Dissertations / Theses on the topic 'Creative industries'
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1
Coll, Martínez Eva. "Essays on location patterns of creative industries." Doctoral thesis, Universitat Rovira i Virgili, 2018. http://hdl.handle.net/10803/462912.
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Aquesta tesi analitza i identifica quins són els factors que faciliten la localització i aglomeració de les indústries creatives a nivell local i les compara amb les de la resta d’activitats econòmiques. Aquesta tesi contribueix a la literatura de les indústries creatives a través de l'anàlisi de les pautes de localització d'aquestes indústries tant des d'una perspectiva d’anàlisi tradicional a nivell municipal com introduint algunes innovacions quant a l'ús de la econometria espacial, els mètodes basats en la distància i els Sistemes d’Informació Geogràfica (SIG) gràcies a l’accés a dades micro-geogràfiques. L'aplicació empírica se centra en els municipis catalans per al període 2002-2007, en l'Àrea Metropolitana de Barcelona i, finalment, en la ciutat de Barcelona per al període 2006-2015. Tot i que els determinants de localització de les indústries creatives no són tan diferents dels de les no creatives, els principals resultats d'aquesta tesi confirmen la naturalesa específica d'aquestes indústries i la seva major necessitat d'aglomeració, especialment per a les indústries creatives basades en un coneixement més simbòlic. A més, aquesta tesi corrobora l'associació positiva entre les indústries creatives i el creixement econòmic, en termes de creació d’empreses i de productivitat. Tanmateix, els resultats suggereixen que la capacitat d'atraure activitats creatives i ocupació a una àrea estan estretament vinculats a l’entorn creatiu existent i les dinàmiques culturals històriques que defineixen la personalitat de l’àrea. Tenint en compte el gran potencial de les indústries creatives en termes de, per exemple, el dinamisme econòmic, la regeneració urbana o el màrqueting urbà, els resultats d'aquesta tesi permeten extreure una sèrie de recomanacions per a les autoritats públiques disposades a fomentar la diversificació de l'activitat econòmica per tal d’augmentar la seva competitivitat en un context econòmic i social cada vegada més global.Esta tesis analiza e identifica cuáles son los factores que facilitan la localización y aglomeración de las industrias creativas a nivel local y las compara con las del resto de actividades económicas. Esta tesis contribuye a la literatura de las industrias creativas a través del análisis de las pautas de localización de estas industrias tanto desde una perspectiva de análisis tradicional a nivel municipal como introduciendo algunas innovaciones en cuanto al uso de la econometría espacial, los métodos basados en la distancia y los Sistemas de Información Geográfica (SIG) gracias al acceso a datos micro-geográficos. La aplicación empírica se centra en los municipios catalanes para el periodo 2002-2007, en el Área Metropolitana de Barcelona y, finalmente, en la ciudad de Barcelona entre 2006-2015. A pesar de que los determinantes de localización de las industrias creativas no son tan diferentes de los de las no creativas, los principales resultados confirman la naturaleza específica de estas industrias y su mayor necesidad de aglomeración, especialmente para a las industrias creativas basadas en un conocimiento más simbólico. Además, esta tesis corrobora la asociación positiva entre industrias creativas y crecimiento económico, en términos de creación de empresas y de productividad. Sin embargo, los resultados también sugieren que la capacidad de atraer actividades creativas y empleo en un área está claramente asociada al entorno creativo existente y las dinámicas culturales históricas que definen la personalidad del área. Teniendo en cuenta el gran potencial de las industrias creativas en términos de, por ejemplo, el dinamismo económico, la regeneración urbana o el marketing urbano, los resultados de esta tesis permiten extraer una serie de recomendaciones para las autoridades públicas dispuestas a apoyar la diversificación de la actividad económica a efectos de aumentar su competitividad en un contexto económico y social cada vez más global.
This thesis analyses and identifies which factors facilitate the location and agglomeration of creative industries at the local level and compare them to those of the other economic activities. This thesis contributes to the literature on creative industries by analysing the location behaviour of these industries both from a traditional analysis at municipality level and by introducing some innovations regarding the use of spatial econometrics, distance-based methods and Geographical Information Systems (GIS) thanks to the access to micro-geographic data. The empirical application focuses on Catalan municipalities for the period 2002-2007, on the Metropolitan Area of Barcelona and on the city of Barcelona for the period 2006-2015. Main findings of this thesis show that, despite the fact that creative industries location determinants are not so different from those of non-creative industries, the specific nature of these industries and their greater need for agglomeration is confirmed, especially for symbolic-based creative industries. Moreover, this thesis confirms the positive association between creative industries and economic growth – in terms of firm creation or productivity. Finally, it also suggests that the ability to attract creative activities and employment to an area strongly depends on the existing creative milieu and the cultural path dependence of the area. Based on the assumption that creative industries have great potential in terms of, for example, economic dynamism, urban regeneration or city marketing, results of this thesis allows having a series of recommendations for public authorities willing to support the diversification of economic activity for the purpose of enhancing their competitiveness in an economic and social context increasingly global.
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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
3
Doneman, Michael. "Creative industries development in regional Queensland." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16281/1/Michael_Doneman_Thesis.pdf.
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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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Doneman, Michael. "Creative industries development in regional Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16281/.
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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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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.
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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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Cluley, Robert John. "Creative production in the UK music industries." Thesis, University of Leicester, 2011. http://hdl.handle.net/2381/8939.
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Creative work is thought to offer a model for the future of all work as we move into a knowledge economy. But in what sense is creative work, itself, creative? This is the central concern of this thesis. Many have argued that our ability to be creative has, ironically, decreased with the rise of creative work. Researchers have suggested that the precarious labour conditions typical of creative work along with the growing role of large corporations in the creative labour market make it all but impossible for creative workers to be experimental and innovative – that is, to be truly creative. However, marking a distinction between creatively producing something and producing something creative, I argue that organising creativity is now an important creative activity in its own right and is intimately related to various ways of representing work. Drawing on ethnographic empirical research and my own experiences as an amateur musician I describe the ways in which working helps a specific group of people to creatively make music and provide an analysis of how positive and negative images of work help to structure and inspire this creativity.
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Nielsen, Ellen Jennifer Louise. "Employability strategies used by creative industries graduates." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132564/4/__qut.edu.au_Documents_StaffHome_staffgroupW%24_wu75_Documents_ePrints_Ellen_Nielsen_Thesis%5B1%5D.pdf.
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This thesis adopted a mixed methods approach to examine the early career experiences of Creative Industries graduates in Australia. Through interviews and survey data analysis, the research provides new and significant insights into (1) the personal and structural factors that shape creative graduates' early careers; (2) how creative graduates evaluate, select, and use employability strategies during their early careers; and (3) the relationship between employability strategies and graduate employment outcomes.
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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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Eidenberger, Judith, Sandra Haider, Astrid Oberhumer, and Jutta Rozinski. "Creative Industries in der Gemeinde Gaspoltshofen. Eine Regionalstudie." Forschungsbereich Wirtschaft und Kultur, WU Vienna University of Economics and Business, 2006. http://epub.wu.ac.at/924/1/document.pdf.
