors.
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Chen, Zhi Jie. "A strategy for th development of China's cultural industries." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2285452.
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Renzulli, Carmine. "Il regime di diritto internazionale applicabile alle cultural industries." Doctoral thesis, Universita degli studi di Salerno, 2012. http://hdl.handle.net/10556/1288.
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2010 - 2011Il presente studio ha per oggetto il trattamento destinato alle opere culturali dei media nel quadro delle regole e dei principi che informano il diritto degli scambi commerciali in ambito internazionale ed europeo. I timori da molti manifestati circa le ripercussioni del processo di globalizzazione sociale, giuridica ed economica in atto sulle specificità e le tradizioni culturali locali, si amplificano e giungono al culmine quando si affrontano le politiche sul mercato dei media: in questo contesto, le trattative sul commercio e sugli investimenti si sono arenate sulla questione di una «eccezione culturale» che consentirebbe di rivolgere ai prodotti e ai servizi culturalmente rilevanti un trattamento differenziato rispetto alle altre categorie di beni o servizi, in virtù della convinzione che, per svilupparsi, la produzione culturale necessiti di un certo sostegno pubblico. Se, in diritto internazionale, la questione si è posta con tutta la sua problematicità al termine dell’Uruguay Round del 1994, con l’inserimento, tra le regole commerciali, di una clausola che escludeva il cinema e gli altri prodotti audiovisivi dalle norme adottate durante il negoziato, nel processo di integrazione europea l’esigenza di garantire la diversità culturale è destinata a scontrarsi con la spinta verso la realizzazione del mercato unico, che da sempre rappresenta una sua tematica propulsiva. Sul diverso versante della cooperazione in materia culturale, la Dichiarazione sulla diversità culturale promossa nel 2001 dall’UNESCO ha gettato le basi per una serie di iniziative internazionali le quali – volte ad incoraggiare la creazione di standard per la tutela della cultura nelle sue molteplici manifestazioni – sono culminate nel 2005, con la conclusione della Convenzione sulla protezione e la promozione della diversità delle espressioni culturali, primo strumento vincolante volto a garantire la diversità culturale. Nel tentativo di fornire una ricognizione generale sulle correlazioni che la produzione artistico-culturale dei media vive con il regime degli scambi commerciali, il lavoro sarà anzitutto orientato a comprendere, in via preliminare, quale sia il ruolo rivestito da tali opere nel più ampio contesto del patrimonio culturale. In tal senso, nel primo capitolo si osserverà come la nozione di cultural heritage si sia evoluta nel corso degli anni subendo un processo di progressivo ampliamento rispetto ai canoni classici, in cui i media vengono in considerazione in una prospettiva nuova e del tutto particolare, così come crescente è il rilievo assunto dalle imprese culturali (cultural industries) dei media, le quali si trovano oggi ad operare in un mercato globalizzato, cui fanno capo quote sostanziose di diritti di proprietà intellettuale e di cui non è agevole fornire una definizione valevole in ambito internazionale, anzitutto in virtù delle differenze sociali e normative esistenti tra gli Stati nel modo di concepire la produzione artistica. Nel corso del secondo capitolo sarà approfondita l’analisi dei rapporti tra mercato e cultura nell’ordinamento giuridico internazionale. In particolare, dopo aver analizzato in dettaglio la Convenzione sulla protezione e la promozione delle diversità delle espressioni culturali, si volgerà lo sguardo al regime degli scambi internazionali negoziato nell’ambito dell’OMC, valutando se l’articolato della Convenzione UNESCO del 2005 risulti idoneo, conformemente alle aspettative, a rappresentare un valido compromesso, per la produzione artistica dei media, tra esigenze commerciali e valori culturali. Il terzo capitolo sarà infine volto ad esaminare le relazioni intercorrenti tra mercato e cultura nel diritto dell’Unione Europea, dove le soluzioni raggiunte sono più interessanti grazie al maggior grado di integrazione tra gli Stati membri. In tale ambito, sono ancora diverse le deroghe concesse agli Stati membri dell’Unione in virtù di valori sovraordinati che possono dar luogo, tra le altre, alle restrizioni di cui all’art. 36 TFUE o alla compatibilità degli aiuti di Stato contemplati dall’art. 107 (3) TFUE. In entrambe le norme considerate, ricorrono le ipotesi di protezione e promozione della cultura tali da non incidere in misura eccessiva sullo sviluppo del libero scambio e della concorrenza tra imprese. Prescindendo dalla salvaguardia del patrimonio culturale stricto sensu, il lavoro intende complessivamente osservare – alla luce della normativa di riferimento e della giurisprudenza più significativa sul tema – entro quali limiti le imprese nazionali operanti nel settore dei media (editori librari e musicali, emittenti radiotelevisive, produttori cinematografici) possano legittimamente essere destinatarie di trattamenti privilegiati in ragione del loro status di «imprese culturali» e quando, viceversa, tali agevolazioni risultino contrastanti con i monolitici principi posti a tutela del libero mercato nell’attuale scenario globale. [a cura dell'autore]
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Yarabatioula, Jacob. "Industries culturelles et créatives au Burkina Faso. : Analyse des filières au prisme des politiques et des stratégies d'acteurs." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL018/document.
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Comment se construisent, se structurent et s’organisent les filières des industries culturelles et créatives au Burkina Faso ? Quel est leur niveau de développement ? Quels sont les défis actuels auxquels elles sont confrontées et quelles sont les stratégies des acteurs. Ce sont-là les questions que se propose de répondre notre travail de recherche.Le développement des industries culturelles au Burkina Faso est en marche depuis les indépendances et s’est accentué lors de ces dix dernières années. Cette dynamique connait des hauts et des bas au gré des circonstances (environnement), des acteurs et des politiques publiques. Malgré les efforts et les avancées dans le secteur, on note la faible industrialisation de la culture et le caractère dit embryonnaire des filières. Pendant ce temps les espoirs des acteurs placés en ces industries culturelles et créatives pour leurs capacités à créer des richesses et des emplois sont grands et relatifs. Les discours et les pratiques sont souvent contradictoires et les politiques publiques manquent de pragmatisme.Face à cette situation, couplée avec les mutations qui atteignent aujourd’hui les industries culturelles, notre travail s’est évertué à montrer l’état ou l’environnement dans lequel a évolué et évoluent actuellement l’industrialisation de la culture et comment les acteurs à chaque niveau des filières industrielles (Livre, Musique enregistrée, Cinéma et audiovisuel, Jeux vidéo) et des filières dites créatives (Mode et textile et Design & artisanat d’art) s’organisent et structurent leurs secteurs pour continuer d’exister dans un contexte d’ouverture, de mondialisation des œuvres artistiques et culturelles. Enfin, le travail se conclut en s’ouvrant sur les mutations actuelles qui caractérisent les filières industrielles de la culture, tant au niveau des facteurs de production que des stratégies des acteurs.Mots-clésIndustries culturelles ; Industries culturelles et créatives ; Développement culturel ; Filières ; Stratégies d’acteurs ; Politiques culturelles ; Politiques publiques ; Economie de la culture ; Economie politiqueHow are built, to structure and organize courses cultural industries and creative in Burkina Faso? What is their level of development? What are the current challenges they are facing and what are the strategies actors? These are just issues that sets out to answer our research work.The development of cultural industries in Burkina Faso is in operation since independence and has intensified over the past ten years. This dynamic knows the ups and downs depending on the circumstances (environment), actors and public policy.Despite the efforts and progress in the sector there is the low industrialization of culture and embryonic chains character. Meanwhile the hopes of the actors placed in them (cultural industries and creative) for their ability to create wealth and jobs are large and related. Discourses and practices are often contradictory and public policy lack of pragmatism.Faced with this situation, our work is striven is to show the State or the environment in which evolved and are currently changing the industrialization of culture and how the actors at each level of the streams industrial (Book, Music, Cinema and audiovisual, Video games) and the so-called creative industries (Fashion and textile design & Arts and crafts) are organized and structure their sectors to continue to exist in a context of openness, globalization of artistic and cultural works.Finally, the work closes by opening up the current changes that characterize the industrial sectors of culture both at the level of production factors in the strategies of the actors.KeywordsCultural industries ; Cultural and creative industries ; Cultural development ; Dies ; Stakeholder strategies ; Cultural policies ; Public policies ; Economy of culture ; Political economics
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Li, Chuang (Austin). "China's skateboarding youth culture as an emerging cultural industry." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34372.
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This thesis focuses on the skateboarding industry in China as both a youth subculture and a cultural industry. I am investigating the transition between the two and examining how the emerging skateboarding industry operates through detailed analysis of the feelings, motivations and meanings attributed to it by its participants and the emerging strata of cultural workers. In order to achieve this research objective, this thesis has positioned the analysis in a triangle of forces between the development of Chinese skateboarding culture, the emerging skateboarding cultural industry and government interventions. This ethnographic study takes into account distinctive characters in the development of Chinese skateboarding communities that signify continuities inside contemporary Chinese youth cultures. I argue that such continuity is still embedded in the organisation of the Chinese skateboarding industry as a cultural industry, in both subcultural and corporate entrepreneurial practices. Moreover, this thesis contributes to ongoing discussions in the field of not only cultural studies but also of the political economic analysis of cultural/creative industries by examining the dynamic incorporations at play between the commercial and governmental forces at the centre of current debate around the inclusion of skateboarding in the Olympic Games, and the consequences of the sportisation of skateboarding in mainstream economic structures. Last but not least, this research captures the working conditions of the cultural labourers who are at the forefront of shaping and reshaping the Chinese skateboarding industry.
