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Díaz, Munizaga Paz Loreto. "Industrias culturales e industrias creativas, evolución histórica y conceptual, confluencias y divergencias : El caso de Santiago creativo, plataforma para la exportación de la industria creativa." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115940.
Full textAbstract:
Licenciada en artes con mención en teoría e historia del arteEl concepto de Industria Creativa es relativamente reciente y su origen, ciertamente, se debe a la necesidad de establecer e implementar nuevas áreas de producción y creación de bienes culturales en la sociedad posmoderna. Comprender qué se entiende por bien cultural y cómo este actúa en una doble dimensión; por una parte como bien social al servicio de las condiciones de identidad y ciudadanía, y por otra como bien de consumo o mercancía, busca abrir nuevas perspectivas de análisis. Se revela así, una nueva forma de entender la relación entre cultura, economía y creatividad, poniendo en tensión el concepto más tradicional de Industria Cultural. En consecuencia, los conceptos y categorías existentes deben ser analizados críticamente para dar cuenta de estas transformaciones. Por este motivo, se pretende revisar la evolución conceptual de las Industrias Culturales y su desplazamiento hacia las Industrias Creativas, a partir de una revisión teórica que inicia en las primeras décadas del siglo pasado con Walter Benjamin y llega hasta nuestros días a través de George Yúdice, desde los primeros debates hasta llegar a los actuales, se busca replantearlos críticamente con el fin de iluminar los problemas teóricos y sus alcances prácticos.
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Sepúlveda, S. Diego. "ICS: — Industrias Creativas Santiago." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/100417.
Full textAbstract:
El presente proyecto de título nace como un cuestionamiento personal acerca del
consumo cultural en nuestro país. Pretendo abordar con fascinación la producción cultural
contemporánea, fuertemente infl uenciada por la tecnología y la electrónica de consumo,
y que ha sufrido un acelerado desarrollo desde la inserción de la televisión en los hogares
chilenos en la década del 60’.
Propongo pensar en un espacio para la concepción, producción, post-producción y
difusión de este tipo de bien cultural, en todos los niveles de profesionalismo, bajo el amparo
del concepto de industria creativa, un aporte que puede aportar a la consolidación cultural
y el acceso democrático a esta expresión.
Finalmente el proyecto desarrolla paralelamente una memoria audiovisual
complementaria a este documento, que puede ser visitada en la url http://
memoriaics.tumblr.com/ como una herramienta sugerente al proyecto de arquitectura y
sus posibles situaciones y con eso una ayuda ante cualquier decisión del mismo y su
comprensión.
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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.
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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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Delgado, Planás Antonio. "Sistema de protección de los intereses del autor y el empresario en la propiedad intelectual (régimen del empresario en el ámbito de la propiedad intelectual)." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/400934.
Full textAbstract:
Els evidents canvis socials i tecnològics esdevinguts en l'última dècada afecten de manera principal a les Indústries Culturals i Creatives i, molt en particular, a la indústria editorial, musical i audiovisual. Aquests canvis, juntament amb la intangibilitat dels béns amb els quals aquestes trafiquen, han provocat una alteració estructural en la forma de creació, producció i distribució en aquests sectors, donant lloc a nous models de negoci.
La Propietat Intel·lectual sempre ha jugat un paper decisiu en la configuració dels models de negoci d'aquestes tres indústries, fomentant uns models i impedint-ne d’altres. Tradicionalment el legislador ha pres una posició “autor-cèntrica” en la normativa aplicable a aquesta matèria amb l'objectiu de protegir al creador com a part feble de la cadena de valor i així, protegir també l'incentiu a la creació. És raonable que periòdicament ens preguntem si la Propietat Intel·lectual compleix el seu paper, especialment, quan ha existit un canvi en les formes de producció i distribució. A més, el temps transcorregut des de l'inici de la transformació d'aquests sectors fa que ja sigui possible albirar les línies mestres dels nous models de negoci.
Per realitzar aquest estudi s'ha assumit la premissa conforme tot el sistema de protecció de la Propietat Intel·lectual ha de tenir com a efecte el foment de la creativitat, la qual cosa porta aparellada la necessitat de l'accés de les obres al mercat perquè existeixi un ampli patrimoni cultural que reverteixi en benefici de la societat.
En el present treball s'ha plantejat el paper de la Propietat Intel·lectual en un aspecte molt concret de la cadena: el sistema de protecció dels interessos de l'autor i els de l'empresari. La relació entre el creador i qui ha de donar a conèixer la seva obra al públic és essencial per a la difusió de la cultura i la Llei de Propietat Intel·lectual espanyola recull diversos instruments contractuals per canalitzar-la: (i) el contracte d'edició; (ii) el contracte d'edició musical; (iii) el contracte de producció teatral i execució musical i (iv) el contracte de producció audiovisual. L'anàlisi d'aquests contractes permetrà conèixer en quins termes es relacionen ambdues figures, així com els interessos que prevalen pel legislador i les mesures que estableix per protegir-los. El resultat ens mostrarà el model de negoci que està considerant la Llei, així com si la regulació dóna cabuda a les noves formes de crear, produir i comercialitzar els béns immaterials.
En definitiva, l'objecte d'aquest treball és qüestionar-se no només si el sistema de protecció dels interessos de l'autor i de l'empresari és idoni per aconseguir un incentiu per a la creació adequat als nous models de negoci editorials, musicals i audiovisuals sinó plantejar-se l'existència del propi sistema.Los evidentes cambios sociales y tecnológicos acaecidos en la última década afectan de manera principal a las Industrias Culturales y Creativas y, muy en particular, a la industria editorial, musical y audiovisual. Dichos cambios, unidos a la intangibilidad de los bienes con los que éstas trafican, han provocado una alteración estructural de la forma de creación, producción y distribución en estos sectores, dando lugar a nuevos modelos de negocio. La Propiedad Intelectual siempre ha jugado un papel decisivo en la configuración de los modelos de negocio de estas tres industrias fomentando unos e impidiendo otros. Tradicionalmente el legislador ha tomado una posición “autor-céntrica” en la normativa aplicable a esta materia con el objetivo de proteger al creador como parte débil de la cadena de valor y así, proteger también el incentivo a la creación. Es razonable que periódicamente nos preguntemos si la Propiedad Intelectual cumple su papel, en especial, cuando ha existido un cambio en las formas de producción y distribución. Además, el tiempo trascurrido desde el inicio de la transformación de estos sectores hace que ya sea posible vislumbrar las líneas maestras de los nuevos modelos de negocio. Para realizar este estudio se ha asumido la premisa conforme todo el sistema de protección de la Propiedad Intelectual debe tener como efecto el fomento de la creatividad, lo que lleva aparejado la necesidad del acceso de las obras al mercado para que exista un amplio acervo cultural que revierta en beneficio de la sociedad. En el presente trabajo se ha planteado el papel de la Propiedad Intelectual en un aspecto muy concreto de la cadena: el sistema de protección de los intereses del autor y los del empresario. La relación entre el creador y quien debe dar a conocer su obra al público es esencial para la difusión de la cultura y la Ley de Propiedad Intelectual española recoge varios instrumentos contractuales para canalizarla: (i) el contrato de edición; (ii) el contrato de edición musical; (iii) el contrato de producción teatral y ejecución musical y (iv) el contrato de producción audiovisual. El análisis de esos contratos permitirá conocer en qué términos se relacionan ambas figuras, así como los intereses que prima el legislador y las medidas que establece para protegerlos. El resultado nos mostrará el modelo de negocio que está considerando la Ley, así como si la regulación da cabida a las nuevas formas de crear, producir y comercializar los bienes inmateriales. En definitiva, el objeto de este trabajo es cuestionarse no sólo si el sistema de protección de los intereses del autor y del empresario es idóneo para lograr un incentivo para la creación adecuado a los nuevos modelos de negocio editoriales, musicales y audiovisuales sino plantearse la existencia del propio sistema.
