English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113648/144635 (79%)
Visitors : 51606174      Online Users : 795
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/59631


    Title: 文化創意產業的經營策略分析
    Strategy of Management of the Culture and Creativity Industry
    Authors: 馬雲鵬
    Yun-Peng Ma
    Contributors: 韓志翔
    宿文堂

    馬雲鵬
    Yun-Peng Ma
    Keywords: 文化創意産業
    經營策略
    產業價值鏈
    影視產業
    藝術品產業
    智財產業化
    Date: 2012
    Issue Date: 2013-09-03
    Abstract: 文化創意産業日益蓬勃,其中與智慧財產權的關係亦十分密切,但是文化創意產業的高風險,常令人既期待又怕受傷害,因此探索文化創意産業的經營之道,藉由經營策略的改進,規避文化創意産業的經營風險,甚至創造高獲利。先嘗試了解文化創意産業的需求方(即市場結構),分析以此需求推動的產業價值鏈架構。得知其産業經營的特性之後,再以其代表性的影視產業與藝術品產業為例證,從產業鏈分析開始,自上游、中游至下游各個面向的經營策略,分別予以深入探討,同時配合智財產業鏈流程,以極大化文化創意産業的獲利模式。

    智慧財產權是影視產業的核心利益所在,因此在影視產品製作之前,便可藉此智慧財產權與保險公司合作,由保險公司出具擔保向金融機構貸款部門籌資;也可透過法務操作,事先簽定放映權的發行契約,以獲取影視產品製作前的資金;或善用各國政府或城市對影視產業的補助金與租稅減免優惠政策。以多重管道紓解資金風險,再配合影視產品製作後的多角化授權經營,將影視產業的智財價值最大化,體現「規避風險,擴大利潤」的經營策略。

    講求原創精神的藝術品產業,有了智慧財產權的加持,加上資金泛濫、熱錢狂竄,更抬高藝術品的身價;同時以其智慧財產權為出發點,向藝術品周邊產業作無限延伸,謀求藝術品產業的最大邊際利益。也可藉由政府司法與行政的協助,積極保護藝術家的智慧財產權,遏止藝術品仿冒假造等侵權不法情事傷害原創藝術精神,並且避免藝術品的市場價值受到干擾與貶低,維持藝術品的獨特性與市場價值。建立原創藝術的完整授權系統,使得整個藝術品產業鏈,由上游的培養與鼓勵藝術創作、到中游的智慧財產權法律保護、最後呈現由藝術品商業化與周邊商品的附加價值提升,形成一連續而綿密的智財產業化流程。

    實證研究包括影視產業的夢田文創公司,其強調「故事管理師」在影視產業上游的「人才供給」部分的重要性,並在中游的「製作規劃」部分,注重「細節」,下游的「資源整合」部分,強調跨領域、跨產業的資源整合極大化。另一實證研究對象是藝術品產業的日升月鴻畫廊,其上游的「人才供給」部分,表示畫廊挑選藝術家要以長遠眼光面對多變的藝術市場。中游的「研發生產」部分,是有策略地佈局畫廊展售的藝術品,形成差異化與特色經營,下游的「資源整合」部分,則對藝術市場保持靈敏及彈性的經營策略。文化創意産品行銷則強調文化創意產品的授權,以收取豐厚而長遠的權利金,藉由這法律保護的授權之後,更能將擁有智慧財產權的文化創意産品,做最大的價値延伸,進而放大整個文化創意產業的經濟規模與經營效益。
    第一章 緒論……………………………………………………………………… 1
    第一節 研究動機與研究方法………………………………………………………1
    第二節 文化創意產業經營特性……………………………………………………2
    第三節 小結…………………………………………………………………………9

    第二章 影視產業 ………………………………………………………………10
    第一節 影視產業價值鏈分析 ……………………………………………………10
    第二節 影視產業經營策略分析 …………………………………………………11
    第三節 小結 ………………………………………………………………………19