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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.
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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective.
Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities.
This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap.
Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.published_or_final_version
Urban Planning and Design
Doctoral
Doctor of Philosophy
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Al-Khalifa, K. N. "Understanding the cultural constraints of TQM implementation in Qatar industries." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508644.
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Tams, Elly. "The gendering of work in Sheffield's Cultural Industries Quarter (CIQ)." Thesis, Sheffield Hallam University, 2003. http://shura.shu.ac.uk/5442/.
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Cultural and creative activities have been part of life since the earliest periods of human history. Their meanings and roles in society have changed over time and have been interpreted in a variety of ways by different groups of people around the world. In this thesis, I focus on the 'creative industries', a term that has only become prominent in the UK since the late 1990s, in national economic and cultural policy, and in arts and social inclusion literature. Although a lot has been written on the important role of the creative industries in the economic growth of cities, regions and the nation, there has been very little research conducted on the subject of work in the creative industries, and even less on gender and work. Thus I aim to build upon a small area of literature, by focusing on the gendering of work in the context of Sheffield's Cultural Industries Quarter, an area that houses numerous creative industries organizations. The study is based on a social constructionist epistemology. In my research I have been concerned with, and involved in, sense-making practices within creative industries discourse, including policy documents, conference proceedings and the accounts of participants that I interviewed in Sheffield's CIQ. Taking a social constructionist approach to gender means that in the thesis I present gender, not as something we inherently are, but as something that is accomplished through social interaction. The research is also informed by feminist and post-Marxist theories. The thesis focuses on two key aspects of gender at work in creative industries discourse. The first relates to the way in which the creative industries have been constructed and presented as pioneers of the 'new economy'. Creative industries policy literature uses terms such as 'enterprise', 'innovation' and 'creativity' to emphasize the economic role of the creative industries. I show how the discourse of the new economy is based on individualistic ideologies which mean that arguments and campaigns for gender equality and other aspects of social equity are undermined. The discourse of the new economy promotes a version of the ideal worker-the entrepreneur. I examine how the entrepreneur is constructed in policy literature, at conferences and through interview talk, as the archetypal individual with certain personality traits. I demonstrate that the model of the creative entrepreneur is a masculinized one, that combines with gender divisions at work and in the domestic sphere to maintain and reproduce gender inequalities in creative industries work. The second aspect of the gendering of work in the creative industries that I examine is the accounts of people working in Sheffield's CIQ. In particular I examine how they account for gender divisions and inequalities at work. I argue that the people I interviewed tended to justify gender divisions at work using a number of discursive practices. These practices draw on gendered discourses and thus contribute to maintaining and reproducing gender inequality. I also explore the examples in the accounts of resistance to gender inequality. The thesis is based on interdisciplinary research, which draws on sociology, psychology, cultural and urban studies. The aim is for the thesis to be a useful addition to critical writing on gender and work, the creative industries and enterprise culture.
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Nasta, Luigi. "Team dynamics and technology impact on creative and cultural industries." Doctoral thesis, Luiss Guido Carli, 2017. http://hdl.handle.net/11385/201146.
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The creative economy has become a powerful transformative driving force in the world. Its potential for development is vast and waiting to be totally unlocked. It represents one of the most rapidly growing sectors of the world economy, not just in terms of income generation but also for job creation and export earnings. For these reasons, an increasing interest on the contexts of creative and cultural industries has emerged in the last years and, since human creativity and innovation, at both the individual level and group level, are the key drivers of these industries, they have attracted the attention of numerous researchers who started investigating these phenomena.
Therefore, the aim of this dissertation is to contribute to this stream of research by investigating two sectors belonging to the CCI: music and visual arts. Specifically, the first part of this thesis will be focused on the analysis of the music industry and the effects that diverse teams might have on the performances achieved. I will discuss how characteristics of the group can serve to either enhance or constrain engagement in creative processes, the development of creative outcomes, and ultimately project performance. The second part of this dissertation will instead shift the attention to cultural industries, specifically visual arts, to investigate the controversial effects that technology might have on the dynamics of this sector. Indeed, since technological innovations and digitization have hit old and new economic sectors pervasively, it is important to investigate the attitude to change of the people already in the sector to understand if they will resist the change or operate in favour of it. As a matter of fact, these individuals can consider technology as a chance to reshape and empower their role or, on the contrary, they might not be able to redefine their role in the new technology-driven competitive scenario, and they may feel threatened of being replaced by technological innovation.
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Yu, Wing-mei, and 余詠薇. "Adaptive re-use of urban industrial heritage buildings for cultural and creative industries in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47092944.
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Since 1997, Hong Kong as an international financial center has experienced several financial storms. Whenever it was in the storm, the Government found reliance on finance and real estate unreliable and sought the need to diversify its economic mode. However, as soon as the storm was over, the Government forgot the need and continues to focus on financial development.
In 2009, in view of the international financial crisis, the Chief Executive (CE) identified 6 priority industries as the new growth drives to propel Hong Kong towards a knowledge-based economy. In parallel, the Policy Address 2009 endorsed the Government would take “appropriate policies to remove obstacles to their development” (para.21) and “examine whether the existing use of resources can support the new economic structure, and to prevent the factors of production from being tied up by outdated policies and economic structure.” (para.22) Subsequently, CE suggested that diversified development should be a strategic move to achieve sustainable economic growth.
To utilize the land resources for the 6 industries? development, the Government launches 4 measures to release the potential of 1000 industrial buildings. Its intention is good. Yet, the result will be much better if there are cohesive policy and measures to synchronize the needs and the strengths of the industries. Among the 6 priority industries to utilize the industrial land, this dissertation targets primarily on cultural and creative industries (CCI) which may collaborate with other industries, such as education and tourism to develop cultural tourism and an education center with a view to forming a CCI park in a post-industrial area.
This dissertation divides itself into three. The first part evaluates CCI, urban industrial heritage buildings and their combination; the second examines 4 local case studies, Cattle Depot, JCCAC, Fotan and LoftStage as well as 6 Shanghai ones. The third and final part devises a preliminary but innovative model of how to develop a post-industrial area into a sustainable CCI park with various potentials and resources concerted in Hong Kong.published_or_final_version
Conservation
Master
Master of Science in Conservation
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De, Beukelaer Christiaan Michael. "From cultural development to culture for development : the music industries in Burkina Faso and Ghana." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/11437/.
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The creative economy discourse now informs both cultural and development policies around the world. Virtually every country now uses the concept in politics, policy, advocacy, and practice. My aim is to show what this uptake means in conceptual and empirical terms. Through an ethnography of the music industries in Burkina Faso and Ghana I explore the changing meaning and position of ‘culture’ in cultural and development policies in both countries. How does the creative economy discourse help the pursuit human development, if at all? What does this discourse mean precisely? And, most importantly, what should it mean to develop cultural industries? Overall, my dissertation frames this issue broadly and narrowly. The narrow focus is on the situation in Ouagadougou and Accra, capital cities of respectively Burkina Faso and Ghana. The particularities of these countries serve as examples to simultaneously build and illustrate the argument. Yet, the scope extends well beyond this: the aim at large is to ask questions that can be asked beyond these countries. Even though they may yield different answers around the world, I hope they will help to critically understand and use the hegemonic creative economy discourse. The originality of my dissertation work is threefold. First, I link cultural policy studies with critical development studies. I do this by connecting cultural industries to the human development approach of Amartya Sen and Martha Nussbaum by exploring the link with ‘capabilities.’ Second, I provide empirical insight in the particularities of the music industries in Burkina Faso and Ghana, as both countries are nearly ab-sent from the literature. Third, I provide a theoretical framework to rethink the way cultural and creative industries can be inscribed in cultural policies and development plans by including the cultural and historical palimpsest of existing practices that both enables and limits change.
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Costantini, Stéphane. "Les industries de la musique au prisme des acteurs de l’intermédiation numérique : une analyse des logiques socio-économiques et des pratiques communicationnelles des musiciens." Thesis, Paris 13, 2014. http://www.theses.fr/2014PA131013.
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Depuis les années 2000, l’émergence de nouveaux acteurs issus des industries de lacommunication a été suivie de profonds bouleversements au sein des industries de la musique. L’hypothèse développée dans cette recherche suggère que, par l’intermédiaire d’un mouvement d’influence réciproque des musiciens et des acteurs de la musique, s’opère un déplacement vers la création du centre de gravité de l'industrialisation de la musique. L’adaptation des logiques socioéconomiques des musiciens, en phase avec les stratégies industrielles des acteurs de l’intermédiation numérique, indique la montée en importance des dimensions de rationalisation et d’idéologisation au sein des mondes de la musique. La démarche méthodologique adoptée s’appuie sur une analyse des discours et des pratiques socio-économiques des musiciens, au moyen d’une série d’entretiens semi-directifs réalisés en France et au Royaume-Uni. Les résultats de ces analyses mettent notamment en lumière chez les « musiciens connectés » étudiés, la disparité des pratiques, des compétences et des représentations à l’égard des activités de diffusion et de communication sur internet. Les disparités de ces pratiques font alors ressortir les enjeux relatifs à la construction de la figure contemporaine du musicien. Mots-clés : théories des industries culturelles, industries de la musique, industries de la communication, internet, Web 2.0, genres musicaux, pratiques communicationnelles, compétences, représentations sociales, rock, musiques électroniques, France, Royaume-UniSince the 2000s and the emergence of new players from the communication industries, profound changes have occurred within the music industry. The hypothesis developed in this research suggests that, following a movement of mutual influence between musicians and economic players, there has been a shift in emphasis towards the industrialization of music, which is now concerning the creation itself. The adaptation of the musicians’ socio-economic logics, in line with the industrial strategies of the actors of the digital world, indicates the growing importance of rationalization and ideologization in the music worlds. The methodological approach is based on the analysis of discourses and socio-economic practices of musicians, using semi-structured interviews made in France and the United Kingdom. The results of these analyses highlights the the great disparity of the practices, skills and representations of these ‘connected musicians’, with regard to dissemination and communication activities on the internet. These practices’ disparities outlines the issues relating to the construction of the musician’s contemporary figure
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Tsai, Hui-Ju. "Creative industries policy in Taiwan : the effects of neoliberal reform." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36207.