The important social and technological changes that have occurred in the last decade have had a profound effect on the Cultural and Creative Industries and, most particularly, for the publishing, musical and audiovisual industry. These changes, along with the intangibility of the goods affected, have provoked a change in the way creations are produced and distributed in these industries, and therefore new business models are being developed. Intellectual property has played a decisive role in the configuration of these industries’ business models, promoting some and preventing others. The objective of this work is to analyze whether the current intellectual property system, designed to protect both business and author interests, provides an incentive for creation appropriate for the new business models of the editorial, musical and audiovisual industries, as well as to question the existence of the system itself. Traditionally, the legislator has seen intellectual property from an “author-centric” point of view. Their main objective has been to protect the author, since he has been considered the weakest part of the value chain, and thus also the creation. It is reasonable to question the role of intellectual property, especially when there is a deep change in the way intangible goods are produced and commercialized. In addition, the time passed during the change allows us to glimpse the outlines of the new business models. An assumption underlines this work: the system of protection established by intellectual property must have the effect of generating creativity. That means that all intellectual goods need access to the market in order to offer a wide cultural heritage which ultimately benefits society. This work focuses on the role of intellectual property in the interrelationships between author and business. The relationship between the creator and the agent responsible for introducing their work in the market is essential for the dissemination of culture. Spanish Intellectual Property Law has regulated four types of agreements for this: (i) the edition agreement; (ii) the music edition agreement; (iii) the theater production and the musical performance agreement; and (iv) the audiovisual production agreement. Analyzing these agreements will allow us to discover the conditions underlying the author-business relationship, as well as the preferred interests of the legislator and the measures he applies to protect those interests. The conclusions of this work will show which business models the Law is currently considering, and whether current legislation promotes new ways of creating, producing and commercializing intangible goods.
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Velasquez, Sandra. "La production indépendante de la musique traditionnelle, communiquer pour garantir la diversité culturelle : études de cas autour de la musique traditionnelle en Colombie dans les régions Andine et Caraïbe." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30064/document.
Full textAbstract:
L’Exception Culturelle marque le point de départ des questions soulevées à propos de la singularité de l’industrie culturelle sur fond de traités commerciaux de libre-échange, débats qui aboutiront à une réponse de la part de la communauté internationale avec la Convention en faveur de la Protection et de la Promotion de la Diversité des Expressions Culturelles approuvée par l’Unesco en 2005. D’autre part, la réforme constitutionnelle de 1991 entreprise en Colombie affirme le caractère multiethnique et pluriculturel du pays, reconnaissant du même coup de façon officielle la diversité des expressions culturelles au sein de la nation. Enfin, les ressources technologiques dont peuvent disposer les musiciens à partir des années 1990 sont le troisième facteur fondamental au cœur de notre thèse. La convergence de ces faits nous ont conduits à nous interroger sur la réalité de la production indépendante de musiques traditionnelles en Colombie, dans les régions andine et caribéenne en particulier. La Théorie Critique, l’Economie Politique, les Cultural Studies ainsi que les apports d’auteurs latino-américains portant sur la relation existante entre Communication et Culture ont borné le cadre théorique de nos recherches. Nous avons choisi les récits de vie comme outil méthodologique pour mieux appréhender les expériences vécues par les producteurs indépendants de musiques traditionnelles. Cette thèse met en lumière les formes et pratiques de différents types de production qui vont de l’autoproduction jusqu’aux productions des maisons indépendantes. En outre, nous exposons les tensions existantes entre les indépendants et la grande industrie, les médias et le phénomène de la piraterie. Notre travail soumet et propose un concept nouveau: La Production en Confrérie, pour mieux caractériser les liens qui se tissent entre musiciens, producteurs, fans et institutions qui tendent à faciliter la production indépendante de musiques traditionnellesThe debate about the singularity of the cultural industry in the times of free trade has been happening since the Cultural Exception. The international community has been contributing to this debate through the Convention for the Promotion and Protection of the Diversity of Cultural Expressions, endorsed by the UNESCO in 2005. In parallel, the 1991 amendment to the Colombian constitution acknowledges a multiethnic and multicultural country, that is, it recognizes diversity in the nation´s cultural expressions. The third factor that influences this thesis are the technologic resources shared by music producers from the 90s. These facts made us wonder about the current situation of independent traditional music production in Colombia, the Andean Region and in the Caribbean. The theoretical framework was guided by the Critical Theory, the Political Economy, the Cultural Studies and the inputs from Latin-American authors on the relationship between Communication and Culture. The methodology used life stories in order to get to know the experience of traditional music independent producers. This thesis shows the production methods, from self-production to independent music producers. Besides, it shows the tension between independent producers and big companies, mass media and piracy. This research introduces the concept of Brotherhood Production in order to explain the relationships among musicians, producers, fans and institutions. These relationships make possible the production of independent traditional music
El debate sobre la singularidad de la industria cultural en tiempos de libre comercio viene dándose desde la Excepción Cultural y tiene una respuesta de la comunidad internacional con la Convención por la Protección y Promoción de la Diversidad de Expresiones Culturales aprobada en la UNESCO en el 2005. De otro lado, en Colombia, la reforma constitucional de 1991 afirma el carácter multiétnico y multicultural del país, es decir reconoce la diversidad de expresiones culturales de la nación. El tercer hecho que marca esta tesis son los recursos tecnológicos que tienen los productores de música a partir de los 90´s. Estos hechos nos llevaron a preguntarnos por la realidad de la producción independiente de músicas tradicionales en Colombia, en la Región Andina y en la Región Caribe. La Teoría Crítica, la Economía Política, los Cultural Studies y los aportes de los autores latinoamericanos sobre la relación entre Comunicación y Cultura orientaron el marco conceptual. Las historias de vida fueron la metodología seleccionada para conocer la experiencia de los productores independientes de música tradicional. Esta tesis evidencia las formas de producción desde la autoproducción hasta las productoras de música independiente. Además, muestra las tensiones de los independientes con la gran industria, los medios de comunicación y la piratería. Esta investigación propone el concepto Produccion de Cofradía para explicar las relaciones que se tejen entre músicos, productores, fans e instituciones para posibilitar la producción independiente de música tradicional
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Deiana, Agostina. "Las industrias culturales en la Argentina." Bachelor's thesis, Universidad Nacional de Cuyo. Facultad de Ciencias Económicas, 2015. http://bdigital.uncu.edu.ar/7513.