    第三章 藝術品產業…………………………………………………………… 20
    第一節 藝術品產業價值鏈分析 …………………………………………………20
    第二節 藝術品產業經營策略分析 ………………………………………………21
    第三節 小結 ………………………………………………………………………30

    第四章 實證研究 ………………………………………………………………32
    第一節 夢田文創公司 ……………………………………………………………32
    第二節 日升月鴻畫廊 ……………………………………………………………34
    第三節 小結 ………………………………………………………………………37

    第五章 結論 …………………………………………………………………… 40

    附錄 實證訪談逐字稿…………………………………………………………45

    參考文獻……………………………………………………………………………50
    Reference: 行政院文化建設委員會,2003。文化白皮書,臺北:行政院文化建設委員會。

    李天鐸,2011。文化創意產業讀本:創意管理與文化經濟,台北:遠流。

    李巧云譯,Thornton S.著,2010。藝術市場探密,台北:時報。

    李佳純譯,Currid E.著,2008。安迪沃荷經濟學:紐約夜店引爆的億萬創意生產線,台北:原點。

    李俊明譯,Chris Smith著,2005。創意英國,台北:五觀藝術管理。

    李璞良、林怡君譯,丹麥文化部、貿易產業部著,2003。丹麥的創意潛力,台北:典藏。

    李璞良譯,John Howkins著,2003。創意經濟:好點子變成好生意,台北:典藏。

    吳青松,2003。臺灣產業研究3/「文化產業」-文化生產的結構分析/資訊會中的文化產業,台北:遠流。

    吳錫德譯,Jean- Pieree Warnier著,2003。文化全球化,臺中:麥田。

    財團法人環境規劃與城鄉研究文教基金會,2003。全球化趨勢下文化產業區發展策略之硏究,臺北:行政院經濟建設委員會。

    郭書瑄、嚴玲娟譯,Heilbrun, J. & Gray, C.著,2008。藝術、文化經濟學,台北:典藏。

    郭輝勤,2008。創意經濟學,台北:我識。

    張維倫等譯,Thorsby D.著,2001。文化經濟學,台北:典藏。

    陳芸芸譯,James Lull著,2001。媒介、傳播與文化,臺北:韋伯。

    傅振焜譯,Richard Florida著,2006。創意新貴:城市與創意階級,台北:日月文化。

    楊靜芝,2011。創意空間:文化創意產業園區的理論與實踐,台北:五南。

    楊燕枝、吳思華,2005。文化創意產業的價值創造形塑之初探,行銷評論,第2卷第3期,313-338。

    蔡宜真、林秀玲譯,Bruno S. Frey著,2011。當藝術遇上經濟-個案分析與文化政策,台北:典藏。

    廖珮君譯,Hesmondhalgh D.著,2008。文化產業分析,台北:韋伯。

    鄭智祥譯,Epstein E.著,2011。好萊塢電影經濟的內幕,台北:稻田。

    羅秀芝譯,Ruth Rentschler著,2003。文化新形象:藝術與娛樂管理,台北:五觀藝術管理。

    譚平譯,Thompson D.著,2011。身價四億的鯊魚,台北:原點。

    Acheson, K. and Christopher J. , 1994. Understanding Hollywood`s Organization and Continuing Success, Journal of Cultural Economics 18(4): 271-300.

    Adler, M., 1985. Stardom and Talent, American Economic Review 75:208-12.
    Adorno, T., 1991. The Culture Industry, London And New York: Routledge.

    Aghion, P. and Jean T., 1994. On the Management of Innovation, Quarterly Journal of Econonics 109: 1185-1209.

    Aksoy, A. and Kevin R., 1992. Hollywood for the 21th Century: Global Competition for Critical Mass in Image Markets, Cambridge Journal of Economics 16(1): 1-22.

    Albert, S., 1998. Movie Stars and the Distribution of Financially Successful Films in the Motion Picture Industry. Journal of Cultural Economics 22: 249-270.