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Since 2002 Taiwan has transformed its cultural policy, following the lead of the UK's creative industry discourse in particular and neoliberal policy regimes in general. This thesis investigates the processes through which neoliberal thinking shaped changing cultural policy and the impact this has had on cultural workers and practices in Taiwan s cultural landscape. I examined policy making documents and interviewed a range of involved actors, including government officials and cultural workers to learn more about the policy process and its impact. The research argues that the creative economy has heavily influenced the development of cultural policy discourse and generally failed to promote the public interest in Taiwan. The results of neoliberalisation have been embodied in several salient characteristics such as the privatisation of public space, marketisation of public subsidy and investment, commercialisation of higher education, and flexibilisation of cultural labour market. I argue that cultural policy needs to be reshaped to represent the public interests and diversity of our cultural landscape.
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Chen, Xiaolu. "China’s Cultural Industries in the Face of Trade Liberalization: An Analytical Framework for China’s Cultural Policy." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253553429.
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Flipo, Céline. "A matter of taste : A deep dive into assessing creativity." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLH010/document.
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Cette thèse étudie la phase d’évaluation de la créativité, ses antécédents et ses effets. Dans le premier article, j’étudie l’impact de la culture sur le processus d’évaluation de la créativité, posant la question de la manière dont la créativité est évaluée dans différentes cultures. L’étude inductive des versions française et américaine de Top Chef, un concours destiné aux cuisiniers professionnels, révèle des différences culturelles frappantes à la fois dans les processus d'évaluation et dans la fréquence et la valence des critères. Dans le deuxième chapitre de cette thèse, je tente d'expliquer le mécanisme derrière l'un des prismes majeurs par lequel les évaluateurs forment leur jugement concernant la créativité, à savoir le statut du créateur. Je soutiens que l’effet du statut du créateur sur l’évaluation de sa créativité diffère en fonction de son identité de spécialiste ou de généraliste. J’émets l'hypothèse et obtiens confirmation par une étude empirique longitudinale du contexte de la haute cuisine américaine que le statut du créateur n'est bénéfique à son évaluation de la créativité que lorsque le créateur a une identité de spécialiste. Enfin, dans la troisième partie de cette thèse, je me focalise sur la créativité en équipe et développe un modèle théorique où le processus d'évaluation explique pourquoi les équipes ne sont pas toujours un terrain propice à la créativité. Je propose de distinguer conceptuellement les différents processus d'évaluation et d'étudier leur impact respectif sur la capacité de l'équipe à sélectionner son idée la plus créative en vue de son applicationThe objective of the present dissertation is to gain a better understanding of how people assess creativity, and of the antecedents and outcomes of this creativity assessment process. In the first essay, I address the question of how people in different cultures assess creativity. In an inductive study of the French and US versions of Top Chef, a professional chefs’ competition, striking cultural differences emerge both in the moves used at each step of the assessment process and in the frequency and valence of the criteria. In the second part of this dissertation, I focus on the cues upon which evaluators rely to assess creativity. In particular, I disentangle the mechanism underlying the relationship between the creator’s status and the evaluation of his or her creativity. I develop the role of a specialist identity and argue for a complementary effect with the creator’s status. I hypothesize and find evidence that the creator’s status is only beneficial for his creativity evaluation when he has a specialist identity. Finally, in the third part of the dissertation, I focus on team creativity and develop a theoretical model where the assessment process provides an explanation as for why teams are not always the breeding ground for creativity. I propose to conceptually distinguish between different team assessment processes and to explore their respective impact on team’s ability to select its most creative idea for further implementation
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Ali, Ahmad Bilal. "Économie créative, spécialisation internationale et tourisme." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20035/document.
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L’émergence du nouveau concept de l’économie créative, qui constitue désormais une part importante dans les flux d’échanges commerciaux à l’échelle internationale, a profité à de nombreux pays de tous les niveaux économiques. L’essor des industries créatives a fortement influencé la production par la formation de clusters de compétitivité. Cette situation se révèle être favorable au développement et à la diversification des biens et des services créatifs notamment pour les petites et moyennes entreprises. L’économie créative peut être expliquée par les théories de la spécialisation internationale en particulier du point de vue des échanges de services et du tourisme. Ainsi, le développement des industries créatives constitue une véritable opportunité de spécialisation internationale touristique basée sur un processus d’innovation culturelle et soutenue par une transformation de la demande touristique. Cette innovation, fondée sur la créativité, engendre une forte valeur ajoutée pour les biens et les services créatifs, ainsi que des avantages absolus qui ouvrent une nouvelle voie de développement pour les pays les moins avancés, pour conquérir les marchés d’exportation et réduire la pauvretéThe emergence of the new concept of the creative economy, which is now an important part of international trade flows, has benefited countries of all economic levels. The rise of creative industries has strongly influenced production through the formation of competitiveness clusters. This situation is proving to be conducive to the development and diversification of creative goods and services, particularly for small and medium firms. The creative economy can be explained by theories of international specialization in particular from the point of view of services trade and tourism. Thus, the development of these creative industries constitutes a genuine opportunity for international tourism specialization based on a process of cultural innovation and sustained by a transformation of tourism demand. This innovation, based on creativity, creates high added value for creative goods and services as well as absolute advantages, which opens up a new development path for the least developed countries to conquer export markets and reduce poverty
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Maddah, Lina. "Essays on Cultural and Creative Industries: Clustering, Location and Employment Growth." Doctoral thesis, Universitat Rovira i Virgili, 2021. http://hdl.handle.net/10803/671553.
Full textAbstract:
Aquesta tesi contribueix al debat contemporani sobre el paper econòmic de les Indústries Culturals i Creatives (ICCs).
En primer lloc, la tesi analitza l'impacte de l'especialització en les ICCs sobre el creixement total de l'ocupació entre el
2001 i el 2011 a nivell local, a Catalunya. Partint d'una especificació OLS i després aplicant una regressió quantílica
(QR), els resultats revelen que l'especialització en algunes ICCs impulsa l'ocupació, però només per als municipis
d'alt creixement (en termes d'ocupació). En segon lloc, la tesi investiga a fons l'Àrea Urbana Funcional de Barcelona
(AUFB), pel que fa referència a les pautes de clusterització de les ICCs, mitjançant un mètode SaTScan, la qual cosa
suposa una innovació en aquest àmbit. Els principals resultats suggereixen que les empreses de les ICCs tendeixen a
agrupar-se, especialment a les zones centrals o urbanes. No obstant això, hi ha divergències en les preferències de
les empreses en funció del tipus de coneixement que aquestes fan servir i es destaca el paper de les àrees
perifèriques. En tercer lloc, la tesi ajuda a desenvolupar una imatge més completa dels efectes de les ICCs investigant
si l'existència d'un clúster d'ICCs pot modular les decisions de localització de les empreses a l'AUFBEsta tesis contribuye al debate contemporáneo sobre el papel económico de las Industrias Culturales y Creativas (ICCs). En primer lugar, la tesis analiza el impacto de la especialización en las ICCs en el crecimiento total del empleo entre el 2001 y el 2011 a nivel local, en Cataluña. Partiendo de una especificación OLS y luego aplicando una regresión quantílica (QR), los resultado revelan que la especialización en algunas ICCs impulsa el empleo, pero sólo para los municipios de alto crecimiento (en términos de empleo). En segundo lugar, la tesis investiga en profundidad el Área Urbana Funcional de Barcelona (AUFB), por lo que se refiere a las pautas de clusterización de las ICCs, utilizando un método SaTScan, lo que supone una innovación en este campo. Los principales resultados sugieren que las empresas de ICCs tienden a agruparse espacialmente, sobretodo en áreas centrales o urbanas. Aún así, hay diferencias en las preferencias locacionales de las empresas en función del tipo de conocimiento que éstas utilizan y se destaca el papel de las áreas periféricas. En tercer lugar, la tesis ayuda a desarrollar una imagen más completa de los efectos de las ICCs mediante la investigación de si la existencia de un clúster de ICCs puede modular las decisiones de localización de las empresas en la AUFB
This thesis contributes to the contemporary discussion on the economic role of CCIs. First, the thesis explores the impact of specialization in CCIs on total employment growth between 2001 and 2011 at a local level in Catalonia. Departing from a baseline OLS specification and then applying a Quantile Regression (QR), findings reveal that specialization in some CCIs boosts employment but only for high-growth municipalities (in terms of employment). Second, the thesis investigates the Functional Urban Area of Barcelona (FUAB) more closely, in terms of clustering patterns of CCIs using a SaTScan method which is a novelty in the investigation of industrial agglomeration. The main results suggest that CCIs firms tend to cluster, especially in core or urban areas. Still, there are diffences in the preferences of firms based on their knowledge bases and the role of periphery areas is highlighted. Within the context of cluster lifecycle, the findings identify emerging and mature clusters between 2009 and 2017. This is a novel finding from cluster lifecycle analysis that can have profound policy implications. Third, the thesis helps to develop a more complete picture of the effects of CCIs by investigating whether the existence of a CCIs cluster can modulate the location decisions of firms (CCIs and Non-CCIs) in FUAB
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Garvizu, Nicolas. "Cool Japan : the relationships between the state and the cultural industries." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16405/.