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El objetivo general de esta investigación se plantea estudiar las Industrias Culturales en la Argentina, su representatividad e impacto como sector económico, desarrollo, caracteres y prospectivas; considerándolas como un conjunto de actividades productoras de contenidos simbólicos a partir de un proceso creativo dado, destinadas al mercado del consumo cultural.
Los objetivos específicos son: analizar la estructura y dinámica del sector productivo elegido; comprender mejor el comportamiento de los distintos mercados y sectores culturales del país; cuantificar el impacto del sector cultural de el país, en particular los efectos de éste sobre el valor agregado y el empleo; describir el estado de situación de las IICC en Argentina; dilucidar la importancia cualitativa de las IC en el desarrollo.Fil: Deiana, Agostina. Universidad Nacional de Cuyo. Facultad de Ciencias Económicas.
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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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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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Rodríguez-Monteagudo, Eliseo. "La cultura corporativa en las industrias creativas. Análisis de la gestión y comunicación de la cultura corporativa desde la perspectiva de los intangibles en empresas creativas del Arco Mediterráneo en España." Doctoral thesis, Universidad de Alicante, 2015. http://hdl.handle.net/10045/65152.
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Figueroa, Lizana Loreto Andrea. "Emergencia de la industria creativa en barrios de Santiago." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/101337.
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El proyecto de investigación tiene el propósito de examinar la cultura del Diseño en Chile, desde una revisión histórica y actual de la disciplina como es el ejercicio de economía local en barrios de Santiago (Bellas Artes e Italia). El contexto social, académico, político y profesional del área ha cambiado durante los últimos años, por lo cual una investigación dedicada a profundizar los tópicos direccionales del Diseño en Chile, aportará a la comunidad involucrada una reflexión necesaria para aumentar la extensión en el país y la forma de afrontar el emergente desarrollo de la Industria Creativa.
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Acevedo, Caro Emilio, and Lafertte Felipe Mercado. "Industrias creativas : ¿cómo mejoramos la industria editorial chilena? : análisis de cadena de valor del libro en Argentina, Chile y España." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/112172.
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Seminario para optar al grado de Ingeniero Comercial, Mención AdministraciónAnte un contexto en que la cultura cada vez toma mayor peso dentro de la economía, la presenta investigación busca determinar cuáles son las posibles mejoras a desarrollar para fomentar el ámbito cultural, específicamente el Sector Editorial. Dentro de los objetivos específicos se encuentra la discusión acerca de la medición del desempeño y la identificación de indicadores que aporten en el posicionamiento de la Industria en cuestión en comparación con países como España y Argentina, vistos como puntos de referencia respecto al “mejor desempeño” esperado por la industria. El desempeño de la industria editorial será medido específicamente vía un análisis exhaustivo de la cadena de valor, en donde la interacción de los “inputs” y “outputs” de la cadena productiva serán claves para determinar la generación de valor en la creación de los bienes del sector, desde su etapa previa a la producción, hasta la llegada al consumidor final. Este proceso puede ser complejo, pero una vez terminado, determinará actividades esenciales en cada uno de los eslabones de la cadena y cuáles son las mejores formas de realizarlas eficientemente. Por su parte, el análisis de la cadena será desarrollado a través de la investigación de datos secundarios como entrevistas a expertos. Con la presente investigación se deriva una matriz mejoras a realizar vs políticas. Las 5 políticas a realizar son: mejoras en la educación del hábito de lectura y de profesionales del sector, reformas respecto al precio del libro (IVA y precio fijo), mejoras en la infraestructura del sector editorial, sistematización de la información para un análisis comparativo de la industria y asociatividad y representatividad de los eslabones de la cadena.
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Escudero, Nelli, Julie Freundt, Sylvia Falcón, and Harry Orsos. "Somos creativos, seámoslo siempre." Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656945.
Full textAbstract:
Nelli Escudero (Perú) - Moderadora /
Julie Freundt (Perú) - Panelista /
Sylvia Falcón (Perú) - Panelista /
Harry Orsos (Perú) - PanelistaConversatorio que tocará los temas de industrias culturales y el trabajo de ASICREA por el Bicentenario.
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Lauer, Salas Vera. "Industrias culturales, Mosca Azul Editores: Peripecias de una editorial de Humanidades y Letras en Lima, 1972-1998." Master's thesis, Universidad Nacional Mayor de San Marcos, 2019. https://hdl.handle.net/20.500.12672/10864.
Full textAbstract:
Analiza un modelo empresarial de industria cultural en el Perú, un territorio de variada producción cultural y de muy difícil articulación con el mercado interno; además, describe los aspectos relacionados con la elaboración de una serie de productos intelectuales como resultado de la acción conjunta de un puñado de socios, en alianza con un grupo de intelectuales, que apostó por esta iniciativa en un contexto de gran transformación política, social y cultural durante la década de 1970. En primera instancia, la tesis se enfoca en los aspectos que definen la naturaleza institucional de esta editorial, identificando los elementos que hicieron posible su aparición y la recepción que tuvieron algunos de los títulos de su catálogo en la escena cultural. Entre esos elementos, se observa que el grupo fundador se caracterizó por ser intergeneracional e interdisciplinario; cultivaron una extensa óptica de rango temático y una apertura a la llegada de manuscritos de visiones políticas distintas a las suyas; del mismo modo, promovieron un énfasis en las ideas críticas y un enfoque en sintonía con la creación artística, literaria y gráfica del Perú contemporáneo. Este enfoque conservaba y desarrollaba el legado de las vanguardias de las décadas anteriores del siglo XX, como el indigenismo y el boom de la novela latinoamericana, así como las investigaciones y las reflexiones intelectuales en busca de identidad nacional y la naturaleza de la nación peruana.Tesis
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Doneman, Michael. "Creative industries development in regional Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16281/.