    Amabile, M., 1997. Motivating Creativity in Organisations: On Doing What You Love and Loving What You Do, California Management Review 40: 39-58.

    Amabile, M., 1998. How to Kill Creativity, Harvard Business Review 40: 77-87.

    Anderson, C., 1974. Paintings as an Investment, Economic Inquiry 12: 13-2b.

    Balio, T., 1996. Adjusting to the New Global Economy: Hollywood in the 1990s, In Albert Moran, ed., Film Policy: International, National and Regional Perspectives, London: Routledge, 23-38.

    Balio, T., 1998. A Major Presence in all the World`s Major Markets : The Globalization of Hollywood in the 1990s, In Steve Neale and Murray Smith, eds., Contemporary Hollywood Cinema, London: Routledge, 58-73.

    Bassett, K., 1996. Partnerships, business elites and urban politics: new forms of governance in an English city? , Urban Studies 33: 539-55.

    Bassett, K., 1993. Urban Cultural Strategies and Urban Regeneration: a case study and critique, Environment and Planning 25 : l773-1778.

    Baudrillard, J., 1998. The Consumer Society: Myths and Structures, London: Sage.

    Baumol, J., 1986. Unnatural Value: or Art Investment as Floating Crap Game, American economic Review 76: 10-14.

    Bianchini, F. and Parkinson M., 1993. Cultural Policy and Urban Regeneration-The West European Experience, Manchester University Press.

    Bishop, C. and Thmoas A., 1979. Measuring Values of Extramarket Goods: Are Indirect Measures Biased? American Journal of Agricultural Economics 61: 926-30.

    Blackstone, A. and Gary W., 1999. Vertical Integration in Motion Pictures, Journal of Communication 49(1) : 123-139.

    Blair, H. and Al R., 2000. Flexible Films?, Media, Culture & Society 22(2): 187-204.

    Bohm, P., 1979. Estimating Willingness to Pay: Why and How?, Scandinavian Journal of Economics 81 (1): 142-153.

    Bohm, P., 1984. Revealing Demand for an Actual Public Good, Journal of Public Economics 24 (1): 135-151.

    Bordwell, D., Janet S. and Kristin T., 1985. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, New York: Columbia University Press.

    Boulding, K., 1977. Toward the Development of a Cultural Economics, Social Science Quarterly 53: 267-284.

    Branston, G., 2001. Cinema and Cultural Modernity, Buckingham: Open University Press.

    Buelens, N. and Victor G., 1993. Art as Floating Crap Game, European Economic Review 37: 1351-1371.

    Buncombe, D. and Jeffrey L., 1995. The Optimal Mix of Volunteer and Paid Staff in Local Governments: An Application to Municipal Fire Department, Public Finance Quarterly 23: 356-384.

    Cassady, R. Jr., 1958. Impact of the Paramount Decision on Motion Picture Distribution and Price Making, Southern California Law Review 31: 150-180.

    Caves, E., 2000. Creative Industries: Contracts between Art and Commerce, Cambridge, MA: Harvard University Press.

    Chistopherson, S. and Michael S., 1986. The City as Studio, the World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry , Environment and Planning D: Society and Space 4(3): 305-320.

    Clark, E. and James R., 1988. The Social Benefits of Urban Cultural Amenities, Journal of Religional Science 28 (3): 363-377.

    Coe, M., 2001. A Hybrid Agglomeration? The Development of a Satellite- Marshallian Industrial District in Vancouver`s Film Industry, Urban Studies 38(1): 1753- 1775.

    Coe, M., 2000. On Location: American Capital and the Local Labour Market in the Vancouver Film Industry, International Journal of Urban and Regional Research 24(1) : 79-94.

    Coe, M., 2000. The View from Out West: Embeddedness, Inter-Personal Relations and the Development of an Indigenous Film Industry in Vancouver, Geoforum 31(4): 391- 398.