Full textAbstract:
This thesis fills a gap in the literature on the state-business relations in Japan by examining the relationships between the state and the cultural industries (anime, manga, and video games), a topic that is under-investigated. The concept of the developmental state is used to analyze the Cool Japan policy that the government implements to promote the expansion abroad of the Japanese cultural industries, and to study the reactions of anime studios, manga publishers and video games companies to this policy. Cool Japan testifies that developmentalism is still alive in Japan. Neoliberalism and the globalization process have not caused the demise of the Japanese developmental state, illustrating its adaptation to a new context. The government still assumes that it has a role to play in order to ensure the competitiveness of the domestic economy by conducting industrial policies such as Cool Japan. The Japanese authorities have institutional links with the sectors covered in this research, in particular with their business associations, and a relative degree of autonomy. These are characteristics of a developmental state. This doctoral dissertation offers evidence that Cool Japan is another case of the sectionalism of the Japanese bureaucracy. A very large number of state actors is involved in this policy, thereby raising the issue of the collaboration between them. The main gap identified is about the timing of the Cool Japan policy. Indeed the anime, manga and video games industries started the exports of their products before the implementation of this policy. Before the 2000s, the government ignored them because bureaucrats deemed that they were not profitable and unworthy of their interest. These sectors reject state intervention in their products if they receive a financial assistance.
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Conefrey, Carmel. "Creative rural places : a study of cultural industries in Stroud, UK." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/24003/.
Full textAbstract:
This thesis explores how different geographical places and space shape the way cultural industries work. In a departure from much of the existing literature, this study focuses on rurally based industries. In particular, it seeks to identify the ways in which and the extent to which a rural setting shapes the workings of rurally based cultural industries. A rural focus will help to broaden the intellectual knowledge base and adds to an emerging body of economic geography inspired study that is looking to refocus the cultural industries research agenda away from a pre-occupation with cities. The rural dimension is examined through a study of visual arts and crafts industries in the Stroud District, Gloucestershire, UK. The empirical phase was steered by the notion of the production system and the analytical lenses of spatial organisation, relationships and place. Mixed methods were used to generate qualitative and quantitative data and in the case of the latter, included personal network data. The empirical phase was sequential, leading with an on-line questionnaire for individual practitioners, followed by a set of semi-structured interviews with actors from the range of processes that comprise the visual arts and crafts production system. The Stroud study challenges the notion that cultural industries are quintessentially city phenomena. Of the three analytical lenses, the place dimension proved particularly potent for understanding the Stroud Case. The findings show a place based community of practitioners and a number of art businesses, some of national repute, and an active cultural infrastructure - networked principally through inter-personal relationships. A rural dimension was evident in terms of the scale of activity, the functioning of the local milieu and particular perceptions towards cultural products produced by rurally based practitioners. The impact of the rural setting was not experienced uniformly but was contingent on the status of the practitioner and the visual arts and crafts discipline practised. The analysis has practical implications for policy developers particularly at a local authority level.
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Bruck, Chelsea S. (Chelsea Shibley). "Historic mills and cultural industries : a two-pronged approach to revitalization." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123945.
Full textAbstract:
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Thesis: M.C.P., Massachusetts Institute of Technology, Department of Urban Studies and Planning, 2019
Cataloged from student-submitted PDF version of thesis. Vita.
Includes bibliographical references (pages 91-99).
Decades past deindustrialization, former industrial centers across Massachusetts are committed to preserving and transforming historic mills. A variety of adaptive reuse projects spearheaded by cities and redevelopers alike have contribute anew to the area's diminished economy. Yet many mill towns and cities are still grappling with the question of how, exactly, to reanimate these massive buildings. At the same time, arts and culture-related strategies for economic development have continued to gain ground both locally and abroad. While artists have been known to gravitate towards deteriorating industrial building stock for its relative affordability and unique physical characteristics, planners and policy makers can also strategically support the development and sustainability of cultural facilities in historic mills as part of culture-led regeneration efforts. This thesis addresses the relationship between historic preservation and the cultivation of cultural industries. Drawing upon six case studies of arts and cultureƯfocused adaptive reuse in Lowell and Lawrence, Massachusetts, this study identifies the variety of challenges mill redevelopers face in creating cultural facilities and the range of strategies they deploy to achieve success. It also addresses the role of local government as a critical supporter of these types of projects, and derives lessons for city officials, developers, and other local stakeholders on how to advance the complementary goals of historic preservation, support of cultural industries, and economic and community revitaiization. This paper argues that the adaptive reuse of historic mills and cultural industry development are complementary strategies for economic and community revitalization that city officials should actively pursue by establishing plans, policies, and programs to facilitate the redevelopment of these industrial and historic landmarks.
by Chelsea S. Bruck.
M.C.P.
M.C.P. Massachusetts Institute of Technology, Department of Urban Studies and Planning
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Viktoriya, Pisotska. "Management of Tensions and Paradoxes in the Cultural & Creative Industries." Doctoral thesis, Luiss Guido Carli, 2022. https://hdl.handle.net/11385/222478.
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Tensions in cultural & creative industries: a consolidating review and framework. How entrepreneurial practices balance art and business: insights into creative entrepreneurship in the European film industry. Project governance and owner organizational identity: the Venice Biennale case. The COVID-19 pandemic, cultural work and resilience: “The Darkest Hour Is Just Before Dawn”.
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Lacey, Danielle. "Communicating effectively across the cultural barrier : a cross-cultural study of the Sydney and Atlanta hotel industries." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/649.
Full textAbstract:
This study aimed to look at the importance of cultural awareness across the hospitality industry as a whole and the industry's response to this issue. The research set out three hypotheses based on one main research question. The research question postulated was: What guest services are Sydney and Atlanta hoteliers providing to meet the needs of guests from different cultural backgrounds? The research was carried out using a descriptive qualitative research design, additionally a cross-sectional time frame was used. The research was conducted within the hotel population in Atlanta, Georgia, United States of America, and in Sydney, New South Wales. Australia. The research was completed through the use of a mail-questionnaire, however there was a relatively small sample size and a low response rate. The average hotel that responded to the questionnaires were three star properties located in the city centre or suburbs with an average of one hundred rooms, and an average occupancy rule of between sixty and eighty percent over the previous twelve months. The data was analysed using SPSS to calculate frequency distribution and percentages. Cross- tabulations. Chi-square tests, and correlations. The analysed data showed that hoteliers ranked the issue of cultural awareness as important to the hospitality industry, thus hypothesis one was accepted. However further analysis showed that hoteliers' beliefs are not affected by the grade of the property to which they are attached. The analysed data showed that even though the majority of hoteliers provided less than four of the listed facilities to their guests, there was a positive relationship between the perceived importance of cultural awareness by hoteliers and the level of the facilities that are provided by the hoteliers, and therefore hypothesis two can be accepted. Furthermore the data revealed that there is no relationship between the star grading that a hotel has achieved and the level of facilities that they provide. The third hypothesis related to the training and/or incentives that hoteliers provided to staff in the area of foreign language or cultural awareness training. Initial analysis showed that the majority of hoteliers provided limited training or incentives to their staff. Further correlation analysis indicated that there is a strong relationship between the importance of cultural awareness and the training/incentives that are available to employees. A final analysis showed that the perceived importance of cultural awareness had a greater impact on training/incentives for Atlanta hoteliers than with Sydney hoteliers. Consequently hypothesis three can be accepted as there is a positive correlation between the level of ascribed importance assigned by hoteliers to the cultural awareness issue and the range of culturally sensitive training that is provided 10 employees. Thus the study found that while hoteliers believe the issue of cultural awareness is Important, the training they have available and their facilities provisions do not reflect this. This has major implications for the universities and colleges that provide hospitality management courses.
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Garcia-Lorenzo, Luica. "Cultural transitions : organisational change and its impact in culture." Thesis, London School of Economics and Political Science (University of London), 2001. http://etheses.lse.ac.uk/120/.
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This thesis explores, from a cultural perspective, the organisational change process resulting from a string of take-overs within Blazehard, a tyre manufacturing company in Spain. It looks at the effects of these changes in the way people reconstruct the organisation and their role as its employees through the stories they share. The first part of the thesis elaborates on the uses of culture as a conceptual tool for observing organisations and, especially, on the need to account for the complementary processes of continuity and change in social experience. The thesis proposes historical recollections, as cultural manifestations, as a vehicle that reproduces and challenges a cultural order through their reproduction and generation within that order. They articulate a space where the new and the uncertain can be made safe through their integration into the traditional and the known, thereby providing possibilities for permanence and security as well as for innovation. The research combines different methods of data gathering - interviews, documents and group discussions - and of analysis - narratives and discourses to facilitate the exploration of both the commonalties and the diverse interests and perspectives existing among Blazehard employees. The exploration of the stories shows how they compose a collectively reproduced narrative that guides -and therefore constrains- employees' historical recollections. This referential narrative is the vehicle through which people reproduce but also challenge their cultural order in the organisation. As such, storytelling is presented as the constant process of reformulation that opens possibilities for individual development within the cultural constraints that the organisation imposes on its members. The results suggest when people try to make sense of a change situation both turn to their own experiential resources and use the symbols that their cultural environment provides. It is in the tension between the two, that the conditions of fluidity and ambiguity required for a cultural transition can be created.
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Dymek, Mikolaj. "Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation." Doctoral thesis, KTH, Industriell ekonomi och organisation (Avd.), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-13084.