Full textAbstract:
Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.
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Fernández, Quijada David. "Las industrias culturales ante el cambio digital. Propuesta metodológica y análisis de caso de la televisión en España." Doctoral thesis, Universitat Autònoma de Barcelona, 2008. http://hdl.handle.net/10803/4143.
Full textAbstract:
Esta tesis doctoral se plantea como objetivos: a) proponer nuevas aproximaciones al análisis de las industrias culturales en el momento de transición digital que viven actualmente a partir de la noción de red; b) enriquecer la perspectiva de las industrias culturales con aportaciones de otras áreas de conocimiento cercanas como la sociología o la geografía; y c) someter a prueba este marco teórico a partir de un análisis de caso, el de la televisión en España.La primera parte de la tesis se dedica a aspectos de corte metodológico y teórico. En el capítulo 1 se define el objeto de estudio y se hace una primera aproximación a la economía política de la comunicación y a otras líneas que, como el análisis de redes sociales o la geografía económica, enriquecen el marco teórico. A continuación, se explica el proceso de selección de la muestra, las fases de la investigación, los objetivos y, finalmente, las preguntas de investigación.
El capítulo 2 repasa el paradigma de las industrias culturales y la caracterización de éstas a partir de fuentes bibliográficas para, posteriormente, exponer los principales factores de cambio identificados en el entorno digital y cómo repercuten en la configuración de los actores implicados.
En el capítulo 3 se explora la idea de reticularidad aplicada a las industrias culturales, definiendo el propio concepto de red y caracterizándolo en el contexto de las industrias de la comunicación y la cultura.
Los siguientes dos capítulos se dedican a explorar, en primer término, el análisis de redes sociales (ARS) como herramienta metodológica para su aplicación al ámbito de la comunicación, y, en segundo lugar, la interrelación de los factores geográficos y económicos y las posibilidades de aplicación que ésta tiene en el campo de las industrias culturales y las políticas asociadas a éstas.
Una vez explicitado el marco que guía la investigación, la segunda parte de la tesis con un único capítulo, el sexto, presenta una aplicación de caso de estos factores de cambio con un segmento central de las industrias culturales en el contexto español, la televisión. El ámbito de esta aplicación es el estatal, mientras que el marco temporal, en gran medida determinado por la disponibilidad estadística, se corresponde al final de la temporada televisiva 2004/05.
La tesis se cierra con un séptimo capítulo que presenta las conclusiones derivadas de este análisis y que intenta responder a las preguntas de investigación planteadas al principio del estudio.
This thesis has three main objectives: a) from the concept of network, to propose new approaches to the analysis of cultural industries in the context of their transition to the digital environment; b) to enrich the cultural industries perspective with ideas from other knowledge areas such as sociology or geography; and c) to test this new theoretical framework with the application to a case study, television in Spain.
The first part refers to methodology and theory. In the chapter number 1 we define the object of study and we try a first approach to the political economy of communication and other fields like social network analysis or economic geography. Later we explain our methodological approach, with its objectives, the phases of study and the questions of research.
The second chapter investigates on the paradigm of cultural industries and its characterization from bibliographical sources in order to later expose its forces for changes in the digital environment and how these are changing the industry and its players.
In the third chapter we explore the concept of network and its application to the cultural industries, defining the concept and characterizing it in the context of the industries of communication and culture.
The next two chapters refer to the social network analysis (SNA) as a methodological tool for the application in the field of communication studies and the interrelation of geographical and economic factors, as well as the possibilities of its application in the field of cultural industries and the policies related to them.
After this methodological framework, the second part of the research presents an application to a case study, Spanish television. It is studied in its national scope and the TV season 2004/05.
The thesis is closed with a seventh chapter were the main conclusions of the analysis are presented and the researcher tries to answer the questions of research established at the beginning.
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Illescas-Martínez, Jon-Emanuel. "Industrias culturales y juventud en el sistema-mundo. El videoclip mainstream como mercancía y como reproductor de ideología." Doctoral thesis, Universidad de Alicante, 2014. http://hdl.handle.net/10045/52452.
Full textAbstract:
La investigación analiza la doble funcionalidad del videoclip mainstream en la sociedad contemporánea y en Internet, tanto como rentable mercancía publicitaria que sirve para vender otros productos o servicios en los mercados internacionales, como tanto poderoso reproductor ideológico entre la juventud del sistema mundial.
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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.
Full textAbstract:
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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Gómez, García Rodrigo. "El impacto del Tratado de Libre Comercio de América del Norte (TLCAN) en la industria audiovisual mexicana (1994-2002)." Doctoral thesis, Universitat Autònoma de Barcelona, 2007. http://hdl.handle.net/10803/4197.
Full textAbstract:
Esta tesis analiza los diferentes impactos del TLCAN en la industria audiovisual Mexicana. La investigación parte de un análisis histórico estructural que centra su atención primero en la estructura y dinámica del sistema-mundo y la economía-mundo, principalmente en el rol de las industrias culturales transnacionales en el contexto del capitalismo global. Segundo, en el nuevo marco estructural que plantea la regionalización con las particularidades del Tratado de Libre Comercio de América del Norte en la industria audiovisual mexicana. Tercero, en la identificación de las políticas de comunicación en México. Cuarto, en el crecimiento económico de la industria audiovisual y su concentración, la participación de los nuevos capitales extranjeros y finalmente, en el rol de las instituciones publicas frente al capital privado. Al mismo tiempo, se examinan las intersecciones de estos temas con el consumo de los productos culturales para pensar la diversidad cultural y la construcción de ciudadanía. Las características socioeconómicas de la población mexicana es una variable crítica que permite entender la problemática de los impactos.This Thesis analises the diferent impacts of NAFTA on the Mexican audiovisual industry. The approach focuses first in structures and dinamics of the world-sistem and "world-economy" (econom'a-mundo) manly in the role of the transnational cultural industries in the contexts of the global capitalism; second, the work goes to the negociations and logics tha set NAFTA, at the same time the Thesis go deeper in the items related to the audiovisual industries; third, on general State policies and in particular on communications policies (the logics of the construction of these policies and their political context); fourth, on the economic growth of the industry (principal actors) and their concentration (by subsector and in general), on the sources of the new foreign capital involved and; finaly, on the role of public institutions vs private capital.
At the same time, I examine the intersections of these themes with the consumption of cultural products in terms of cultural diversity and the construction of citizenship. The socioeconomic characteristics of the Mexican population are a critical variable in understanding the problematic of these impacts.