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The main ambition of this qualitative research study was to gain more knowledge about creative industries in the rural area. As research area we chose the rural village Gaspoltshofen in Upper Austria. To reach our target, a two-step strategy was adopted. The first step consisted in an elicitation of the creative workers and their activities. Secondly, eleven creative workers and key personalities were interviewed. Although the study was focusing on one village, we were able to generate general theses about creative industries, which claim universal validity for villages of similar size: Creative workers operate in structures like those described as the future of working environment: Traditional lifelong employment is replaced by working in a variety of fields, which brings along a need for permanent further education. Creative workers mainly are self-employed. They work in the same place they live, and consequently are more flexible concerning working hours. In these new, flexible structures networks are of high significance. Creative workers are existentially dependent on networking. Not only that they often get their jobs through it, they also socialise new customers and colleagues relations. In addition they enjoy financial protection through a social-familiar safety-net in times of crisis. Through the new way of working the geographical independency increases which allows free choice of residence. As a consequence creative industries also exist in the rural area. Nevertheless they are still dependent on urban structures, especially concerning formal institutions of further education like universities or colleges. To establish creative industries in a small village, it is essential that they are located in an adequate distance from a city. If the distance is too small, the establishment of creative structures will be taken over by the city, whereby the neighbouring villages won't see a necessity to initiate anything on their own. Already existing creative industries infrastructure positively effects the establishment and extension of further creative businesses. Due to the small size of villages single persons have a big influence on the establishment of initiatives, both concerning their coming off and the formation of opinion about it. Especially for the continuance of a creative industries organisation a long-lasting commitment and takeover of responsibility of single persons is important. Concerning new initiatives there is often a polarisation of the population due to the sympathy or antipathy regarding the initiators. All creative workers identify themselves with - or are at least concerned about - the village. An important issue here is "to show the village a thing or two", which illustrates the creative workers' strong relation to their residence. (author's abstract)Series: Schriftenreihe / Forschungsbereich Wirtschaft und Kultur
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Mayerhofer, Peter, and Peter Huber. "Arbeitsplatzeffekte und Betriebsdynamik in den Wiener "Creative Industries"." WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/3455/1/ci_mayerhofer.pdf.
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Based on an individual longitudinal data on dependent employment we analyse the role of Creative
Industries for the employment system of Vienna. We focus on gross job flows and firm dynamics in
this priority field of Vienna's urban policy and analyse the characteristics of the different parts of the
cluster's production system. We find ample evidence for positive effects of Creative Industries on
employment growth and firm birth, but also reveal considerable job turnover and a large
heterogeneity of firm growth in the cluster. Especially, we find rather different evolutions along the
clusters value chain, which points to weak linkages between upstream and downstream activities in
the cluster. (author's abstract)Series: Creative Industries in Vienna: Development, Dynamics and Potentials
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Oakley, Kate. "Creative industries and the politics of New Labour." Thesis, City University London, 2010. http://openaccess.city.ac.uk/11884/.
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This thesis examines the development of policy towards the creative industries in the UK in the period 1997-2008. It argues that this can be seen in the light of New Labour's understanding of the knowledge economy, an understanding that influenced its development of education and social policy, as well as economic policy. It thus provides a unique insight into New Labour politics in general. The thesis asserts that New Labour's account of the knowledge economy was a deterministic one, which took its cue from what it believed to be long-term social and economic trends. In this, it is consistent with other critiques of New Labour politics, which argue that it can be seen as a development of prevailing neoliberal ideas (Hay 1999; Thompson 2002; Finlayson 2003; Clarke 2004); but in this case, I argue, it is a variety of neoliberalism that is heavily influenced by institutionalism (Bevir 2005). The importance of institutionalist ideas can be seen in the emphasis in creative industries policy on networks, characterised by social and ethical norms, as opposed to a neoliberal focus purely on marketisation. New Labour produced an essentially benign account of the knowledge economy; the creative industries were capable of producing 'good work', which offered opportunities for highly skilled labour. In addition, because of its links to popular culture, they could offer inclusion through work, for those deemed socially excluded. I argue that this account continued throughout the period under examination, despite mounting evidence, discussed in several of the publications below, that the creative industries produce labour markets that are highly unequal in terms of race and class. It is in attitudes to the labour market that the failures of New Labour's creative industries policy can be seen most sharply. The roots of that failure, and what it tells us about New Labour's creative industries policy, is the subject of the thesis.
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Andrews, Cynthia. "Promoting rural identity and sustained economies utilizing the creative industries : developing creative cluster communities." Thesis, University of Ulster, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592010.
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Abstract: This project seeks to determine the factors that make rural visual creative communities successful. The work examines distinctive trends evident in rural creative communities. It further investigates the contribution visual creative industries based businesses have on the local economy. The project seeks to determine if the characteristics that have made these communities successful can be laid out to aid other rural communities. Two case study sights were chosen: The Orkney Islands off the north coast of Scotland and The Central Texas Hill Country. Visual creative industries based businesses, educational facilities, museums and support organizations were interviewed. A result of this investigation shows that regionalism is a strong factor in the creation and sale of work. Products are both unique and follow local tradition. A further result confirms that economically these regions rely both on local trade, as well as outside buyers to sustain the large numbers of businesses that form creative clusters in these regions. A final result reveals that the development of these creative communities happened graduall y. They utilized their existing traditions while growing in a modem way allowing for a diversification of the economy, a building of both private and public bodies that help support the creative community and, importantly, harnessed the foresight of local visionaries to develop.
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Lavrynenko, A., Оксана Робертівна Гладченко, Оксана Робертовна Гладченко, and Oksana Robertivna Hladchenko. "Creative industries as an innovative way to sustainable development." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/31146.
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The creative industries refer to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries (especially in Europe) or the creative economy. The creative industries have been seen to become increasingly important to economic well-being, proponents suggesting that “human creativity is the ultimate economic resource” and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation and will lead to the sustainable development”.
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/31146
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Shevchenko, Denys. "Strategy Specifics of Multinational Companies Operating in Creative Industries." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-360352.
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The creative industry is a relatively new sector of the economy that grows rapidly and possesses huge potential. Multinational corporations have achieved a certain stage of development being highly globalized, vertically integrated and efficient. However, the problem of defining appropriate strategies and adjusting management approaches to industry's specifics arises. Therefore, the goal of this Diploma thesis is to analyze cultural industry market and to explain differences in business strategy between classical and cultural companies. In this academic work, the great part of attention will be devoted to a number of peculiarities. Among them firstly, the way of managing creative labor force that significantly differs from other industries. Secondly, risk management and level of intellectual property rights protection may either incentivize or discourage further development of creative products. The last but not the least, brand awareness exerts a significant impact on company's performance, therefore, analysis on this issue will be provided.
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Irjayanti, Maya. "Local Wisdom of Indonesian Female Entrepreneurs in Creative Industries." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/81686.
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This study contributes to the body of knowledge by investigating one further aspect that can be developed to support SMEs, particularly in the creative industry sector. This research combined the three potential aspects of local wisdom, creative industry and female entrepreneurs into one research focus. The most influential local wisdom elements of the participants was their traditions, beliefs, religion, and the resources available near to where the participants live.