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The video game industry has in three decades gone from a garage hobby to a global multi-billion euro media industry that challenges the significantly older and established cultural industries. After decades of explosive growth the industry surprisingly finds itself in a crisis – in terms of sales, future trajectories and creative paradigms. The global gaming culture receives substantial attention from society, media and academia – but the industry itself appears in comparison as an enigmatic terra incognita with astonishingly little dedicated research. This thesis aims to amend this situation by presenting a study at the cross-section of the video game industry, game studies, literary theory, cultural industries and business studies. It deals with the following question: how does the global game industry relate to its own product, in terms of communication and media dimensions, and what are the (business) consequences, in terms of production, strategy and commercial/creative innovation, of this relationship? This study’s departure point is constituted by a comprehensive description of the industry’s structure, dynamics and processes, based on extensive interviews with industry professionals. It is followed by an examination and comparison of the game industry with other media/cultural industries in relation to their economy and business dynamics. With inconclusive answers regarding the medium-industry relation, this study proceeds by exploring literary theories from the field of game studies, in order to gain insights into the dynamics of medium and industry. Literary theories from ludology and narratology provide rewarding perspectives on this inquiry, since it is found that the ontological dichotomy of simulation vs. respresentation present in the interpretational realm of the game medium is also reflected in the industry and its dynamics. This has pivotal consequences for the analysis of the game industry. This study concludes by positing the current critical condition of the industry as an extremely decisive moment in its history: will it become a truly universal mass-medium, or will it continue down its subcultural path? Subcultural “interactive cinema” meets mass-cultural media of simulation – how will the industry evolve?QC20100708
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Chang, Che-Jung, and 張哲榮. "Take Cultural Creative Industries to Discuss The Cultural Industries in Tam-sui." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/dj6acp.
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碩士國立臺北藝術大學
建築與文化資產研究所
100
ABSTRACT Tamsui has become one of the most important tourist towns in Taiwan due to the successful development and transformation of tourist attractions including Fisherman’s Wharf, Old Street and Historic Park in recent years. In addition, the growth of Cultural and Creative Industry has also gradually turned into the primary objective of life culture in the most of the countries since the 20th century. Actually, the Tamsui Historic Sites and Township Office have cooperated and devoted to the Old Street peripheral culture, the space and the multi-dimensional development of industry. They takes “The Creative City” as the main goal to implement the policies including the management of historical park, the introduction of artistic industry and plan of cultural creativity industry park and so on. However, the concept of Cultural and Creative Industry just starts and is immature in Taiwan, so it is essential to respect the recognition of the local community and to refer to the successful cases in the past during the process of the government investment. This research executes mainly from the views of cultural industry and community empowering with applying the creative city development theory to investigate and interview the official agency and community actor whose strive to promote the operation and improvement of local industry, and then takes the local culture industry of Tamsui Old Street as spindle to analyze the various sides of culture, creative and industry of town and provide the strategies for integration of community development on purpose of the demand of local culture industry, and finally further discusses suitable suggestions for the basis of sustainable management of the community culture industry.
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Chien, Chia-Wei, and 簡嘉緯. "Mazu Culture Study on Cultural and Creative Industries." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09228433154217640884.
Full textAbstract:
碩士明道大學
設計學院碩士班
98
In recent years, the concept of “cultural creativity” has been become more popular around the world. The Executive Yuan of Republic of China proposed that ‘’challenges 2008: the plan of the national development becomes the main strategy “from 2002. Furthermore, it proposed that “cultural and creative industries” takes a major development industry and with the positive concept of the industry chin to redefine the value of the cultural industry. In addition, it look forward to the accumulation of culture and creativity, creative, cultural and economic could acquired the new structure by the formation and utilization of Intellectual Property, to develop the industry with the international prospect. However, the development and impact of the concept of cultural and creative, With the Mazu belief in cultural representation of Taiwan culture response to this trend which generate a great impact on commercialization of festivals, the development of Matsu product and the development of religion in industrial. Therefore, the concept of cultural and creative industries has become more popular. Nowadays, there are a wide variety of Mazu culture products which enrich the local culture.
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Chiao-Huei, Wu, and 吳巧惠. "Establishing the Visual image of Cultural and Creative Industries Park- HuaShan 1914 Cultural and Creative Industries Park." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/11089344246184792122.
Full textAbstract:
碩士國立臺灣師範大學
設計研究所
99
The establishment of the cultural and creative industries park has been carried out in European and American countries for many years. According to the development of policy in recent years, our government proposes the plan to establish cultural and creative industries park, in order to complete the environment for developing cultural and creative industries. Nowadays, many cultural and creative industries parks base on the reusing of inactive land and buildings and focus on the space planning and using. The visual image and identity system should combine with the local cultural characteristics, and let people recognize, understand and has the emotion. This research focuses on establishing visual image and identity system for cultural and creative industries park, and find out the character of visual image and identity to improve the communication of visual image and the representation of design. And through literature review, case studies and design practice to discuss and verify, we could import the brand concept into the identity system, and use identity system to promote the visual image. The main conclusions are as follows: (1) The purpose of cultural and creative industries park is through the integration of resources and efficient administrative support to create a space, providing research, education, performances and rest. (2) Most of culture and creative industries parks in Taiwan reuse the inactive land and buildings, and expect to retain the traces of history. But the visual identity is still hard to associate with the local cultural characteristics. (3) Based on literature review, case studies and design practice to discuss and verify, the framework of establishing visual image and identity system is divided into plan and design two stages. (4) It’s the most effective and direct way to communicate through the process of visualization, and people can recognize, understand and has the emotion from the planning and management of identity system. (5) The factors used in identity system of cultural and creative industries park can be divided into standard letters, Logo, and standard color, and derivate to identity signs, direction signs, location signs, buildings signs, symbols, map and street furniture. (6) The visual image of the cultural and creative industries park should have full planning from space, moving route and identity system to keep the cultural image and establish uniform style.
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Mao-Bin, Chih, and 池茂賓. "A research for the potential of cultural and creative industries in urban development-cultural facilities industries as example." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/29603080194392270105.
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Mei-hui, Cai, and 蔡美慧. "The Operating Strategies of Taiwan Glass Industries and the Development Cultural Industries." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/74245250898658468227.
Full textAbstract:
碩士大葉大學
設計暨藝術學院碩士在職專班
101
ABSTRACT In 1990s, Taiwan small and medium enterprises have run away, but the TMG Enterprise Ltd. insisted on staying in Taiwan, to integrate the relative glass industries, to carry on the specialized division, to establish the Taiwan glass team. This research wants to understand how the TMG Enterprise Ltd. condensed the trust of the glass industries, and how to promote the formation of glass team, and summarizes the cooperative behaviors of the glass team and the efforts for the development of cultural industries of the TMG Enterprise Ltd. The study was used the qualitative interviews for the data collection and analysis, and the conclusions are following： 1. The TMG Enterprise Ltd. has been managed by three generations, although it had experienced the enterprises running away in 1990s, still insisted that if the enterprise had wanted everlasting operation, it had to stay in Taiwan. 2. Mr. Lin had a special growth environment, and has participated in the affairs of the temples for a long time, and was the leader in different domains, so his innovative thoughts promoted the formation of the glass team. 3. The TMG Enterprise Ltd. condensed the trust of the glass industries successfully, and the cooperative industries already had more than 130. 4. Taiwan Glass Gallery which promotes the industrial economy is not only a spiritual target of the Taiwan glass team but also a stage of the Taiwan glass industries and the artists. 5. The glass Matsu temple which promotes the religious scientific instruments（Tech） is not only the largest glass sample in the world but also the various shows of the industrial economics, the industrial technologies, the cultural industries, the electronic technologies and the nature conservation. 6. The glass team puts into the industrial upgrading, lets the industrial culture as the target, adds many local cultures into the glass, and models the local cultural characteristics. Key Words: The glass team, Operating strategies, Developments of cultural industries
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Chang, Ke-Hsiung, and 張克雄. "Consumption Context of Cultural Economy－ The Study on Cultural Industries Innovation Strategies." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/84612416183703243868.
Full textAbstract:
碩士輔仁大學
織品服裝學系
98
We can experience the different cultures of a variety of styles but are equally attractive refined products with the global deployment of a large multinational. Apart from the professional products industry design capability, we understand tacitly the slight element of the cultural content of the deep and the depth .It all triggered by consumption of energy, but also bring considerable benefits for the enterprise. The discussion on cultural industries, control a number of works from different angles, the analysis of cultural industries whether from an aesthetic style, creativity, knowledge, experience, post-materialism, hedonism etc. All kinds of interpretation and description are valid, and these theories or points of view of common logic, that is, describe the patterns of consumption social. But there are also some bizarre phenomenon exists in cultural industries, that is, products or services follow the aesthetic style in accordance with the logic of the development might have a chance to succeed because it conforms to the modern consumer demand. But there are two hidden truth must be noted: In accordance with these the principle of creating products does not guarantee success, in addition, the violation of these logical products does not necessarily fail. Therefore, this study attempts to the consumer awareness as a starting point, to the actual products as a tool, to the aesthetic style as the drive, to provide different analysis of perspectives, and one by one to view the cultural and industrial cooperation of operation with the perfect combination of hard to glimpse known appearance and connotation.
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YANG, WEI-ZHONG, and 楊為中. "Devlopment Strategy of Cultural Creative Industries Under the Tujia Traditional Culture Sharing." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rt3h7y.