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Mosquera, Anaya Heidy Winie. "Caracterización de los procesos de consumo de los K-Dramas y videos musicales de K-Pop, y su incidencia en la construcción de la identidad y formas de socialización en la comunidad Hallyu de Lima. Una aproximación desde los fenómenos de audiencia en K-Dramas Descendants of the Sun y Goblin: The Lonely and Great God, y los fenómenos de tendencia musical de los grupos BIG BANG y Bangtan Boys; Beyond The Scene a.k.a BTS." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/648589.
Full textAbstract:
Esta investigación busca brindar un mejor entendimiento de los consumidores de medios audiovisuales coreanos. Además, de analizar e identificar qué elementos hacen de los K-Dramas y videos musicales de K-Pop sean tan atractivos para el público juvenil peruano que pertenece a la comunidad Hallyu en Lima que se forma a partir de la recepción de contenidos audiovisuales coreanos.
Por otro lado, busca saber cómo y en qué medida los productos audiovisuales, en este caso coreanos, son capaces de influir en la construcción de identidades y promover la socialización en este público en específico.This research seeks to provide a better understanding of the consumers of Korean audiovisual media. In addition, to analyze and identify what elements make the K-Dramas and K-Pop music videos so attractive to the Peruvian youth audience that it belongs to the Hallyu community in Lima that it is formed from the reception of Korean audiovisual content. On the other hand, it seeks to know how and to what extent audiovisual products, in this case Koreans, are able to influence the construction of identities and promote socialization in this specific audience.
Tesis
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Wong, Cho-ting, and 黃楚婷. "Adaptive reuse of industrial buildings and creative spaces in Hong Kong : a comparison of Fotanian Artist Village and Jockey Club Creative Arts Centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195117.
Full textAbstract:
Adaptive reuse of industrial buildings into creative spaces has recently sparked global (Mommaas, 2000, 2004; Daniels, Ho, and Hutton, 2012)and local interests (Leung, 2010; Kong, 2012). The clustering effects of creative spaces have also inspired extensive research on how creative spaces could contribute to urban development and in particular economic growth (Pratt, Andy C., 2004; Evans, 2009; Mommaas, 2009).
This dissertation critically reviews existing literature and examines the hypothesis with a comparative study of the Fotanian Artist Village (Fotanian) and Jockey Club Creative Arts Centre (JCCAC), which represent two distinctive development trajectories namely organic and planned creative spaces in Hong Kong. It is argued that the development of creative spaces in industrial buildings is strongly correlated to the intention of the public sector to promote creative economies, as well as market assumptions in dealing with obsolescence in urban environment. Both are governed by the concept of neoliberalism, which advocates utilization of land resources based on exchange value rather than use value, and the use of creative spaces as urban development tools. Thus, developing creative spaces in obsolete places through adaptive reuse would restrain the organic growth of creative spaces, or result in its commodification and institutionalization.
The hidden neoliberal agenda has also led to the misconception that creative spaces should be assessed for its efficiency and effectiveness as a cluster based on the agglomeration effect of industrial cluster in traditional sense. Fotanian and JCCAC are selected to test against their success performances based on the cluster theory. The two cases are compared to examine whether the planned is less successful than the organic as suggested by the literature. Findings suggest that neither one of them entirely fulfills all the conditions of creative cluster identified in the literature for a successful creative space. Indeed the clustering effect is an inconclusive, if not misleading, criterion of successful creative spaces, given that the development of creative spaces in cities might bring a variety of benefits.
Studies have shown that the adaptive reuse of obsolete places might pose potential threats to creative spaces. It is argued that the success of organic and planned creative spaces can only be possible in the long term when breeding and sustaining factors are introduced.published_or_final_version
Urban Planning and Design
Master
Master of Science in Urban Planning
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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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Leporc, Amandine Assunta Marine. "Des friches industrielles à l’expansion des industries créatives : le rôle du patrimoine industriel dans le développement local en France et en Italie." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29097.
Full textAbstract:
Ce mémoire se concontre sur la construction contemporaine des
villes grâce au rôle des friches industrielles réhabilitées, réutilisées et
intégrées dans les plans d’aménagement urbain et dans les politiques
de développement au niveau local. Il se penchera sur le processus de
régénération urbaine grâce aux friches industrielles qui représentent de
nouvelles ressources économique, sociale, identitaire, culturelle pour
améliorer l’attractivité des territoires qui ont été touchés pendant la
période de désindustrialisation. Et pour ce faire, nous suivrons un
cheminement des années 1980 jusqu’à nos jours en France et en Italie,
deux pays européens en quête d’espaces stimulants pour l’innovation
et la créativité dans le cadre de la valorisation du patrimoine industriel
et d’un processus de développement durable. Il s’agira alors de
s’intéresser au lien entre passé et technologie d’aujourd’hui en
s’attachant au développement des industries culturelles et créatives
comme nouvelle opportunité dans le processus de reconversion des
friches industrielles; Abstract:
This dissertation focuses on the contemporary construction of
cities through the role of brownfield sites that are rehabilitated, reused
and integrated into urban development plans and local development
policies. It will look at the process of urban regeneration thanks to
brownfield sites, which represent new economic, social, identity and
cultural resources to improve the attractiveness of the territories that
were affected during the period of deindustrialization. And to do this,
we will follow a path from the 1980s to the present day in France and
Italy, two European countries in search of stimulating spaces for
innovation and creativity in the framework of the enhancement of
industrial heritage and a process of sustainable development. The aim
will be to examine the link between the past and today's technology by
focusing on the development of cultural and creative industries as a
new opportunity in the process of reconversion of industrial
wastelands.
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Oruc, Sercan. "Modeling The Dynamics Of Creative Industries: The Case Of Film Industries." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611988/index.pdf.
Full textAbstract:
Dynamic complexity occurs in every social structure. Film industry, as a type of creative industries, constitutes a dynamic environment where uncertainty is at high levels. This complexity of the environment renders the more traditional operations research models somewhat ineffective, and thus, requires a dynamic analysis. In this study, a model showing the dynamics of film exhibition is given. The interactions within and between the theatrical and the DVD sales channels are implemented by the model. Later on, the possible effects of piracy to the model are discussed, using the inferences obtained by the created model. The model is examined with scenario and sensitivity analysis. All the modeling studies are done with a commercial dynamic systems modeling software. The model also can be extended for the whole film industry, or for some other creative industries like the publishing industry.
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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.
Full textAbstract:
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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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.
Full textAbstract:
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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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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Hsieh, Chia-Chi, and 謝佳琪. "The Perspectives of Creative Clusters on Taiwan Cultural and Creative Industries." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/vg4b5s.