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Isa, Siti Suriawati. "Development issues for the creative economy in Malaysia." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50795/1/Siti_Isa_Thesis.pdf.
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Cultural tourism and creative industries have intersecting policy agendas and economic interdependencies. Most studies of the creative industries have focused on western countries. Cultural tourism is rarely included. However the arrival of the creative economy and its movement through developing countries has changed the relationship. Supporters of the creative economy now see fit to include tourism.
This thesis addresses the development of the creative economy in Malaysia. The thesis conducted case studies on animation and museum sectors in Malaysia. These two case studies provide information on the development of creative economy in Malaysia. The study found that a top-down cultural management approach is being practised but that Malaysia is now influenced by new ideas concerning innovation and technical creativity. The study examined whether or not technical innovation by itself is enough. The reference points here are the Multimedia Super Corridor in Cyberjaya and other similar projects in the region. The museum case study was situated in Malacca. It showed that museums needed to adapt new media and new experiences to remain relevant in today’s world. In applying a case study approach, the thesis made use of interviews with key stakeholders, as well consulting numerous policy documents and web sites.
Both case studies imitated similar products and services in the market but added local characteristics. This research project contributes significantly to the existing body of knowledge in the field of creative economy within the context of developing countries. Finally the thesis makes recommendations for Malaysia to better position itself in the regional economy while retaining its distinctive cultural identity.
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Garcia, Ana Gabriela Lobato. "Sustainable regeneration of industrial building to assure modern day necessities. Innovation and design as drivers of sustainability and development in Odivelas." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/6650.
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Hölzl, Werner. "Entrepreneurship, Entry and Exit in Creative Industries: an explorative Survey." WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/3453/1/Hoelzl_EntryExit.pdf.
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Morhulets, Oksana, Antonina Verhun, and Julia Bondarchuk. "Creative industries development as basis for economic development of Ukraine." Thesis, Scientific Center of Innovative Researches, 2021. https://er.knutd.edu.ua/handle/123456789/19063.
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Musial, M. (Monika). "Exploring the organizing of work for creative individuals:the paradox of art and business in creative industries." Doctoral thesis, Oulun yliopisto, 2015. http://urn.fi/urn:isbn:9789526209418.
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Abstract The purpose of this research is to explore the issue of organizing work for creative individuals, particularly to explore the influence of creativity on emergence of creative companies and to understand the way of managing creative individuals from those companies. The emergence of creative companies is investigated from the motivational perspective, especially the intrinsic motivation and inner drive. The management aspect is studied from the perspective of both managers and employees. Prior literature on creativity demonstrates that creativity has become an important element of human existence. Most of the creativity research has been done on individual creativity, organizational creativity, creative processes, motivation and social influences on creativity. Despite the recent tendency to study creativity from various perspectives, few scholars have approached this phenomenon from the perspective of emergence of creative companies. This study examines that and explores the motivational aspects of creativity seen from the angle of the paradox between art and business. Creativity and motivation in creative companies are contemplated with a case study method. The empirical context of the research is creative industries: games, films, visual and performing arts. The results of this study show that motivational features of creativity (love and passion to create, curiosity, desire to create, choice to be creative) have an influence on creative individuals from the perspective of emergence of new creative companies. The analysis further indicates the importance of acknowledgement of creativity and creative work of individuals in games industries. The new concept of ”the need to be creative” is introduced in this research in the context of a new product or idea being created. In addition, this research concludes that there is a paradox between creative freedom and control when managing creative individuals. This study shows that both of those elements are critical managing practices in the creative companies. Based on theories of creativity and management combined with empirical analysis of film companies, this research also suggests that managing of creative individuals is focused on allowing creative freedom at work while providing control by the manager as well as providing the right work-life balance in creative work settingsTiivistelmä Tämän tutkimuksen tarkoituksena on tarkastella luovuuden vaikutusta luovien alojen yritysten syntymiseen sekä ymmärtää luovien yksilöiden johtamista. Luovien yritysten syntyä tutkitaan motivationaalisesta, erityisesti sisäisen motivaation ja -halun näkökulmasta. Johtamista tarkastellaan sekä johtajan että työntekijän näkökulmasta. Aikaisempi luovuuskirjallisuus osoittaa, että luovuudesta on tullut tärkeä ihmisyyden ja olemassaolon osa-alue. Suurin osa luovuustutkimuksesta on tehty yksilön luovuudesta, organisatorisesta luovuudesta, luovista prosesseista, motivaatiosta sekä sosiaalisten tekijöiden vaikutuksista luovuuteen. Vaikka luovuustutkimusta on tehty viime aikoina monista eri näkökulmista, harvat tutkijat ovat lähestyneet ilmiötä luovien yritysten syntymisen näkökulmasta. Tässä tutkimuksessa tutkittiin luovuuden motivationaalisia elementtejä taiteen ja liiketoiminnan ristiriidan näkökulmasta. Luovien yritysten luovuutta ja motivaatiota tarkasteltiin käyttäen tapaustutkimusmenetelmää. Tämän tutkimus on tehty luovien alojen, kuten peli-, filmi-, visuaalisen- ja esittävän taiteen kontekstissa. Tutkimustulokset osoittavat, että luovuuden motivationaalisilla piirteillä (kuten intohimo luomista kohtaan, uteliaisuus, halu luoda ja olla luova) on vaikutusta luoviin yksilöihin luovien yritysten syntymisen näkökulmasta. Analyysi osoittaa myös, että peliteollisuudessa on tärkeää tunnistaa yksiön luovuus ja luovan työn merkitys. Tämä tutkimus esittelee uuden ”tarve olla luova”- käsitteen kontekstissa, jossa luodaan uutta tuotetta tai ideaa. Tämän lisäksi tutkimus osoittaa, että johdettaessa luovia yksiöitä luovuuden vapaus ja kontrollin tarve ovat ristiriidassa. Tutkimus kuitenkin osoittaa, että molemmat elementit ovat kriittisiä johtamiskäytäntöjä luovissa yrityksissä. Johtamisen- ja luovuuden teoriat sekä tutkimuksen empiirinen analyysi osoittavat, että luovien yksilöiden johtaminen perustuu luovuuden vapauden mahdollistamiseen, riittävään kontrolliin sekä työelämän tasapainoon
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Tsai, Hui-Ju. "Creative industries policy in Taiwan : the effects of neoliberal reform." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36207.
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Since 2002 Taiwan has transformed its cultural policy, following the lead of the UK's creative industry discourse in particular and neoliberal policy regimes in general. This thesis investigates the processes through which neoliberal thinking shaped changing cultural policy and the impact this has had on cultural workers and practices in Taiwan s cultural landscape. I examined policy making documents and interviewed a range of involved actors, including government officials and cultural workers to learn more about the policy process and its impact. The research argues that the creative economy has heavily influenced the development of cultural policy discourse and generally failed to promote the public interest in Taiwan. The results of neoliberalisation have been embodied in several salient characteristics such as the privatisation of public space, marketisation of public subsidy and investment, commercialisation of higher education, and flexibilisation of cultural labour market. I argue that cultural policy needs to be reshaped to represent the public interests and diversity of our cultural landscape.