    Cones, W., 1997. The Feature Film Distribution Deal: A Critical Analysis of the Single Most Important Film Industry Agreement, Carbondale: Southern Illinois University Press.

    Cooke, P. and Kevin M., 2000. The Associational Economy: Firms, Regions and Innovation, Oxford:Oxford University Press.

    Coutts, H., 1986. Profile of a Blockbuster, Museum Journal 86 : 23-26.

    Cropper, L. and William E., 1992. Environmental Economics: A Survey, Journal of Economic Literature 302: 675 -740.

    Dale, M., 1997. The Movie Game: The Film Business in Britain, Europe, and America, London: Cassell.

    Daly, A., 1980. A Comparison of Exhibition and Distribution Patterns in Three Recent Feature Motion Pictures, New York: Arno Press.

    Deardorff, V, 1995. The Appropriate Extent of Intellectual Property Rights in Art, Journal of Cultural Economics 19 (2): 119-130.

    Devine, D., and Bruce M., 1979. The Influence of Consumer Price Information on Retail Pricing and Consumer Behavior, American Journal of Agricultural Economics 61: 228-37.

    DiMaggio, P., 1985. When the Profit is Quality, Cultural Institutions in the Marketplace, Museum News 63 (5): 28-35.

    Donahue, S., 1987. American Film Distribution: The Changing Marketplace , Ann Arbor: UMI Research Press.

    Eichberger, D., 1996. The Grand Louvre: A Change in Direction, Bulletin of the Melbourne Fine Arts Society 8: 3-5.

    Eisenberger, R. and Michael S., 1994. Does Reward Increase or Decrease Creativity?, Journal of Personality and Social Psychology 66: 1116-1127.

    Eisenberger, R. and Stephen A., 1997. Can Salient Reward Increase Creative Performance Without Reducing Intrinsic Creative Interest?, Journal of Personality and Social Psychology 66: 652-663.

    Filer, K., 1986. The “Starving Artist”― Myth or Reality? Earnings of Artists in the United States, Journal of Political Economy 94 : 56-75.

    Finney, A., 1996. The State of European Cinema: A New Dose of Reality, London: Cassell.

    Frey, S., 1986. The Salzburg Festival ― from the Economic Point of View, Journal of Cultural Economics 10 : 27-44.

    Frey, S. and Werner W., 1989. Art : An Empirical Inquiry, Southern Economic Journal 56 : 396-409.

    Fronville, L., 1985. Marketing for Museums : For Profit Techniques in the Non-Profit World, Curator 28 (3) : 169-182.

    Gavin, A., 1981. Blockbusters: The Economics of Mass Entertainment, Journal of Cultural Economics 5 : 1-20.

    Getz, D. and Wendy F., 1988. Evaluating Management Effectiveness in Community-Run Festivals, Journal of Travel Research 27 : 22-27.

    Ginsburgh, V. and Francoise P., 1997. Land Artists and Art Markets. An Analysis of Works Sold at Auctions, Journal of Cultural Economics, Special Issue on the Art Market 21(3) : 219-228.

    Globerman, S. and Aidan V., 1987. Foreign Ownership and Canada`s Feature Film Distribution Sector: An Economic Analysis, Vancouver, BC: The Fraser Institute.

    Goetzmann, N., 1993. Accounting for Taste : Art and the Financial Markets over three Centuries, American Economic Review 83(5) : 1370-1376.

    Gomery, D., 1998. Hollywood Corporate Business Practice and Periodizing Contemporary Film History, In Steve Neale and Murray Smith, eds., Contemporary Hollywood Cinema, London:Routledge, 47-57.

    Grampp, D., 1989. Rent-Seeking in Arts Policy, Public Choice 60 : 113-121.

    Griffiths, R., 1995. Cultural Strategies and New Modes of Urban Intervention, Cities 12(4): 253-265.