Full textAbstract:
碩士國立中山大學
劇場藝術學系研究所
104
The significance of Cultural and Creative Industries(CCI) has had numbers of controversies, but it still belongs to an industry and has potential and benefits in economy. From the aspect of industry development, the phenomenon and the occurrence of cluster effect can recognize the maturity and competitiveness of the industry. Moreover, cultural creation that belongs to the connotations of the industrial cluster effect seems to have some differences from the traditional industry. Government considers cultural creation as the strength and development of a national economy, so it decrees the strategies and the policies which still belong to the developing thinking of traditional industry. Therefore, it is possible to find out that cluster effect is important and effective for CCI development which directs industrial parks, but it still has various aspects of considerations which need to be improved. In addition, from the theory of creative clusters, it mentions the concept of Creative Milieu, which occurs in city among neighborhoods. Observing the current status of Taiwan, creative neighborhood is gradually forming and developing stably. The cluster effect seems to be more active than Cultural and Creative Industries Park, so it is worthy to deeply research the development models of creative neighborhood for the economic effects and potential development of CCI. This research attempts to analyze the current structure and development of CCI in Taiwan through creative clusters theory, to explore the advantages of two modes which are Cultural and Creative Industries Park and Creative Neighborhood, and to discuss what form is more suitable for the development of CCI. Through interviews of organization building cultural and creative neighborhood, interviews of the professionals and industry brand, and personal involvement and observation in both fields, including Creative Neighborhood and Cultural and Creative Industries Park, using philosophy researching method to inquiry, reflect, and verify on the phenomenon; moreover, adopting survey method to collect questionnaires from CCI stores, and to investigate the viewpoint of both of Creative Clusters and Creative Milieu in order to permit the actual situation. By the multiple aspects information, we can conclude the development of CCI, and their respective advantages and appropriate position of the industries parks and neighborhoods. Eventually, whether Creative Clusters succeeds or not, it is not related to the actual output of the industry. Today, we talk about creative cluster, it still depends on the accumulation of creative capital. However, due to the features of cultural and creative output, creative capital doesn’t necessarily turn into economic benefits directly. Therefore, the markets (consumers) need to face Industries Park, but the production (creation, creative) should face Creative Neighborhood. Furthermore, cultural and creative value is divided into intangible and tangible. Creative capital has both of creation and economic production, but its intangible value is much more important. Therefore, when CCI only concerns about their output value, it can’t keep running the industry because of the loss, unsustainable content and spirit. However, it is interesting that the continuing development of the industry needs output value to support itself, so CCI seems to have this dilemma. It can’t be diffusely extended toward economic scale, and it should face the commercial market.
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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.
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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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HUNG, TSAI CHIH, and 蔡志泓. "MCDM Model for Exploring Cultural and Creative Industries." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/wmnn8a.
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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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Li, Yu-Ting, and 李于婷. "Applying Ceramics Craft to Creations of Cultural and Creative Industries in Taiwan: An Example of Formosan Sika Deer." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/du9yu5.
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Wang, Hui-Mei, and 王惠美. "The Investigation to Traditional Wooden Labor-Industrial Transformation of Cultural and Creative Industries- “Sanyi Ya Xiang Bao” for Example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/50836173765519772481.
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碩士東海大學
企業管理學系碩士班
100
Wood-carving industry in Sanyi has transferred from manufacturing to craft sales, then to cultural and creative industry. Now experiential activities are used to evoke consumers’ emotional reaction. Wood-carving companies in Sanyi went thorough a whole lifecycle, including introduction, growth, peak, and recession period. Nowadays, they are facing the challenge from Mainland China and Southeast Asia with low labor cost, which pushes them change their business model. Recent years, cooperating with the government makes business model more diversified. Sanyi wood-carving Association in Miaoli County was established in 1999. Sanyi Wood-Carving Festival was recognized as one of the twelve festivals in Taiwan from 2002. Due to many campaigns, the focus in this industry turned to personal creation with local cultural elements, which also gain reputation internationally. Long-term observation and case study were used in this study. Two cases in this industry were included – “Sanyi Ya Xiang Bao” (Shuang Feng Incopertion) and “Carpenters Workshop.” We compared these two cases to come out some future direction. The results indicated key success factors of organizational transformation include: 1. family cohesion, 2. local characteristics, 3. strategic alignment with the public sector, 4. media report. With the "SWOT" and "VRINE" theoretical framework, we discuss how to face new situation and how to rediscover a new chance for traditional wooden labor industry. And the findings also provide some suggestion to traditional and local industries for upgrading and transformation.
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Lin, Hsiao-Mei, and 林曉楣. "Activation and business strategies of Taiwan's industrial heritage –A Case Study of the Taichung Cultural & Creative Industries Park." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/44dbyv.
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碩士國立臺灣師範大學
美術學系
105
The government-owned-and-operated Taichung Cultural and Creative Industrial Park has been operating for 12 years since its establishment in 2005. It was originally a private-owned winery in the Japanese Colonial Era. The purpose of this study is to explore the developing and management problems the entrusted official managerial entity has been encountered and to examine whether the setting goals are achieved. Throughout its reviving course, the winery industrial heritage was firstly restored and designated as the Taiwan Architecture, Design and Art Center, then renamed to the current Taichung Cultural and Creative Industrial Park as the re-use project proceeds. The methodology applied in this study are literature analysis, in-depth interview and field research, with the intensive usage of the five essential managerial assessments specified by Mommaas (2004) in evaluating whether the planned goals for the park were duly achieved. For this purpose, the research also compared this industrial park’s operation with the contracted business operational model of the Huashan 1914 Creative Park in Taipei to see their similarities and differences. This study concluded that the operational development of the park has achieved its originally set goals. The winery industrial heritage has successfully restored and revitalized as the Taichung Cultural and Creative Industrial Park and played an exemplary model role for cultural innovative creativities in Taiwan. Exerting its cultural industry cluster function, the Taichung Park promotes well the cultural and creative design and product marketing activities, and thus, its cultural creativity roles are firmly enhanced. Keywords: Revitalization, Reuse, Public-Private Partnership, Cultural and Creative Industries, 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.
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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.
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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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Sheu, Po-jiun, and 許博鈞. "The Study of Cultural Creative Industrial Parks in Shanghai." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/43386319852120625785.
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碩士國立中山大學
中國與亞太區域研究所
98
After globalized division of labor, the upstream and downstream in industry have become more valued. Designing, advertising, and marketing are exactly the focus of cultural creative industries. The destruction of environment that comes with economic development also forces Chinese government to consider the environmental issue and transformation in industries: developing cultural creative industry to enhance the profit, which ensures sustainable development in economy. This study focus on how cultural creative industrial parks help the expansion of cultural creative industries in Shanghai. “Tianzifang,” “M50,” “Red Town,” and "Bridge 8" are for example in terms of how cultural creative industrial parks “innovate” and improve cultural productivity in Shanghai, helping the sustained and stable development in the industry. With the history of concession, Shanghai is the gateway to China. Researches show that this fusion of Chinese and Western culture is open, diverse and tolerant. The establishment of Shanghai cultural creative industrial parks builds the platform for exchange and interaction among culture, industry, and consumers. The parks are also capable of revitalizing the uniqueness in Shanghai culture, creating employment, and cultivating the cultural creative markets. The parks are customer-oriented at present, highlighting the hardware and entertainment venues, which disappoints the cultural creative workers. As the core of creative industries is in creative work, improving the working environment and meeting satisfaction of the enterprises and workers will be the matter in the future.