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SOUZA, CRISTINA LYRA COUTO DE. "PANIS ET ARS: ARTISTS AND MANAGERS IN THE CREATIVE INDUSTRIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17711@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA crescente importância econômica e social das indústrias criativas - atividades nas quais a criatividade é a essência do negócio, abrangendo toda a produção cultural ou artística – ainda não se refletiu na geração de estudos sobre suas questões gerenciais e organizacionais. Pesquisas nessa área são relevantes, tanto para aplicação prática na orientação dos profissionais, quanto para contribuição em formulações teóricas. Nesse contexto, o objetivo desta tese é entender a produção nas indústrias criativas a partir da perspectiva de seus principais atores - os criadores e os gestores que se relacionam com eles - procurando saber como trabalham, o que desejam, como interagem e que dificuldades enfrentam. Foi realizada uma pesquisa qualitativa, na linha construtivista, baseada em entrevistas em profundidade com criadores autônomos - escritores e artistas visuais - e com os gestores envolvidos em suas atividades. Os resultados da pesquisa sugerem que os criadores possuem uma motivação intrínseca ligada ao exercício da atividade artística em si e que não há necessidade de intervenção em seu processo criativo. Além disso, os gestores dos grupos estudados – editores e galeristas - atuam basicamente como distribuidores ou revendedores, e seu foco de interesse está no produto e não no artista. Eles são gestores do produto, tratando apenas o livro, a tela, a obra. No entanto, os artistas precisam de gestores de carreira, que possam auxiliar na valorização tanto da obra, quanto do criador. A reputação do autor naturalmente valoriza seus produtos. É preciso então construir a marca do artista, principalmente devido ao surgimento das novas mídias, que embora gerem mais oportunidades, apresentam menor potencial em cada canal individualmente. Não interessa ao artista estar apenas na editora ou galeria, pois o exercício de outras atividades e a exposição em diferentes locais o valorizam, e, portanto, é preciso saber onde vale investir para venda e reforço da imagem. Nesse cenário, tornase importante a figura praticamente inexistente hoje no Brasil: o agente – o intermediário que representa os autores e administra suas obras.
The growing economic and social importance of the creative industries - activities in which creativity is the essence of the business, covering the cultural and artistic production - is not yet reflected in the generation of studies on their managerial and organizational issues. Research on this area is important both for practical application in the guidance of industry professionals, and to contribute to theoretical formulations. Therefore, the aim of this thesis is to understand the production in the creative industries from the perspective of its main actors - the creative people and managers that relate to them - looking at how they work, what they want, how they interact and what difficulties they face. A qualitative research in a constructive line was carried out, based on interviews with independent creators - writers and visual artists - and the managers involved in their activities. The survey results suggest that the creators have an intrinsic motivation related to the exercise of artistic activity in itself and there is no need to intervene in their creative process. Moreover, the managers of the groups studied - publishers and gallery owners - basically act as distributors or resellers, and their focus of interest is in the product and not the artist. They are managers of the product, treating only the book, the screen, the works. However, we can see that the artists need a career management, which can help both the appreciation of the work, and the creator. The reputation of the author naturally values its products. We must then build the brand of artist, chiefly due to the emergence of new media, generating more opportunities, but less potential for each channel individually. It is not enough to the artist to be published or exposed in a gallery, for the exercise of other activities and exposure in different places values the author, and so it is necessary to know where it is worth investing for sales and image enhancement. In this scenario, a figure practically nonexistent in Brazil today becomes important: the agent - the intermediate who represents the author and manages his works.
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Lalaounis, Sotiris. "An investigation into business development issues in the creative industries." Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.688266.
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Dent, Tamsyn. "Feeling devalued : the creative industries, motherhood, gender and class inequality." Thesis, Bournemouth University, 2017. http://eprints.bournemouth.ac.uk/29424/.
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There is a growing body of data that illustrates how work in the creative media industries is marked by bleak inequalities. Critical sociological accounts of the industry have explored the barriers to employment opportunities for workers from different ethnic, disabled, gendered and more recently socially classed backgrounds resulting in the awareness that the majority of those who control the means of production for creative and cultural commodities are male, white and middle class. With regards to women, the problem of gender inequality has commonly been linked to women’s childbearing capabilities citing the demands of childcare as a key reason for women’s withdrawal from and under-representation within the industry. Linking gender inequality in the creative workforce to motherhood creates a smokescreen, a framework which allows for concepts of ‘choice’ and ‘preference’ to mask deeply complicated processes of oppression and exclusion. Motherhood also places the issue of gender inequality into a singular axis, failing therefore to consider the multiple axes of exclusion that operate within the workforce. This thesis takes this issue of motherhood, gender inequality and work in the creative industries as its focus point to explore how motherhood has become synonymous with female withdrawal from the industry. It responds to literature on modes and practices of work in modern society drawing from those who have equated work in the creative sector as emblematic of a “brave new world of work” (Beck 2002 in Deuze 2007, p.21) and exposed a paradox between celebratory concepts of creative practice and the lived realities of the creative workforce. My own contribution has been drawn from a series of in-depth interviews with mothers who either work or have left work in the creative sector following the birth of a child/children. The research findings emerged inductively, following a grounded theoretical approach but one that was informed by a feminist epistemological framework to knowledge production. Thinking about motherhood as a fluid and constructed concept enables an exploration into the relationship between motherhood, gender and class-based inequalities and how they operate within the industry.
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Leclair, Margot. "Creativity-in-action, Arrangements and Affects in the Creative Industries." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLED075/document.
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Le constat de départ de cette recherche, souligné par la littérature, est celui du débat permanent au sein des organisations créatives, entre priorités artistiques et créatives d'un côté et intérêts économiques de l'autre côté. Nous interrogeons la manière dont les acteurs créatifs gèrent les contraintes économiques qui les entourent dans ce contexte marqué par la rationalisation. Au travers d'une étude qualitative et approfondie de l'industrie de la mode -entretiens et travail ethnographique, nous avons observé les pratiques quotidiennes des acteurs créatifs du secteur. Premièrement, et au travers du travail de Michel de Certeau, nous révélons ici les différentes tactiques et autres arrangements que ceux-ci développent vis-à-vis des contraintes, une forme d'action qui joue un rôle important dans les organisations créatives. Cette forme d'action, que l'on nomme trouble du créatif, entretient une ambiguïté autour du travail créatif en organisation, nécessaire pour créer. Ensuite, nous révélons les forces socio-matérielles et affectives qui constituent les pratiques créatives de façon intrinsèque, et soulignons le poids de telles forces dans la négociation permanente avec les motifs économiques. Subséquemment, nous proposons le concept de créativité-en-action, une manière à la fois incarnée, matérielle et affective d'agir créatif, au sein des industries créativesThis PhD departs from the research literature that underlines the on-going debate arising in creative companies, between art/creative priorities on the one hand and economic/business interests on the other hand. We wonder how actors involved into the creative process deal with economic and rationalization constraints. Through an in-depth, qualitative study in fashion industry -interviews and ethnographic work, we investigate empirically the daily practices of creative actors. First, and notably through Michel de Certeau's work, we reveal the various tactics and arrangements that they develop towards such constraints, as a form of action that plays an important role in creative organizations. This form of action we call creative fuzziness maintains a necessary ambiguity around creative work. Second, we underline the socio-material and affective forces that inherently constitute creative practices, and how much such forces weigh in the economic negotiation. We then suggest the concept of creativity-in-action, an embodied-material and affective way of acting creative, within creative industries
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Nasta, Luigi. "Team dynamics and technology impact on creative and cultural industries." Doctoral thesis, Luiss Guido Carli, 2017. http://hdl.handle.net/11385/201146.