    Hansman, B. and Marina S., 1997.Authors` and Artists` Moral Rights : A Comparative Legal and Economic Analysis, Journal of Legal Studies 26 : 95-143.

    Hirsch, M., 2000. Cultural Industries Revisited, Organization Science 11(3): 356-361.

    Horowitz, H., 1983. Work and Earnings of Artists in the Media Fields, Journal of Cultural Economics 7 : 69-89.

    Hoskins, C., Stuart M. and Adam F., 1997. Global Television and Film: An Introduction to the Economics of the Business, Oxford: Oxford University Press.

    Hozic, A., 2001. Hollywood: Space, Power, and Fantasy in the American Economy. New York: Cornell University Press.

    Hozic, A., 1999. Uncle Sam Goes to Siliwood: Of Landscapes, Spielberg, and Hegemony, Review of International Political Economy 6(3) : 289-312.

    Hughes, G., 1989. Measuring the Economic Value of the Arts, Policy Studies 9 (3) : 33-45.

    ITA, 2001. Impact of the Migration of U.S. Film and Television Production, Washington, DC: International Trade Administration, Department of Commerce, US.

    Jarvie, I., 1998. Free Trade as Cultural Threat; American Film and TV Exports In the Post-War Period, In Geoffrey Nowell-Smith and Stephen Ricci, eds., Hollywood and Europe: Economics, Culture and National Identity 1945-95. London: British Film Institute,34-46.

    Kessler, A., 1999. The North American Free Trade Agreement, Emerging Apparel Production Networks and Industrial Upgrading: The Southern California I Mexico Connection, Review of International Political Economy 6(4): 565-608.

    Kirchgassne, G. and Werner W., 1993. Low-cost Decisions as a Challenge to Public Choice, Public Choice 11 : 107 -115.

    Koboldt, C., 1995. Intellectual Property and Optimal Copyright Protection , Journal of Cultural Economics 19(2) : 131-155.

    Law, M., 1992. Urban tourism and its contribution to economic regeneration, Urban Studies 29:599-619.

    Litman, R., 2001. Motion Picture Entertainment, In Walter Adams and James Brock, eds., The Structure of American Industry. Upper Saddle River, NJ: Prentice Hall, 171-198.

    Litman, R., 1998. The Motion Picture Mega-Industry. Boston: Allyn & Bacon.

    Litwak, M., 1986. Reel Power: The Struggle for Influence and Success in the New Hollywood, New York:William Morrow.

    Louargand, A. and J.R. McDaniel, 1991. Price Efficiency in the Art Auction Market, Journal of Cultural Economics 15(2) : 53-65.

    Machina, J., 1987. Choice Under Uncertainty: Problems Solved and Unsolved, Journal of Economic Perspectives 1 : 121-154.

    Martin, F., 1994. Determining the Size of Museum Subsidies, Journal of Cultural Economics 18 : 255-270.

    Martin, B. & Szelenyi I., 2000. Beyond Cultural Capital: toward a theory of symbolic domination, London : Sage.

    McRobbie, A., 1993. Cultural Studies for the 1990s, The European Journal of Social Science 6(3) : 269-277.

    Miege, B., 1987. The Capitalization of Cultural Industries, Media Culture and Society 9(3) : 273-289.

    Mitchell, A. and Geoffrey W., 1989. The Arts and Employment : A Case Study of the Stratford Festival, Growth and Change 20 (4) : 31-40.

    Molotch, H., 1996. LA as Design Product: How Art Works in a Regional Economy, In Allen J. Scott and Edward W. Soja, eds., The City: Los Angeles and Urban Theory at the End of the Twentieth Century, Berkeley: University of California Press, 225-275.

    Montias, J., 1995. Are Museums Betraying the Public`s Trust? Journal of Cultural Economics 19 (1995) : 71-80.

    Myerscough, J., 1988. The Economic Importance of the Art in Britain, London : policy Studies Institute.