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Chen, Hao, and 陳昊. "The Agglomeration Effect of Cultural and Creative Industrial District." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/42432621035109499302.
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碩士國立中山大學
企業管理學系研究所
101
Globalization has brought more intense competition among enterprises. The traditional manufacturing industry is going to be replaced by knowledge-intensive industry, which drived by creativity, and “content” is the core of the industry. The “content”, in fact, referring to the culture and creativity. There also blew a wave of culture and creative industry in Taiwan. One of the best strategies to promote culture and creative industry is setting Cultural and Creative Industrial Park. Kaohsiung has unique harbor culture, and lots of festivals and activities create Kaohsiung a good environment to develop cultural and creative industries. However, there’s still space for Pier 2 to make progress. Therefore, this study selects two successful case in Shanghai, which also famous for its harbor culture: The Bridge 8 and M50 Creative Park. And this study tries to integrate the 5P theory and Porter’s diamond theory for analysis, in order to explore the required elements of forming a cultural and creative clusters as well as the interaction mechanism between elements. After analyzing the three cases, M50 and The Bridge 8 show significant interactive relationship between elements, especially in the “creative people and agencies”. In contrast, the Pier 2 displays weak relationship among elements. Therefore, this modified structure could be used to view the crucial elements for cultural and creative industry clusters, and the interactive mechanisms among elements.
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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.
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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
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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.
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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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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.
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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.
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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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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.
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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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Peng, Huichen, and 彭慧貞. "The Development Situation of Cultural Creative Industries in Miaoli County - The Case of Craft Industry and Creative Life Industries." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/07830661579198812334.
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碩士國立聯合大學
資訊與社會研究所
99
By the impact of the two trends of globalization and technology, traditional industries have faced significant pressures in the changes of their business structures. It is necessary to develop new business models to enhance industrial competitiveness. The current world attach great importance to facilitating and promoting cultural creative industries which has been seen as the axis of the development of a country's overall economic policy and industrial policy. This leads to the surprisingly great growth of the cultural creative industries in the share of global trade on the scale. Miaoli County economic development lags behind many other cities obviously. How to carry on the transformation and the extension of the traditional industry by promoting cultural and creative industries has become one of the key projects in Miaoli County Government. In the promotion of cultural and creative industries, the craft industry and creative life industries have been regarded as the key development industry. Therefore, by secondary data analysis and interviews, this study appraises the strengths and weaknesses of the craft industry and creative life industries in addition to exploring the current overall development of cultural creative industries in Miaoli County, in order to predict long-term industry trends, and to strengthen the industry's future competitiveness. According to this study , the craft industry and creative life industries has considerable competitiveness in manpower indicators, industry scale indicators, industrial innovation index. But they are faced with the difficulties of the pass on in human skills, resource allocation, cross-industrial collaboration, industry positioning, etc. Therefore, the promotion of the industry still requires more comprehensive planning and support. Besides, the government policies needs different assistance and cooperation according to the features and needs of each industry, as well as related assistance in the one-stop service, expert guidance, subsidies, marketing, manpower cultivation and cultural rooting. The local traditional industries can be transformed and developed to reach and to promote local economic development objectives by using cultural and creative life industries.
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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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Lee, Chiou-Lian, and 李秋蓮. "Local Governance and the Development of Cultural Creative Industry ：A Case Study of Huashan Cultural Creative Industrial Park." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/07360260647095484234.
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碩士國立臺北大學
公共行政暨政策學系碩士在職專班
96
This study explores the gorvernance problems of Huashan Cultural Creative Industrial Park base on different governance periods, and discuss how to reposition with a view of location governance. Furthermore, government department, enterprise organization, art field, and non-profit organization (NPO), each of them has different main purpose. How to integrate individuals, establish common target by location governance and function corporate and make park more efficient is our concern. We introduce literature analysis method and interview to investigate our study purpose. We visited central government, local government, enterprise organization, NGO and community organization that have been operated Huashan Park to compare public department with personal department and explore the differences. The framework is separated into three parts : the first is background, motivation, purpose of research ; the second, illustrate the role of creative culture park in culture creative industry by foreign successful park experience. Furthermore, describe the history of Huashan Park through interviewing Council for Cultural Affairs, Department of Urban Development Taipei City Government, enterprise organizations, NPO and community council organization that have been operated Huashan Park up to now. Finally, according to literature theory and our investigated results, we make a conclusion and give some suggestions for further references.
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Ling, Chiang Chi, and 江季凌. "The Visual Design of NTUA Cultural & Creative Industries Park." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/76479484224110227358.
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碩士國立臺灣藝術大學
視覺傳達設計學系碩士班
99
In the end of 20th century, amid globalization, technological development and Postmodernism, with creativeness, diversification and autonomy, cultural & creative industry has become a mainstream industry around the world after the revolution in agriculture, industry and information technology. In Taiwan, cultural & creative industry also has become frenetic. People from industry, government and academy have responded to the wave of cultural creativeness with enthusiasm. The history of Taiwan’s cultural & creative industry can be traced back to 1991. At that time, the government encouraged ‘Enrich Community Development’. Local craftsmanship and sightseeing has been combined and it made cultural industry have a beginning to grow. In 2002, ‘Cultural & Creative Industry Development Plan’ was included into ‘Challenge 2008: National Development Key Plan’, which has more clear plans about nurturing talents, tidying/organizing environment and promoting cultural & creative industry. It proposed to build up Five Creative & Cultural Parks, which shall become exemplars of developing cultural & creative industry. In 2010, the government announced ‘Cultural & Creative Industrial Development Act’, which stipulated the industrial scope and implementation guidelines. Officially it has been moved towards a stage promoted by law. Cultural & creative industry is about creative designs with artistic aesthetics. Universities of arts nurture talents of performing art and designing creativeness. These art universities have played an important role in the development of cultural & creative industry. Among Taiwan’s art design education, National Taiwan University of Arts (NTUA) is the most advanced academy with the longest history. It is also one of the schools that have regarded cultural & creative industry as a department. In 2007, under the programme of government’s ‘Re-utilizing Unused Space’, the Cultural Creative Industry Corporation Park was established for Taipei Paper Mill. In 2009, with the approval of Ministry of Education, NTUA established a level one unit – Cultural Creative Department, which is to provide management and marketing for the Corporation Park. The behaviours of visual communication design have been long and widely conducted in human society. Along with technological progress, they have presented more diversification and become dispensable nowadays. Therefore, visual communication design has been a part of cultural & creative industry. Based on relevant academic theories about visual communication design, the methodology adopted in this study were literature and observation analysis. The study target was the Cultural Creative Industry Corporation Park of NTUA and a systematic planning of visual design was drafted accordingly.