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The creative economy has become a powerful transformative driving force in the world. Its potential for development is vast and waiting to be totally unlocked. It represents one of the most rapidly growing sectors of the world economy, not just in terms of income generation but also for job creation and export earnings. For these reasons, an increasing interest on the contexts of creative and cultural industries has emerged in the last years and, since human creativity and innovation, at both the individual level and group level, are the key drivers of these industries, they have attracted the attention of numerous researchers who started investigating these phenomena.
Therefore, the aim of this dissertation is to contribute to this stream of research by investigating two sectors belonging to the CCI: music and visual arts. Specifically, the first part of this thesis will be focused on the analysis of the music industry and the effects that diverse teams might have on the performances achieved. I will discuss how characteristics of the group can serve to either enhance or constrain engagement in creative processes, the development of creative outcomes, and ultimately project performance. The second part of this dissertation will instead shift the attention to cultural industries, specifically visual arts, to investigate the controversial effects that technology might have on the dynamics of this sector. Indeed, since technological innovations and digitization have hit old and new economic sectors pervasively, it is important to investigate the attitude to change of the people already in the sector to understand if they will resist the change or operate in favour of it. As a matter of fact, these individuals can consider technology as a chance to reshape and empower their role or, on the contrary, they might not be able to redefine their role in the new technology-driven competitive scenario, and they may feel threatened of being replaced by technological innovation.
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DI, STEFANO GIADA. "Knowledge, innovation and social norms in creative industries: three essays." Doctoral thesis, Università Bocconi, 2011. https://hdl.handle.net/11565/4054081.
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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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Ballinger, Christine Beth. "Creative Industries and the Paper Industry A Creative Industries approach to linking visual artists and the paper industry: A Case Study of New Possibilities for Paper." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/16083/1/Christine_Ballinger_Thesis.pdf.
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In the knowledge economy, the 'creative industries' are recognised as a new paradigm. They are industries which use creativity as an intangible asset to generate wealth. The creative industries are described as 'evolving' and their outcomes frequently categorised as 'intangibles'. The thesis outlines what I term a creative industries approach to the engagement of visual artists with industry.
The artist-in-industry program, a component of New Possibilities for Paper, was established with an explicit brief to generate creative products and contained an implicit agenda to breed intellectual capital. It was conceived as a means of crossfertilising hitherto siloed sectors -- an arts environment with entrenched attitudes towards the subsidy, proprietorship and authority of creativity and the traditionally conservative paper industry.
Establishing creative industries characteristics and indicators to describe and measure creative industries operation in this program required careful consideration, with the characteristics and indicators selected able to recognise trends or changes. The analysis of the seven partnerships confirmed that the artistin-industry program is a creative industries approach upon which future programs between visual artists and the paper industry could be constructed.
The research found that the creative industries processes in most need of being addressed, if visual artists are to maximise their benefits, included an understanding and utilisation of intellectual property, knowledge of commercialisation processes and a positive attitude towards commercialisation. For paper companies that invest in R&D, there is recognition that potential tangible and intangible benefits can result from engaging in such partnerships. Additionally, a partnership in which the artist's role (or service) is focused on the industry's customers and contributes to employee knowledge was seen as being of greatest value to the paper industry.
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Ballinger, Christine Beth. "Creative Industries and the Paper Industry A Creative Industries approach to linking visual artists and the paper industry: A Case Study of New Possibilities for Paper." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16083/.
Full textAbstract:
In the knowledge economy, the 'creative industries' are recognised as a new paradigm. They are industries which use creativity as an intangible asset to generate wealth. The creative industries are described as 'evolving' and their outcomes frequently categorised as 'intangibles'. The thesis outlines what I term a creative industries approach to the engagement of visual artists with industry. The artist-in-industry program, a component of New Possibilities for Paper, was established with an explicit brief to generate creative products and contained an implicit agenda to breed intellectual capital. It was conceived as a means of crossfertilising hitherto siloed sectors -- an arts environment with entrenched attitudes towards the subsidy, proprietorship and authority of creativity and the traditionally conservative paper industry. Establishing creative industries characteristics and indicators to describe and measure creative industries operation in this program required careful consideration, with the characteristics and indicators selected able to recognise trends or changes. The analysis of the seven partnerships confirmed that the artistin-industry program is a creative industries approach upon which future programs between visual artists and the paper industry could be constructed. The research found that the creative industries processes in most need of being addressed, if visual artists are to maximise their benefits, included an understanding and utilisation of intellectual property, knowledge of commercialisation processes and a positive attitude towards commercialisation. For paper companies that invest in R&D, there is recognition that potential tangible and intangible benefits can result from engaging in such partnerships. Additionally, a partnership in which the artist's role (or service) is focused on the industry's customers and contributes to employee knowledge was seen as being of greatest value to the paper industry.
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Abebe, Meaza Eshetu, and Ekaterina Kalinina. "Coordination of inter-organizational projects within creative industries: A contextual perspective." Thesis, Linköpings universitet, Företagsekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-78976.
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Inter-organizational projects have become common forms of organizing in various industries such as construction, advertising, music, film making etc. The unique structural nature of Inter-organizational projects coupled with the fact that they carried out through the participation of multiple organizations, raises issues of coordination. Particularly when it comes to creative industries, coordination is challenged by demand and transactional uncertainties. In order to understand how inter-organizational projects achieve coordination in such situations, it is important to study their interior processes putting in consideration their environmental context. The aim of this research is to study how network embeddedness enhances coordination in inter-organizational projects within creative industries. Inter-organizational projects: are projects that are carried out through the collaboration of multiple legally independent organizations Inter-organizational networks: refer to sets of long-term ties among independent organizations that are engaged in continuous exchange relations. Embeddedness: refers to the continuous interaction of individuals, organizations, projects etc. with their environmental context. Macrocultures: refer to the shared beliefs, norms values rules and practices with in inter- organizational networks that guide members on their actions. A qualitative approach using a multiple comparative case study was conducted. Accordingly four projects chosen from creative industries were studied using both primary and secondary data. Macrocultures that are embedded inter-organizational networks facilitate coordination within inter-organizational projects. Further projects that differ in their constituents task nature, time duration and team composition relied on different types of embeddedness for coordination.
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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/.
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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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Eunike, Agustina, and Agustina Eunike. "INDUSTRIAL CLUSTER ANALYSIS FOR ICT-BASED CREATIVE INDUSTRIES." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31621125824042087151.