Full textAbstract:
碩士國立雲林科技大學
設計學研究所
105
The changes in the times and the rapid economic development, while raising people’s living standards, bring crisis and pressure to the traditional industrial structure and culture of minorities. The youths from minorities areas go to cities for life and work successively, which aggravates the aging trend of the heirs of minority traditional culture, together with the high-speed transmission of and influences from foreign culture, the minority traditional culture conversation is in a severe situation. In the contemporary era where the competition in countries’ comprehensive national strength is increasingly fiercer, cultural development also becomes an important force in international competition; China strengthens the development of the cultural creative industry, and this injects vitality into the cultural conservation work, and the importance of traditional culture is also the consensus of more and more people. Based on it, the research takes Changyang Tujia Autonomous County as the research object, aims to deeply discuss about the forms of traditional culture sharing and the influences on the recognition of cultural creative industry from the Tujia residents, also analyzes the applicable development strategies for the cultural creative industry under the Tujia traditional culture sharing, offers suggestions for Tujia culture conservation and innovation, provide more definite guidance for the sustainable development of Tujia areas, and makes Tujia culture mutually beneficial and co-exist with other culture, and be more competitive and viable.
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Ching, Ku Pei, and 古珮菁. "The Transformation of Conventional Industries to Cultural Creative Industries-Case of Miaoli County." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/92185952867806996253.
Full textAbstract:
碩士國立聯合大學
資訊與社會研究所
101
Taiwan conventional industry played an important role in the economic development in the past, but it has been gradually losing superiority due to the impact of globalization. The circumstances caused many small enterprises to face a crisis and resulted in closing the business. Then the industrial transformation takes place to change its management style to cope with new environment changes for the purpose of sustaining business. This study aimed to understand the process of transformation of conventional industries, experiences and ideas they have gone through, specifically focused on some conventional industries successfully transformed to cultural and creative industries in Miaoli. The study explored how they dealt with the pressure, frustrations in the beginning of the transformation as well as their strategies and management approaches in the latter development. This study carried in a qualitative approach by using case studies and semi-structured interviews. Three stores were selected to examine their transformation process: Ya Siang Bao and Mao Siang Tan Fang in Sanyi, and Ba Ba Keng Dao in Sanwon. The results of the study revealed several important findings. First, the reason for conventional industries to transform due to the market environment changes and conventional culture sustenance. Second, the government, folk cultural and educational organizations have provided many supports to make a smooth transition. Third, the frequent challenges they encountered was lacking of manpower, and craft technical experts in the transformation process. In addition, facing of limited crowds in the early stage, mostly depends on the support and advertisement from the government and the media to increase their visibilities. Lastly, after the transformation, how to maintain competitiveness in the future, these businessmen try to establish a good interaction with visitors as their ultimate goal, hopefully, maintain cultural heritage mission will be passed on.
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Low, Harold, and 劉漢良. "The Acquisition of Art Cultural Industries by Technological Industries:A Case Study in Taiwan." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/23892528889854817152.
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碩士國立清華大學
高階經營管理碩士在職專班
97
Based on statistics compiled by Yuanta Securities, there has been a total number of 763 corporate mergers & acquisitions in Taiwan from year 2002 to 2006, accumulating a total amount around NT342 billion. Therefore, in the foreseeable future, Taiwan’s economy will enter into an era of corporate transformation, and mergers & acquisitions is a natural consequence of that transformation. Many factors influence the decision for companies to merge, most of which involve companies within the same industry sector. However, there have been very few attempts for conglomerate mergers in Taiwan’s corporate history. As such, this paper attempts to use the case study of a conglomerate merger between technology and art cultural sector, and investigate whether the interactions, conflicts and stimulus that occur during the integration process can produce a repeatable model similar to that of a standard merger within the same industry. Since the subject of the case study is still on-going, many synergies are yet to be realized. Management from the acquiring company is still in process of discovery and adjustment. Therefore, the synergistic effects of the first conglomerate merger case in Taiwan cannot be documented at this moment. However, the interaction and conflict that occur among the people during the preparation and actual merger stage can act as benchmark for future conglomerate merger considerations. It is desired that this study continue in time for follow-on investigation and analysis (such as financial performance, cultural integration and organizational efficiency), the reference value of this study will be more complete. Also, the interviews carried out in this case study focused on senior management, therefore it is limited in both number and level. Interviews with middle management and first line employees were supplementary. If the study can be extended to customers from both companies, the reference value of this study can be further enhanced.
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Weng, Li-Shan, and 翁儷珊. "An Analysis of Experiential Marketing in Cultural and Creative Industries-Using Traditional Cultural Industries of Taiwan and Japan as Examples." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/68777745437458795616.
Full textAbstract:
碩士銘傳大學
國際事務研究所碩士班
101
Under the trend of globalization, competition between industries is deteriorated into a bitter quarrel. What enterprises in Taiwan have to face is the double pressure of competition, and this situation is also become a test for traditional cultural industries in Taiwan. They have to understand its features and combine their features with economic and art, and use the creation in life to develop into culture and creative industries. Culture and creative industries can make their products and even the whole country more competitive. On the other hand, a successful culture and creative industry is affected by the marketing strategies. Nowadays, the most popular marketing strategy is experiential marketing, which is presented by Schmitt, who is a professor in University of Columbia. Compare the experiential marketing with traditional marketing, experiential marketing focus on customers’ feeling and experience. And its Strategic Experiential Module provides Sense, Feel, Think, Act and Relate five items, using these items can not only touch customers’ feelings, but also can be success in marketing. This study uses traditional cultural industries of Japan and Taiwan as examples. Using Strategic Experiential Module to make the comparison of advantages and disadvantages between Japan and Taiwan examples, and give some suggestions for culture and creative industries of Taiwan. The result of this study found out that due to the success in experiential marketing, Japan also succeed in culture and creative industries, on the other hand, Taiwan is just had its first step for experiential marketing; Taiwan should keep developing the Strategic Experiential Module to achieve the goal of success in culture and creative industries. This study aims to culture and creative industries of Taiwan make some suggestions such as: culture and creative industries need to develop its creation, products should be attractive and culture and creative industries of Taiwan should emphasize the connection between culture and creative industries itself and people as conclusion. For those people who want to study this topic deeper, they can study about: what role should government play in the culture and creative industries? And how government can help those artists who only know arts but lack of the knowledge of marketing to sell their products?
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Chen, Yu-chu, and 陳郁竹. "Development and Strategies of Cultural Industries in Korea." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/02429357143886624043.
Full textAbstract:
碩士國立中山大學
政治學研究所
98
The trend of globalization in 20th century and Asian financial crisis shocked or, from some scholars’ viewpoint, even ended the East Asian model of economic development, which challenged the role of state. However, according to the concept of ‘monopoly rent’ by David Harvey, culture is based on countries, history, nations, and identities. These elements are all related to state closely. Therefore, in the era of globalization, the role of state will not disappear, but be transformed. The thesis will emphasize the role of Korean government in developing cultural industries and will discuss the national policies since 1998 after Korea recovered from its imminent bankruptcy. Korea was nearly bankrupted in the Asian financial crisis in 1997. In 1998, Korean government adopted cultural industry as a national strategic industry. It introduced a bundle of plans, policies, laws, subsidies, and established related official departments to benefit enterprises and people and promote other industries. The strategies re-established national economy successfully; moreover, the “Korean Wave” was formed and became a trend in Asia. Furthermore, the thesis starts from reviewing Korean history, including Confucianism, Buddhism and Taoism from China, colonial culture from Japan, and Western culture from American armies. From the context of penetrating foreign culture influence, the thesis points out the components of Korean cultures, and uncovers Koreans’ national and cultural identities, formation of nationalism, and global strategies of cultural industries.
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Yi-YuHsieh and 謝易佑. "The Analysis of Cultural Industries Growth in Taiwan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37041785072756205248.
Full text
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陳旺祥. "Creatively Applying Visual Design to Local Cultural Industries." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/44hya6.
Full textAbstract:
碩士國立臺灣師範大學
設計研究所在職進修碩士班
97
With the recent growth in tourism, and the government's intention to follow the examples of other countries in promoting the industry, local cultural merchandise are gradually coming under the spotlight. The completion of National Highway No. 5 has brought a substantial influx of traffic, crowd, and money to Yilan, and creative cultural industries have often followed the rise of tourism and cultural activities. In this paper, we shall discuss the image and cultural characteristics of Yilan. We shall explore the application of visual design to cultural merchandise. Improvements to cultural and aesthetic characteristics can greatly increase the value and popularity of a product. Making cultural merchandise available to tourists would also encourage growth in local industries. Through research, we shall analyze then gradually draw conclusions. First documentations shall be discussed to understand the importance of creative cultural industry, its characteristics, value of output, as well as strategies adopted by various countries. The history, cultural development, image characteristics, and current status of the creative cultural industries in Yilan, are useful reference material for cultural creators and industries alike. Case studies show that the proper use of culture not only can move the audience, but also enhance product aesthetics. Enormous benefit can result from raising the image of ethnic groups. Finally the visual design techniques shall be put to use. We shall apply the cultural characteristics of Yilan to the development of actual products like note paper, T-shirts, tumblers, magnets, coasters, and mugs. Other than to verify our theories, we also hope to bring new qualities to Yilan's cultural merchandise. While attempting to put creative ideas into mass production, I have gained some practical experience dealing with OEM manufacturers. As a result I will be able to share some of my personal recommendations for those who are interested in further researching this area. Key Words: Cultural Merchandise; Image of Yilan
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HUNG, TSAI CHIH, and 蔡志泓. "MCDM Model for Exploring Cultural and Creative Industries." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/wmnn8a.