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Huang, Jeng Shin, and 黃正鑫. "The visual design of Wuzhou - Kinmen Cultural and Creative industries." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/fcahz9.
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碩士景文科技大學
文化產業與創新設計所
101
Taiwan government officially categorizes the "Culture creative industry" into the program named "Challenges 2008: National Priority Development" in the year of 2002. The value of cultural products is that it inspires the consonance of symbols, hence its differentiability, creativeness, and possession of symbol knowledge has become a crucial asset of culture industry. Cultural and creative industries through stop cultural quenching chain experience accumulated, derived a new way of thinking. Culture and industry, this is one of the presents out of our lives. In addition to the future to maintain traditional culture and characteristics, new types possessed the characteristics of life experience, it became effective method for each region to create the added value of the local industry. Kinmen unique Taiwanese culture and the frontline battlefield elegance is the islanders have the crystalline preserved in life. For industrial culture. Cultural industries "has considerable implications in Kinmen Minnan culture Battlefield spiritual impetus. The creation to Wuzhou-Kinmen visual image mark the creative theme performance, in order to reference basis as Kinmen cultural and creative industries. Collection of theoretical literature review and on-site field research, in-depth interviews to understand the current state of development of local cultural assets and industry to do more in-depth discussion to build Kinmen cultural and creative industries, the development of cultural characteristics, visual design reference. The object in the creative aspects of "administrative matters", "industrial culture", "environmental culture" designed a set of visual identification of planning applicable to Golden Gate, highlights the characteristics and culture of the Golden Gate. Expectations can be helpful in the development of the local industry, preach and Wuzhou. Kinmen "characteristics, erected in the image of Culture and Tourism, to promote industrial development, improve Islands tourism industry, to turn marketing Kinmen new imagery.
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Su, Wen-Ching, and 蘇文清. "A Study of Design Strategy in Local Cultural Creative Industries." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/44287997999046827765.
Full textAbstract:
博士中原大學
設計學博士學位學程
103
Local industry is an overall presentation of local life and also maintains the life pulse of overall local development. In recent years the shift in lifestyle, globalization, and the trend of global industry development has resulted in a decline of local industries. Due to this, promotional mechanisms of Taiwan’s local cultural industries have also been initiated; the purpose of this study is to explore theoretical thinking centered on culturally creative industries that can act as industry strategy to establish and execute regenerative strategy for local culturally creative industries and local economies. This study utilizes “root theory” as the primary research method to explore the “design strategy of local culturally creative industries” through aspects of “policy”, “culture”, “industry”, and “design execution” to discover the characteristics of local culture and establish an appropriate design strategy for local culturally creative industries. The entire process of this Study adopts a dynamic, open fashion. It first begins with literature analysis on culture study, followed by field investigation and in-depth interview, and summarizes, deduces, and compares with protocol analysis. The words of the interview are analyzed for their semantic and contextual clues to summarize the scope of concepts into a primary scope concerning this Study. According to the four facets abovementioned, in-depth interviews are conducted, of which content is coded, grouped, and consolidated. Total 1489 concepts, 123 sub scopes, and 22 primary scopes have been derived from open coding. According to the grouping of scopes, a reference model for local culture/creativity industry design strategy is established. Summary based on the reference model leads to the following conclusions: 1. Policy facet: design can be influential to local culture/creativity industry policy; 2. Location facet: local culture/creativity industry needs the element of design in its development, execution, and operation; 3. Industry facet: design and construct the links among the local culture/creativity industry; 4. Design facet: the position of design in local culture/creativity industry policy needs to be promoted further; 5. Local economy facet: construct the economic structure of local culture/creativity industry. According to the abovementioned 5 facets, this Study has divided the local culture/creativity industry design strategy into 4 stages: design target according to local culture/creativity industry (viability assessment – defining direction), design consensus (sustainability assessment – defining method), design planning (need assessment – defining solution), and design development (scalability assessment – defining strategy). This Study hopes that this design strategy structure may integrate, expand, and promote diversity of local culture/creativity industry for promoting and implementing the related plans regarding to central policies, local organizations, and local industries and to comprehensively achieve the ultimate goals of defining policies for local culture/creativity industry, deep-rooting local culture, develop local industry, and respect design as a profession.
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HUNG, LEE-EN, and 洪李恩. "Cultural and creative industries authorized business model- A Case Study." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/25031238098525264348.
Full textAbstract:
碩士東吳大學
會計學系
104
Focuses economical output value and high additional value which can bring in the Cultural and Creativity Industry does not allow to despise, the various countries bring Cultural and Creativity Industry into the national point development more in recent years. Taipei Exchange supports the article for the coordinate government to create the Cultural and Creativity Industry, and promotes “Cultural and Creative Industry sector” from January 6, 2014. Cultural and Creativity Industry lie in the industrial production with emphasis, must have ability which the quantity produces, but also has the successful profit business model. This research creates the industrial representative main item take the native place tradition article “Pili” to do as the case object of study, “the script” is the case company's core value, the original content is the creativity industry core competitive power. The use secondary material analysis adds on the industrial characteristic and present situation again, creates industrial from various countries the definition, the brand is authorized the intangible asset, again how does the depth analysis case company penetrate the IP authorization the utilization, and coordinates a source multipurpose straddling of zones cooperation to do for the derivation commodity development, creates the new article to create commercial of value the industrial development.
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Kao, Jeffrey Yen, and 高燕傑. "Sparking the Cultural and Creative Industries with Partnership and Collaboration." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3zm92k.
Full textAbstract:
碩士國立臺灣師範大學
國際企業管理雙碩士學位學程(NTNU-USC DIMBA)
106
The cultural and creative industries often consist of a small percentage of a nation’s GDP but are steadily growing in size and importance, as countries begin to see these industries as representative of their specific cultural and creative traits. One such country is Taiwan, who is learning to leverage its talents to promote local products but also grow its global recognition while increasing exports. Even though many governmental and financial support mechanisms are in place, they are limited; thus, partnership and collaboration both within the industries and across other industries are critical for companies and organizations to expand their business. This paper will explore how these concepts have played out in specific business cases to understand how they can be models for other companies’ future growth.