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碩士國立臺灣科技大學
工業管理系
99
This research investigates the development of an ICT (Information and Communication Technology) creative industry cluster. It examines what and how factors affect the cluster size. By knowing the factors and its effect, effective policies can be constructed to develop the industrial cluster and increase its competitiveness. The factors are determined through literature analysis of previous study about cluster size and an observation of Taiwan creative ICT industry in practice. The proposed model using system dynamics justifies the behavior and the effect of each factor. We found that market demand, innovation, and government incentive play important roles in increasing the cluster size. From an evaluation by scenarios, this study confirms that a policy in enhancing market demand will give higher effect to the cluster size as compared to a direct incentive policy.
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Chen, Yi-Ting, and 陳依婷. "Investigating Experiential Value in Creative Industries." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/50026491461972101080.
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碩士國立高雄第一科技大學
行銷與流通管理研究所
103
This study takes “Ten Drum Ciatou-Creative Park” as an example to analyze the relationship between perceived fit and experiential value on visitor’s satisfaction and loyalty. Further, the impact of visitor’s cultural level was investigated. A total of 280 valid questionnaires were collected at Ten Drum Ciatou-Creative Park, resulting in an effective return rate of 93.33%. SPSS and SMARTPLS2.0 were used for data analysis. The results show that perceived fit positively impacts experiential value and visitor’s satisfaction. Further, experiential value and visitor’s satisfaction positively influence loyalty. Experiential value also positively impacts satisfaction. Visitor’s cultural level positively moderates the relationship between experiential value and satisfaction. Based on the findings, suggestions are provided to operators of the creative industry, by describing the current industry condition and outlining future management strategies for sustainable operation in the cultural and creative industries.
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Boda, Harmony Marie Paulette. "Female leadership in the creative industries." Master's thesis, 2019. http://hdl.handle.net/10071/18944.
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The under-representation of female gender and especially female leaders in the
creative industries is an increasingly debated issue. Several papers in the literature and in
media have been written concerning the lack of women especially at senior positions in
the sector with the purpose of explaining the source of this problem. Although point of
views on this topic differ, understanding the under-representation of women at leadership
roles has been problematic due to a lack of information and data as the sector is rapidly
changing. The purpose of this paper is to provide a qualitative understanding of the under-representation
of women leaders in the creative industries and how successful female
leaders perceive the problem and battle the challenges imposed by the sector. Based on
literature review, a specific research has been implemented in order to understand the
phenomenon in creative organisations.Existem, cada vez mais, discussões acerca da minoria do género feminino, especialmente enquanto líderes na indústria criativa. Tanto em artigos científicos como nos média este tema, relacionado com a falta de mulheres a desempenhar funções em cargos superiores nesta indústria, tem sido debatido a fim de se tentar perceber a causa deste problema. Embora haja diferentes pontos de vista, perceber a falta de representação feminina em posições de liderança tem sido difícil devido à falta de informação e de dados, relacionado consequentemente com as alterações constantes nesta área. Portanto, a principal função deste artigo é perceber, qualitativamente, a minoria do género feminino enquanto líderes nesta área e, como elas enfrentam esse problema impostos pela indústria criativa. Baseando na revisão de literatura, foi feita uma pesquisa especificamente focada em perceber este fenómeno relacionado com agências criativas.
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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.
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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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Chen, Yun-Chih, and 陳運池. "The Development of Creative Industries in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/44364132331330322795.
Full textAbstract:
碩士中國文化大學
建築及都市計畫研究所
98
Creative Industries is a trend of global development in recent years, it’s also one of the fast-growing sectors of the economy, whether in world or in the individual countries, it has brilliant performance, such as Britain, Finland, Japan, their outputs are rising every year. Facing the globalization competition, Taiwan gives related policies moving in return as "Industrial Innovation Regulations" and "Cultural Creative Industries Develop Action Plan". Taiwan has been promoting the Creative Industries as Cultural Creative Industries and Local Cultural Industries, especially focusing on the former. But comparing the Creative Industries’ definition and classification between Taiwan and the other countries, Taiwan’s Cultural Creative Industries are narrower, and it may ignore those industries with creative potential. In order to explore the creative potential industries and promote the development of Creative Industries in Taiwan, this study tries to use literature reviewing to analyze the history of Creative Industries, and uses the international model and principles to calssify Taiwan’s Creative Industries items. This study itegrates the research analysis of literatures reviewing, key issues and focus group interviewing to draw up the framework of Taiwan’s development structure for Creative Industries. The study concludes：（1）Compare the mutual tendency and the difference of Creative Industries between Taiwan and international development.（2）Part of the Taiwan’s traditional industry could be classified into the Creative Industries.（3）Taiwan’s Creative Industries development structure should include a specialized institution, an industrial value chain, innovative learning regional network and digital applied platform system.（4）Conclude the definition of Taiwan’s creative industries based on the characteristics of creative industries.（5）Propose the development structure of Taiwan’s Creative Industries.
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SHIH, HUI-CHIAO, and 施慧喬. "The Spirituality and Creation of Female Entrepreneurs in Cultural and Creative Industries." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/85mk89.
Full textAbstract:
碩士逢甲大學
經營管理碩士在職學位學程
106
In recent years, culture creative industry has been booming. People's consuming behavior has shifted from "function" to "symbol." Consumer’s behavior mainly emphasizes on "feelings" and "meaning". With consumer’s lifestyle, what kind of product are they identified with? Beginning with spirituality, this study is going to explore the relation between the spiritual perspective and culture creative industry, whether the successful cases in this industry are related to spirituality. And how does this spirituality influence the style of a brand? How does consumers' feelings about the brand? How does the consumer feel about the produces? And how does the consumer's spirituality influence or perceive the creativity? Whether is it a spiritual traction or attraction between designers of this industry and consumers? Through the empirical findings of this study, it is contributed to the culture creative industry. The research method employs narrative inquiry and convenient samples. The participants are mainly the female genres assumed being spiritual. In this manner, three founders / directors / chief executives have been selected as the case studies, named Cheng Yun Yi, Tang Shu Hui and Wang Liqin from Green-in-hand Food Bank, Zhulian Snake Kiln and VVG Food Play. We conduct their start-up stories and their business turning points as the base of narrative analysis. Deploying in-depth interviews or speeches codes verbatim scripts, and then with the approach of holistic to content analysis, contrasting the literatures to define the meaning of their entrepreneurial process, the style of their brands and spirituality in theory. Finally, culminating women's creative entrepreneurship and creativity is indeed inspired by the spirituality and affect their entrepreneurial achievements.
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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.
Full textAbstract:
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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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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Ferreira, Fábio Almeida 1977. "Cities, the information society and the creative industries : an analysis of the core media related creative industries in Salvador, Bahia." 2008. http://hdl.handle.net/2152/18231.
Full textAbstract:
In the late 90’s the creative industries emerged as a new concept to aggregate industries whose products were primarily based on creative inputs and were subject to intellectual property. In the field of media studies, the creative industries emerges as an attempt to understand a segmented and convergent media environment, and account for the impacts of new technologies of information and communication on society. The creative industries are considered key industries in the information society due to its reliance on knowledge and information. As a consequence many countries, regions and cities adopted plans and strategies to attract and/or develop creative industries in their territories hoping to foster local economic development. This adoption is evident not only at core cities and regions, but also at non-core places that are hoping to become a significant node in the information society. This dissertation investigates such a case of a non-core city, via the analysis of the core media related creative industries in the city of Salvador, Bahia, Brazil. The analysis of Salvador’s core media related creative industries indicates the importance of the logic of proximity/agglomeration and concentration for the creative industries, and also indicates how a non-core city incorporates the concept the creative industries and the media related creative industries into its development planning and economic development strategy.text
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Chuang, Su Yu, and 莊素玉. "Evergreen Creative Industry Model Three Case Studies of Three Creative Industries in Kyoto." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/05538836597026698672.
Full textAbstract:
碩士國立政治大學
經營管理碩士學程(EMBA)
98
As technolgy innovations accelerate, creative industries have gained more prominance in our daily life in the 20th century.Creative Industries have drawn attentions in every develped country.Whether Taiwan can attract the new creative class and culture glitterati will determine Taiwan's path fo development. The creative industries have gained more and more influence in today's society. The so-called "Creative Class" is the most primary and significant social class in the 21th century. The creative class is concerned about environment, human rights, peace, and spiritual wealth. They are the forerunners of civil movement and student activism in the 1960s. The countries, regions, and cities, who failed to attract creative class, will face the inevitable fate of decline. This study attempts to explore the reason of longevity and sustainibilty of Kyoto's creative industries. Through the methodology of case studies. This thesis draws on theories of Richard Florida, Elizabeth Currid、 Nobuyuki Idei 、Takashi Murakami、Yuichiro Nonaka、Ken Mogi、Renfan Lee This thesis focus on deep analysis of one 400-years-old 唐長 and discussion on other 2 craftmanship and creative enterprises in Kyoto to arrive at the conclusion of ever-gr0wing vitality of Kyoto's creative industries. This studies find out that the old creative industries in Kyoto has absorbed the historial tradition, geographical characteristic, and culture uniqueness of Kyoto. The core philosophy of management is familial succession. The historical tradition, geographical characteristics and family management have become implicit knowledge and gives birth to Kyoto-unique organic learning organiztion. This research suggests that private enterpreneur should learn from local history and local culture and distill geniune local flavors, refine the aesthetic flavors into "knowledge spiral," and make the implicit knowledge of knowledge to pass on to future generations. The second advice is that county and local government should encourage the preservation of local culture and culture tourism to lay the foundation for future new creative enterpreneurship.
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Yu, Yi-Chen, and 游怡真. "Design Strategy in the Culture and Creative Industries." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/h279pj.
Full textAbstract:
碩士銘傳大學
設計管理研究所碩士班
94
Considering the globalization and the development of regional culture, the authority in Taiwan has been working on promoting the cultural and creative industries. There is a strong connection between the traditional craft industry and regional culture. However, the traditional craft industry has declined with the flow of time. This study investigates the existing status of how the employers set up and carry out the design strategy to transfer the traditional craft industry into a new stage. This research focuses on the how the traditional craft industry transferred into culture creativity industry in Taiwan as an object of study. The case study was adopted to explore four enterprises and the people in charge in the company were proceeding to face-to-face in in-depth interviews. The inductive analyses for qualitative data and the context analyses were used to analyze the data. The aim of this research is to develop a design strategy for the execution of the craft industry’s transformation into the cultural creative industries. The main findings of the craft industry’s transformation into the cultural creative industry are as follows: (1) The essential elements of design include the local culture, the industrial and product culture, and the innovative technique, accompanied with the elements of exotic culture, creative thinking, development of products series, etc. (2) The creative source comprises cultural connotation, special techniques, the development orientation of design direction, etc. (3) The applications of cultural connotation contain animals and plants, Taiwan argil, representatives in the environment, cooking culture, aboriginal culture, special space culture, penmanship, drawing, etc. (4) The expressions of culture include the locals, the marketing area, the industry and product cultures, etc. (5) The main points of design strategies in company comprise the cultural connotation, the enterprise resource, the development orientation, etc. (6) The major difference between the design strategy for design project and company are the product advance skill, complementary strategy, etc. (7) The methods for getting rid of inferior position include the consideration of strategy for transformation, the integration with consuming market, the promotion of special field, the increase of the chances to develop, the blend of other culture, and the emphasis of the importance on the intellectual property rights. (8) The methods for the uplift of industry include the increase of product value, the creation of developing the opportunity and the characteristics, the expansion of tourism and regional industries to attract sightseers, professional reeducation based on the cultural connotation, productivity base on project sort, along with the innovative technology and the protection of intellectual property rights. (9) The complementary strategies consist of the combination of different industries, the assistance in regional development, the integration with tourism, and the transmission of tradition skills. Keywords: Cultural Creative Industries, craft industry, design strategy.
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Chien, Chia-Wei, and 簡嘉緯. "Mazu Culture Study on Cultural and Creative Industries." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09228433154217640884.
Full textAbstract:
碩士明道大學
設計學院碩士班
98
In recent years, the concept of “cultural creativity” has been become more popular around the world. The Executive Yuan of Republic of China proposed that ‘’challenges 2008: the plan of the national development becomes the main strategy “from 2002. Furthermore, it proposed that “cultural and creative industries” takes a major development industry and with the positive concept of the industry chin to redefine the value of the cultural industry. In addition, it look forward to the accumulation of culture and creativity, creative, cultural and economic could acquired the new structure by the formation and utilization of Intellectual Property, to develop the industry with the international prospect. However, the development and impact of the concept of cultural and creative, With the Mazu belief in cultural representation of Taiwan culture response to this trend which generate a great impact on commercialization of festivals, the development of Matsu product and the development of religion in industrial. Therefore, the concept of cultural and creative industries has become more popular. Nowadays, there are a wide variety of Mazu culture products which enrich the local culture.
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HUNG, TSAI CHIH, and 蔡志泓. "MCDM Model for Exploring Cultural and Creative Industries." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/wmnn8a.
Full textAbstract:
碩士開南大學
商學院碩士在職專班
102
Cultural and creative industries, by definition is a combination of cultural and creative industries. While the culture has many different definitions of the term. Broadly speaking refers to living together in a society of people that have similar habits, customs, and beliefs. Narrowly speaking, which means the art is a people created by the new types of products. Whether in the narrow or broad culture, a culture of creativity that is present in both cultures, adding each country, ethnic, and other creative individuals, giving a new style and cultural value. This paper utilizes decision making trial and evaluation laboratory (DEMATEL), DEMATEL-based analytical network process (DANP), and VlseKriterijumska Optimizacija I Kompromisno Resenje (VIKOR) to explore the interrelationship, influential weights, and the gaps of aspiration level within dimensions/criteria. The criteria of cultural and creative industries possessed a self-effect relationship based on DEMATEL technique according to the influential network relation map (INRM). In the fourteen criteria, green design is the most significant criterion. The gaps within each industry for improving the cultural and creative industries performance are displayed in the results.