Full textAbstract:
碩士開南大學
商學院碩士在職專班
102
Cultural and creative industries, by definition is a combination of cultural and creative industries. While the culture has many different definitions of the term. Broadly speaking refers to living together in a society of people that have similar habits, customs, and beliefs. Narrowly speaking, which means the art is a people created by the new types of products. Whether in the narrow or broad culture, a culture of creativity that is present in both cultures, adding each country, ethnic, and other creative individuals, giving a new style and cultural value. This paper utilizes decision making trial and evaluation laboratory (DEMATEL), DEMATEL-based analytical network process (DANP), and VlseKriterijumska Optimizacija I Kompromisno Resenje (VIKOR) to explore the interrelationship, influential weights, and the gaps of aspiration level within dimensions/criteria. The criteria of cultural and creative industries possessed a self-effect relationship based on DEMATEL technique according to the influential network relation map (INRM). In the fourteen criteria, green design is the most significant criterion. The gaps within each industry for improving the cultural and creative industries performance are displayed in the results.
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"從邊緣走向中心: 深圳文化產業發展研究." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074010.
Full textAbstract:
With entertainment as its principle part, the cultural market began to develop in the early 1980s and became to be the first sign of cultural industries in Shenzhen. Some cultural enterprises developed in the background of the "Spiritual Civilization Construction" from the late 1980s to the early 1990s and printing, videos, cultural tourism, animation and cartoon started to grow up in Shenzhen. The government began to pay some attentions to cultural industries in the early 1990s and the scale of cultural industries in Shenzhen had grown up with the development of some important sectors. In the context of "Famous Modern Cultural City Construction" in the late 1990s, Shenzhen developed cultural industries further, cultural industries had produced economic benefits properly, the industrial structure had became pluralistic and the cultural industries developed intensively on a large scale, but faced many problems. Cultural industries in Shenzhen has met a new epoch since 2000 because of the implementation of the strategy of "Found the City on a Cultural Basis" and the orientation of cultural industries as the fourth economic support industry, not only both of its competitiveness and general strength and its economic contribution rate has enhanced a lot, but also cultural industries in Shenzhen leads mainland relatively. Some distinguishing features have been taken shape in printing, media, entertainment, cultural tourism, animation and cartoon, advertising, art and crafts, design, even though there are many problems and challenges in these fields. The development of cultural industries in Shenzhen could not do without the Hong Kong factor. Although the ideas of the development of cultural industries are different in Shenzhen and Hong Kong, they could cooperate closely. The "shop in the front and factory at the back" operation model had been and will still be the most practical cooperative model for two sides and printing, design, digital entertainment and cultural entertainment may be the most potential cooperative fields. In Conclusion, cultural industries in Shenzhen is moving from the fringes to the mainstream; cultural industries in Shenzhen had developed in a unique way; the general developmental level of cultural industries in Shenzhen still lags other industries; the development of cultural industries in Shenzhen has not been supported strongly by the whole society; the fundamental contradiction of cultural industries in Shenzhen is between cultural industries' economic attribution and ideological attribution and will continue to be the context of the development of cultural industries in Shenzhen; the government has controlled the upstream of the cultural industries chain, so the development of cultural industries in Shenzhen must take full advantage of the government resources; cultural industries in Shenzhen should focus on "industries" now; cultural industries in Shenzhen should take the Hong Kong factor seriously and make full use of it.王為理.
呈交日期: 2005年8月.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 244-268).
Cheng jiao ri qi: 2005 nian 8 yue.
Adviser: Kwok Siu-tong.
Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2711.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest dissertations and theses, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in English.
School code: 1307.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 244-268).
Wang Weili.
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Lee, Tzu-I., and 李姿儀. "Cultural Enclosures: A Geopolitical Perspective on Intellectual Property and Cultural Industries in Taiwan." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ww6w2f.
Full textAbstract:
博士國立臺灣大學
地理環境資源學研究所
106
Cultural industries broadly include advertising, architecture, handicrafts, design, fashion, film, music, performing arts, publishing, television and radio, and digital content industries. Although each of them is a specific industry, we can still use a collective term—cultural industries—to refer to them. Researches that focused on the space of cultural industries have risen to a position of prominence in the field of urban studies and economic geography. Topics include the local economic impact of cultural industries and the importance of agglomeration; the contribution of local art activities to the regional development; the relationship between the creative class and urban growth; and the implementation of urban planning toward creative cities. Most of the studies indicated that cultural industries have provoked a broad impact on urban and regional development and they are not evenly distributed. However, the role of states and intellectual property in cultural industries has not been discussed in detail. It is the control and connection of creativity and capital that makes the “cultural industries” a collective concept. Cultural industries, through legal devices such as intellectual property rights, become the method of “monopoly rent” and accumulation based on dispossession in cultures. Mandarin popular music (Mandopop) is the empirical material for this study because music is a form of cultural practice with the characteristics of rapid transformation and dissemination. This paper aims to analyze the relationship between cultural industries and intellectual property rights in a geopolitics perspective. From the viewpoint of latecomer countries like Taiwan and China, the uneven development of cultural industries on a global scale is discussed. States, along with legal devices like intellectual property rights, play a key role in the cultural enclosure of global cultural industries. In the case of Mandarin pop music, the argument of cultural enclosure proceeds at three levels: (1) a metaphysical enclosure – cultural industries under the enclosure of the global legal system and intellectual property rights regime; (2) a geographical process and imagination under the marketplace and New International Division of Cultural Labor; and (3) a material enclosure – a state-orientated cultural district formation in the development of cultural industries. The de- and re-territorialization of cultural industries are shaped by cultural-enclosure, which is a dynamic re-positioning process by which latecomer countries like Taiwan and China look for a place-in-the-world. Through the analysis of cultural enclosure, this paper shows that the uneven development of global cultural industries is the enclosure of intellectual property rights, the exclusion of the others in the case of the “outlaws,” and the lack of imagination in a digital era. This paper questions the Western mainstream theories of cultural industries and creative cities.
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Liu, Chun-Yi, and 劉均怡. "Industrial Analysis and Case Study for Crafts Industry of Taiwan Cultural and Creative Industries." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/52636963486622246205.
Full textAbstract:
碩士元智大學
國際企業學系
96
From the experiences of many developed countries, we can discover that cultural and creative industries play an important role in the development of countries. These industries bring not only economic growth of the nation, but also maintain the uniqueness and preserve cultural heritage, even become a source of national competitiveness. From the statistic data, we can know the present situation of Taiwan cultural and creative industries, find out the potential of industries in the near future, understand what the difficulties are and try to solve the problems. In order to explore extensively and deeply, the author uses a framework and Porter’s models to analyze several levels from nation, industry to specific firms. The author puts importance on case study and chooses three local firms with international brands: FRANZ, LIULIGONGFANG, and TITTOT, respectively. Those companies are benchmarks for firms in the traditional industries. In addition to examine their strategies, the author compares three brands from many dimensions and find out the differences between their positions in the market. Finally, the author gives some suggestions to the government, industry and firms for the improvement of Taiwan cultural and creative industries.
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SHY, GWO-LONG, and 施國隆. "The Transformation Project of Industrial Heritage：The Case of Taichung Cultural and Creative Industries Park." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8unzfy.
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博士亞洲大學
數位媒體設計學系
106
In Taiwan, industries used to support livelihood economy, however the globalization impact and the conversion of management mode caused factories were compelled to closure in some area, and this situations also bring problems of urban development. Therefore, how to preserve, reuse and also establish operational management mechanism of industrial sites and old buildings would be a crucial issue in our country. Taichung cultural and creative industrial park(former Taichung Brewery Factory) is one of the five major parks are managed by Ministry of Culture. It is the transition park of industrial heritage, which combines the cultural heritage incubator with creative experiment lab. Firstly, the paper discusses the connotation of reuse of industrial heritage and the case of the development of cultural and creative park in Taiwan. Secondly, it also analyzes the development, position and management of Taichung cultural and creative industrial park in the process of preservation and reuse. Moreover, according to the requirements of activities, equipment management and personnel assignment in the park, the functions of intelligence management, operations and digital technology navigation will be the pivotal strategy which can promote a demonstration effect to the intelligence park. Finally, through the former description of transformation mechanism, we can demonstrate the effectiveness of Taichung cultural and creative industrial park in the re-use of industrial heritage and it also provides reference for other industrial heritage.
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HUI, HUANG CHIUNG, and 黃瓊慧. "Preliminary Study on the development of cultural and creative industries in Taiwan – In the case of Chiayi Cultural and Creative Industries Park." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10692370219039617981.
Full textAbstract:
碩士國立嘉義大學
管院碩士在職專班
101
In this globalized era, the content of industrial competition has changed from the model of industrialized mass production into the age of knowledge-based economy. In Taiwan, the establishment of cultural and creative industries park has become the symbol of the upgrade of industrial park. In 2010, “Law for the Development of the Cultural and Creative Industries” had pass, therefore, the proper use of the national development fund to invest the cultural and creative industries and make sure that can exert the maximum benefit will be an important issue of Taiwan Government. In this study, the range of investigation will focus on “Chiayi Cultural &; Creative Industries Park”. Access objects include: non-governmental persons or groups who have the experiences that been participated in cultural and creative industries and the undertakers and directors of government. Using qualitative survey interview as research method and interview the director of cultural bureau who manage the cultural and creative industries park in government, project managers, the person in charge of private enterprises, municipal advisors, the planner of communities empowerment, artists in residence, former dean of the National Palace Museum, former national policy advisor etc, then integrated the research results to reflect the development and possibility of cultural and creative industries park. According to the conclusion of this study, we found that the cultural and creative industries in Chiayi have enough cultural basis, use the cultural and creative industries park as a base to approve the development of the local leisure and tourism industry would be a feasible direction, by the way, we suggest that competent administrative units need to emphasis and implement on local culture, amendment to the relevant laws, devolved, to reach the fully cooperated of local public sector and the team that stationed in industries park.