    Nicholas, G., 1987. Concepts of Culture: Public Policy and the Cultural Industries, Cultural Studies 1(1): 23-37.

    O’Hagan,W. and Christopher T., 1995. National Museums : Functions, Costs and Admission Charges, European Journal of Cultural Policy 1 : 369-380.

    Osterloh, M. and Bruno S., 2000. Motivation, Knowledge Transfer and Organizational Forms, Organization Science 11 : 538-550.

    Page, S., 1995. Urban Tourism, London: Routledge.

    Pesando, E., 1993. Art as an Investment : The Market for Modern Prints, American Economic Review 83 : 1075-1089.

    Peterson, A., 1976. The Production of Culture, London : Sage.

    Pine, B. and James H., 1999. The Experience Economy: Work Is Theater & Every Business a Stage, Boston: Harvard University Press.

    Porter, E., 2001. Regions and the New Economics of Competition, In Allen J. Scott, ed., Global City-Regions: Trends, Theory, Policy. Oxford: Oxford University Press, 139-157.

    Porter, E., 1995. The Competitive Advantages of Inner City, Harvard Business Review, May/June.

    Porter, E., 2001. U. S. Competitiveness 2001: Strengths, Vulnerabilities and Long-Term Policies.

    Pratt, C., 2004. Creative Cluster:Towards the Governance of the Creative Industries Production System?, Media International Australia 112 : 50-66.

    Pratt, C., 2005. Cultural Industries and Public Policy : An oxymoron?, International Journal of Cultural Policy 11(1) : 31-44.

    Pratt, C., 2004. Retail Therapy, Geoforum 35(5) : 519-521.

    Pratt, C., 2004. The Cultural Economy: A Call for Spatialized “Production of Culture” Perspectives, International Journal of Cultural Studies 7(1), 117-128.

    Pratt, C. and Naylor, R., 2003. Winning Customers:Improving Prodction Chains in the Creative Industries, London: London Developent Agency.

    Prince, S., 2000. A New Pot of Gold: Hollywood under the Electronic Rainbow, 1980-1989, New York Charles Scribner`s Sons.

    Prindle, R., 1993. Risky Business; The Political Economy of Hollywood, Boulder, CO: Westview Press.

    Puttnam, D. and Neil W., 1998. Movies and Money, New York: Knopf.

    Randall, A., Berry C., and Clyde E., 1974. Bidding Games for Valuation of Aesthetic Environmental Improvements, Journal of Environmental Economics and Management 1 : 132-149.

    Robins, A., 1993. Organization as Strategy: Restructuring Production in the Film Industry, Strategy Management Journal 14 : 103-118.

    Rosen, D. and Peter H., 1987. Off-Hollywood: The Making and Marketing of Independent Films, New York : Grove Weidcnfeld.

    Rosen, S., 1981. The Economics of Superstars, American Economic Review 11 : 845-858.

    Schatz, T., 1997. The Return of the Hollywood Studio System, In Patricia Aufderheide, ed. Conglomerates and the Media. New York: The New Press, 73-106.

    Schatz, T., 1983. Old Hollywood / New Hollywood Ritual, Art and Industry, Ann Arbor: UMI Research Press.

    Scitovsky, T., 1972. What’ s Wrong with the Arts is What’s Wrong with Society, American Economic Review 62 : 62-79.

    Scott, J., 2000. French Cinema: Economy, Policy and Place in the Making of a Cultural-Products Industry, Theory, Culture &Society 17(1) : 1-38.

    Scott, J., 2004. From Silicon Valley to Hollywood: Growth and Development of the Multimedia Industry in California, In Philip Cooke, Martin Heidenreich and Hans-Joachim Braczyk, eds. Regional Innovation Systems. London: UCL Press, 136-162.

    Scott, J., 1999. The Cultural Economy: Geography and the Creative Field, Culture, Media, & Society, 21(6): 807-817.