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Ching, Ku Pei, and 古珮菁. "The Transformation of Conventional Industries to Cultural Creative Industries-Case of Miaoli County." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/92185952867806996253.
Full textAbstract:
碩士國立聯合大學
資訊與社會研究所
101
Taiwan conventional industry played an important role in the economic development in the past, but it has been gradually losing superiority due to the impact of globalization. The circumstances caused many small enterprises to face a crisis and resulted in closing the business. Then the industrial transformation takes place to change its management style to cope with new environment changes for the purpose of sustaining business. This study aimed to understand the process of transformation of conventional industries, experiences and ideas they have gone through, specifically focused on some conventional industries successfully transformed to cultural and creative industries in Miaoli. The study explored how they dealt with the pressure, frustrations in the beginning of the transformation as well as their strategies and management approaches in the latter development. This study carried in a qualitative approach by using case studies and semi-structured interviews. Three stores were selected to examine their transformation process: Ya Siang Bao and Mao Siang Tan Fang in Sanyi, and Ba Ba Keng Dao in Sanwon. The results of the study revealed several important findings. First, the reason for conventional industries to transform due to the market environment changes and conventional culture sustenance. Second, the government, folk cultural and educational organizations have provided many supports to make a smooth transition. Third, the frequent challenges they encountered was lacking of manpower, and craft technical experts in the transformation process. In addition, facing of limited crowds in the early stage, mostly depends on the support and advertisement from the government and the media to increase their visibilities. Lastly, after the transformation, how to maintain competitiveness in the future, these businessmen try to establish a good interaction with visitors as their ultimate goal, hopefully, maintain cultural heritage mission will be passed on.
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Lin, Chao-Chien, and 林肇騫. "Innovation-Driven Strategy of TMG -Value Creation toward Clustering the Green Culture-Creative Industries." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/q4gj2g.
Full textAbstract:
碩士國立彰化師範大學
企業管理學系
107
In recent years, Taiwan’s traditional industries have faced bottlenecks in the growth of productivity-driven growth. From 1943, two employees were working on a 120-square-meter plant to create a glass shop. Until 1984, the company expanded its organization. This wave is also unable to protect itself, facing the severe challenges of changing business models and profit models. In the face of the industrial trend of economic transformation, Taiming will actively create high value-added processes and products through innovation-driven transformation strategies, and create the peak of business development. This study is based on the expert interview method of qualitative research, accompanied by field research and case analysis, through the level analysis method to further explore how Taiming will integrate the green concept of environmental protection, green energy and sustainability, combined with Changhua The cross-industry cluster of local characteristic cultural and creative industries in Zhangbin Industrial Zone and the national development strategy of local creation, how to jointly create new service value as an example, carry out case analysis and discussion, and summarize the key elements of its successful strategy. The results are expected to serve as a reference for the development of Taiwan's traditional industrial transformation strategy.
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HUI, HUANG CHIUNG, and 黃瓊慧. "Preliminary Study on the development of cultural and creative industries in Taiwan – In the case of Chiayi Cultural and Creative Industries Park." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10692370219039617981.
Full textAbstract:
碩士國立嘉義大學
管院碩士在職專班
101
In this globalized era, the content of industrial competition has changed from the model of industrialized mass production into the age of knowledge-based economy. In Taiwan, the establishment of cultural and creative industries park has become the symbol of the upgrade of industrial park. In 2010, “Law for the Development of the Cultural and Creative Industries” had pass, therefore, the proper use of the national development fund to invest the cultural and creative industries and make sure that can exert the maximum benefit will be an important issue of Taiwan Government. In this study, the range of investigation will focus on “Chiayi Cultural &; Creative Industries Park”. Access objects include: non-governmental persons or groups who have the experiences that been participated in cultural and creative industries and the undertakers and directors of government. Using qualitative survey interview as research method and interview the director of cultural bureau who manage the cultural and creative industries park in government, project managers, the person in charge of private enterprises, municipal advisors, the planner of communities empowerment, artists in residence, former dean of the National Palace Museum, former national policy advisor etc, then integrated the research results to reflect the development and possibility of cultural and creative industries park. According to the conclusion of this study, we found that the cultural and creative industries in Chiayi have enough cultural basis, use the cultural and creative industries park as a base to approve the development of the local leisure and tourism industry would be a feasible direction, by the way, we suggest that competent administrative units need to emphasis and implement on local culture, amendment to the relevant laws, devolved, to reach the fully cooperated of local public sector and the team that stationed in industries park.
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Chang, Yi-Yun, and 張意雲. "A research on residents’ attitude of cultural and creative industries in Hualien City：A case study of Hualien Cultural and Creative Industries Park." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/39033480118133207440.
Full textAbstract:
碩士國立東華大學
臺灣文化學系
100
This study aimed to explore the residents in Hualien City about their attitude of current situation,differences, relevance and impact factors to Hualien Cultural and Creative Industry Park. The subjects are the residents whom have domiciled in Hualien City administrative area over 20 years old or more, via the self-edit questionnaire "The research of Hualien City residents’ attitude about cultural and creative industries " to collect empirical data, using Proportionate Stratified Sampling method to get 825 residents as samples, the total usable are 710 samples. The questionnaire collected data are analyzing by the statistical methods such as Statistical Package for Social Science (SPSS) to do the descriptive statistics, Independent Sample T Test, One-Way Analysis of Variance, Pearson's Product-moment Correlation Coefficient and Stepwise Regression Analysis. After discussing the analysis results, the conclusions are made and also make recommendations which could be the reference for the relevant units. The main conclusions of this study are as follows: 1. The residents’ performance of "cognitive", "cordiality", "behavioral tendencies" about the attitude of Hualien cultural and creative industries park are moderately, positive, where as the average score is. 2. At the "cognitive" aspect ,the attitude of Hualien cultural and creative industries park, six items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence area. At the " cordiality " aspect , seven items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence time, and there are seven significant differences at the "behavioral tendencies" aspect which are: age , education level, occupation, personal monthly income, marital status, ethnic and residence area. 3. Among the residents’ "cognitive," " cordiality," "behavioral tendencies" aspects, all have a significant positive correlation, in which of them, the correlation between the " cordiality " aspect and "behavioral tendencies" aspect is the highest, next is the correlation between the "cognitive" aspect and the " cordiality " aspect, and the lowest correlation is between "cognitive" aspect and "behavioral tendencies" aspect. The "cordiality " aspect of Hualien residents has most relevant with "overall attitude ". 4. The significant factors which influence the residents about the "Cognitive" of Hualien's cultural and creative industrial park are " cordiality " aspect, "behavioral tendencies" aspect, "ethnic, " occupation", " residence area". The significant factors which influence the residents about the " cordiality " of Hualien's cultural and creative industrial park are: "behavioral tendencies" aspect, "cognitive" aspect, " occupation ", "education level ", "residence time". Final, about the significant factors which influence the residents about the "behavioral tendencies" of Hualien's cultural and creative industrial park are "cordiality " aspect, "cognitive" aspect, " occupation ", "personal monthly income", "residence area" and "residence time".