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Chang, Yi-Yun, and 張意雲. "A research on residents’ attitude of cultural and creative industries in Hualien City：A case study of Hualien Cultural and Creative Industries Park." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/39033480118133207440.
Full textAbstract:
碩士國立東華大學
臺灣文化學系
100
This study aimed to explore the residents in Hualien City about their attitude of current situation,differences, relevance and impact factors to Hualien Cultural and Creative Industry Park. The subjects are the residents whom have domiciled in Hualien City administrative area over 20 years old or more, via the self-edit questionnaire "The research of Hualien City residents’ attitude about cultural and creative industries " to collect empirical data, using Proportionate Stratified Sampling method to get 825 residents as samples, the total usable are 710 samples. The questionnaire collected data are analyzing by the statistical methods such as Statistical Package for Social Science (SPSS) to do the descriptive statistics, Independent Sample T Test, One-Way Analysis of Variance, Pearson's Product-moment Correlation Coefficient and Stepwise Regression Analysis. After discussing the analysis results, the conclusions are made and also make recommendations which could be the reference for the relevant units. The main conclusions of this study are as follows: 1. The residents’ performance of "cognitive", "cordiality", "behavioral tendencies" about the attitude of Hualien cultural and creative industries park are moderately, positive, where as the average score is. 2. At the "cognitive" aspect ,the attitude of Hualien cultural and creative industries park, six items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence area. At the " cordiality " aspect , seven items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence time, and there are seven significant differences at the "behavioral tendencies" aspect which are: age , education level, occupation, personal monthly income, marital status, ethnic and residence area. 3. Among the residents’ "cognitive," " cordiality," "behavioral tendencies" aspects, all have a significant positive correlation, in which of them, the correlation between the " cordiality " aspect and "behavioral tendencies" aspect is the highest, next is the correlation between the "cognitive" aspect and the " cordiality " aspect, and the lowest correlation is between "cognitive" aspect and "behavioral tendencies" aspect. The "cordiality " aspect of Hualien residents has most relevant with "overall attitude ". 4. The significant factors which influence the residents about the "Cognitive" of Hualien's cultural and creative industrial park are " cordiality " aspect, "behavioral tendencies" aspect, "ethnic, " occupation", " residence area". The significant factors which influence the residents about the " cordiality " of Hualien's cultural and creative industrial park are: "behavioral tendencies" aspect, "cognitive" aspect, " occupation ", "education level ", "residence time". Final, about the significant factors which influence the residents about the "behavioral tendencies" of Hualien's cultural and creative industrial park are "cordiality " aspect, "cognitive" aspect, " occupation ", "personal monthly income", "residence area" and "residence time".
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Tseng, Jau-fa, and 曾炤發. "Marketing Strategy on the Cultural Industries Development in Meinong." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/75835018934000231038.
Full textAbstract:
碩士國立中央大學
客家研究碩士在職專班
99
The study aims to discourse, analyze and discuss the cultural industries of Meinong as well as its relevant theories, and offers some suggestions accordingly. Moreover, by reviewing broadly the process from the modernization of cultural industries to globalization, it explores the problems in the process of the cultural industries development of Meinong, and resolving strategies to the problems as well; Simultaneously, investigating all displays of cultural industries developments and the critical problems which urgently need to be resolved though. Additionally, the study also analyzes the separate inner connection between the cultural industries of Meinong and marketing strategy, and non-profit organization. To sum up , the study reviews the current development situation of Hakka local cultural industries and Taiwanese cultural industries,and bridges the gap between academic theories and practical investigation.
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Chang, Tzu-ting, and 章紫庭. "Study on Hakka cultural and creative industries innovation Strategies." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/63118319873656243559.
Full textAbstract:
碩士國立中央大學
客家研究碩士在職專班
103
Abstract Cultural and creative industries have brought infinite vital and business opportunities for various countries. In 2002, Executive Yuan has formally listed cultural and creative industries as an important item in “Challenge 2008: National Development Focus Plan”; Hakka Affairs Council also began promoting “Hakka Taiwan Hakka Taiwan products/vendor certification” and “Hakka Industry Counseling Program Key Business,” in order to promote Hakka industries. Facing the rapid changes in economy and society, as Hakka specialty products with Hakka cultural characteristics are being developed as cultural and creative industries, at each stage of the product output life cycle, the most innovative strategies should be implemented, through planning of marketing strategy innovation, to elevate the competitiveness of Hakka industries. It is hoped that through planning of innovative strategies, specialty businesses can work with the government in developing a blue ocean market for Hakka cultural and creative industries to achieve sustainable development in which economics and culture can coexist, based on this, this study uses SWOT analytical theory, through literature review and in-depth interviews, with vendors with Hakka specialties as case studies to explore their strengths, weaknesses, opportunities, and threats in developing Hakka cultural and creative merchandise. This study also explores the innovative strategies in the product life cycle and marketing, to provide recommendations for the government and other specialty vendors in the future. Finally, it is hoped that the research results can be provided to vendors with Hakka specialties, so that they can have more constructive referential indicators when developing cultural and creative industries in the future, so that vendors with Hakka specialties can sustain their operations in a rapidly changing time, to continue and pass on the vitality of Hakka culture. Keywords: Hakka cultural and creative industries, vendors with Hakka specialties, SWOT analysis, 4P marketing strategy
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Su, Chao-Ming, and 蘇昭銘. "The website analysis of Taiwan Cultural & Creative Industries." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/81683994080976085308.
Full textAbstract:
碩士世新大學
行政管理學研究所(含博、碩專班)
94
The cultural creativities industry in Taiwan is still developing, However, Taiwan government have keep improving cultural creativities industry, base on rapid Taiwan technical development and integration with cultural creativities industry, it can be expected to bring advanced value for the industry in the near future. Generally, Website content establishing can’t be separated with the network information. To make communication more efficient and raise the importance of website content, how the cultural creativities industry can be applied on website becomes more and more important. Consequently, to ensure website can be fully utilized as well as spread around with the function of cultural creativities industry and its service is a key component to evaluate if products value can be boosted. As a result, this research aim to identify and differentiate types of Taiwan cultural creative industries websites and examine its content and differentiation of technical information utilization. The research tool uses the content analysis method, carries on the website content analysis in view of the Taiwan cultural creative industries websites. The sampling method is purposive sampling, the sample number altogether 84.Besides, the Industries and the information science and technology fuse the degree can because of the different industrial attribute, the management way be different, but has the dissimilar information result. The affiliation by the research found, this research has established three related propositions, respectively is: First, the more business function, the more websites functions ; Second, the website content is richer, more can unify with the customer demand; Third, more can utilize the network and the marketing strategy, more has the success key to promoted cultural creativity industries. This research institute proposed reality service suggestion and the academic suggestion minute states as follows: First, the solid service suggested is that result of this research may aim at this research cases to improvement, or does for other cultural creative industries cases erects the website the reference. Second, the academic suggestion is that at present still lacked in view of the cultural and creative industries websites content analysis research, also the industrial attribute was different, used the similar category to weigh with difficulty. Therefore, the following research may state two flaws in view of front to perform to trace the discussion.
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Chou, Tzu-Lin, and 周玆琳. "The Discussion on Fundraising of Cultural and Creative Industries." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/85272090482210564392.
Full textAbstract:
碩士元智大學
管理碩士在職專班
104
In the Taiwanese Cultural and Creative Industries, there are mainly four channels to raise fund for its businesses: subsidy from government, bank loans, direct investments and stock market. However, since Cultural and Creative Industries firms are small-siged mostly, financing is often a key concern. Even those larger firms also face challenges including lack of proper mechanism to evaluate corporate intangible assets, lack of government regulation/policy, limited domestic demand for cultural innovation content and etc. In this study, we aim to establish a fundamental database to evaluate intangible assets, by using the theory of “one source multiple applications” and by integrating resources across various organizations/ institutions. The goal is to provide suggestions and a road map towards the Taiwanese Cultural and Creative Industry’s future development and financing methods.
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pin, Wang chien, and 王建斌. "Preliminary study of cultural and creative industries in taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/98247803645423176649.
Full textAbstract:
碩士國立中正大學
高階主管管理碩士在職專班
99
Abstract Taiwan's cultural and creative industries gradually be taken seriously, and there are many scholars and cultural workers to do related research, first proposed in the UK cultural industries, whether academics or industry, also made a lot of research and some practical strategies and practice, therefore, the cultural and creative industries are the economic benefits generated by improved; this paper the main cultural and creative industries in Taiwan to explore the current situation and hope for Taiwan's cultural and creative industries policy and the development of cultural and creative industries to explore the potential for, hope to learn from other countries experience in the development of cultural and creative industries to help Taiwan's future policy formulation and implementation can be helpful. Taiwan is to develop cultural and creative industries, not only is it possible for the government to truly focus on the industry and the government did not really attach importance to cultural and creative industries; our high-tech industry and the government's support of cultural and creative industries to compare, we can understand these two industries are of great importance to the extent of the gap between how we expect the Government to effectively create a conducive environment for the development of cultural and creative industries. Therefore, the development of Taiwan's cultural and creative industries are most needed is not just the cultivation of cultural and creative talents, develop new markets and increase demand for cultural goods, more importantly. Government policy support and shape the cultural and creative environment