    Scott, L. and John U., 1994. Economies of Signs and Space, London: Sage.

    Segrave, K., 1997. American Films Abroad: Hollywood`s Domination of the World`s Movie Screens, Jefferson NC: McFarland.

    Simonton, D., 1984. Genius, Creativity and Leadership, Cambridge, MA : Harvard University Press.

    Smith, M., 1998. Theses on the Philosophy of Hollywood History, In Steve Neale and Murray Smith eds., Contemporary Hollywood Cinema. London: Routledge, 3-20.

    Smolensky, E., 1986. Municipal Financing of the U.S. Fine Art Museum : A Historical Rationale, Journal of Economic History 46 (4) : 757-768.

    Stein, P., 1977. The Monetary Appreciation of Paintings, Journal of Political Economy 85 (5) : 1021-1035.

    Stokes, J. and Anna R., 1999. The Media in Britain: Current Debates and Developments.

    Storper, M. and Allen J., 1995. The Wealth of Regions: Market Forces and Policy Imperatives in Local and Global Context, Futures 27(5) : 505-526.

    Storper, M. and Susan C., 1987. Flexible Specialization and Regional Industrial Agglomerations: The Case of the U.S. Motion Picture Industry, Annals of Association of American Geographer 77(1) : 104-117.

    Storper, M., 1989. The Transition to Flexible Specialisation in the U.S. Film Industry: External Economies, the Division of Labour, and the Crossing of Industrial Divides, Cambridge Journal of Economics 13(2) : 273-305.

    Throsby, D., 1995. Culture, Economics and Sustainability, Journal of Cultural Economics, 19: 199-206.

    Throsby, D., 1994. The Production and Consumption of the Arts; A View of Cultural Economics, Journal of Economic Literature 32 : l-29.

    Throsby, C. and Glenn A., 1983. Measuring the Demand for the Arts as a Public Good : Theory and Empirical Results, Economics of Cultural Decisions, Cambridge, MA. : 177-91.

    Throsby, C. and Glenn A., 1986. Strategic Bias and Demand for Public Goods : Theory and an Application to the Arts, Journal of Public Economics 31: 307-327.

    Towse, R., 2001. Creativity, Incentive and Reward. An Economic Analysis of Copyright and Culture in the Information Age, Cheltenham UK and Brookfield US : Edward Elgar.

    Vogel, L., 1998. Entertainment Industry Economics: A Guide for Financial Analysis, Cambridge:Cambridge University Press.
    Wasko, J., 1994. Hollywood in the Information Age: Beyond the Silver Screen, Oxford: Polity Press.

    Waterman, D. and Krishna P., 2000. The Competitive Balance of the Italian and American Film Industries, European Journal Communication 15(4) : 501-528.

    Weisbord, A., 1988. The Nonprofit Economy, Cambridge, MA : Harvard University Press.

    West, G., 1985. Subsidizing the Performing Art, Toronto : Ontario Economic Council.

    Wildman, S. and Stephen E., 1988. International Trade in Films and Television Programs, Cambridge, MA: Ballinger.

    Wiston, A. and Baker, J., 1985. Behavior Analysis Studies of Creativity : A Critical Review, Behavior Analyst 8 : 191-205.

    Wyatt, J., 1994. High Concept: Movies and Marketing in Hollywood, Austin, TX: University of Texas Press.

    Wyatt, J., 1998. The Formation of the Major Independent : Miramax, New Line and the New Hollywood, In Steve Neale and Murray Smith, eds., Contemporary Hollywood Cinema. London:Rourleage, 74-90.

    Zukin, S., 1995. The Culture of Cities, London: Blackwell.
    Description: 碩士
    國立政治大學
    智慧財產研究所
    96361008
    101
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0096361008
    Data Type: thesis
    Appears in Collections:[智慧財產研究所] 學位論文

    Files in This Item:

    File SizeFormat
    index.html0KbHTML2893View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback