Dissertations / Theses on the topic 'INDUSTRIE CULTURALI E CREATIVE'
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Pagotto, Giorgia <1988>. "Le industrie culturali e creative: la cultura come fattore di ripresa economica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3682.
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La tesi, dopo un'ampia rassegna del dibattito teorico sul ruolo delle industrie culturali e creative nello sviluppo economico, presenta un confronto della situazione del settore in Italia e nei principali Paesi avanzati.
Vengono analizzati gli effetti del settore sull'economia, con particolare riferimento al superamento della crisi.
Il lavoro si completa con una verifica empirica sugli effetti di alcune iniziative culturali intraprese nell'ambito della regione Veneto.
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Leprotti, Benedetta <1996>. "Analisi delle industrie culturali e creative: il caso Tessitura Luigi Bevilacqua." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19159.
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La tesi si propone di descrivere nel dettaglio le industrie culturali e creative. Nel primo capitolo viene trattato il contesto in cui si origina la discussione su cosa siano effettivamente "industrie culturali e creative" e come le teorie accademiche si evolvono nei decenni, fino a descrivere la questione terminologica e le evoluzioni delle espressioni utilizzate per parlare dell'argomento. Vengono poi delineate le peculiarità del settore culturale e l'impatto di questo in termini di numero di occupati e imprese in Italia, oltre che del suo effetto moltiplicatore sul turismo. Il secondo capitolo tratta di un caso specifico di industria creativa veneziana, ossia la Tessitura Luigi Bevilacqua, e viene discusso come tale realtà aziendale è riuscita a migliorare i propri risultati economici e a consolidare la propria immagine negli anni di attività più recenti. Il capitolo finale illustra le problematiche gestionali comuni del settore creativo e propone alcune soluzioni per sopperire alle complicazioni dell'ambiente culturale. Infine, si illustrano i motivi per cui il settore creativo è importante a livello sociale ed economico, e si suggeriscono alcuni spunti di sviluppo per il futuro.
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Astore, Anna <1996>. "Il posizionamento dell'artigianato artistico nel sistema delle Industrie Culturali e Creative." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19164.
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L’oggetto della presente tesi è il settore dell’artigianato artistico. All'interno dell'elaborato se ne tratta l’evoluzione storica, per poi focalizzarsi su un’attenta analisi delle peculiarità che ne definiscono il ruolo all’interno della Industrie culturali e creative. Vengono messi in risalto i valori racchiusi nell’artigianato dal punto di vista economico, sociale e culturale. La ricerca inizia con lo studio dei modelli di classificazione delle Industrie culturali e creative, che hanno permesso di valutare il coinvolgimento del settore artigianale all’interno di quello economico.
Per quanto concerne i contenuti sociali e culturali, l’analisi parte dalla gestione italiana del settore esponendo norme e convenzioni, in particolare la Convenzione di Faro, cui lo Stato ha aderito per garantirne salvaguardia, protezione, tutela e valorizzazione. Successivamente si allarga la ricerca a livello europeo presentando la Carta internazionale dell’artigianato artistico, documento che definisce le linee guida, condivise dagli stati firmatari, per una corretta valorizzazione del settore. A livello italiano le decisioni delle singole regioni giocano un ruolo fondamentale in materia poiché l’artigianato riveste un ruolo più o meno centrale all’interno dei sistemi economici regionali a seconda delle diverse politiche di gestione. Questa particolarità è descritta tramite il confronto delle norme legislative, in ottemperanza alle direttive europee e nazionali, a tutela e valorizzazione dell’artigianato per la Regione Veneto e la Regione Lazio. Infine, viene riportato il progetto della Rete delle città creative dell’UNESCO per chiarire i motivi alla base del concetto di città creativa per la categoria di artigianato e arte popolare, riportando gli esempi italiani delle città di Fabriano, Biella e Carrara.
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Bultrini, Michela <1993>. "Valutazione della performance delle industrie culturali e creative: la metodologia DEA applicata al settore cinematografico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12689.
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L’elaborato ha lo scopo di valutare la performance delle industrie culturali e creative mediante l’applicazione della metodologia DEA (Data Envelopment Analysis) al settore della produzione e distribuzione cinematografica. Nel primo capitolo della trattazione ci si sofferma sulla difficile delimitazione dei confini del settore culturale e creativo attraverso lo studio delle definizioni formulate da diversi enti nazionali e internazionali. Nel secondo capitolo viene analizzata la letteratura empirica relativa alla misurazione della performance di tale settore, grazie alla quale è stato possibile identificare quali siano gli indicatori per la valutazione della performance delle industrie culturali e creative più comunemente utilizzati dalla comunità scientifica. Sulla base dei risultati di tale ricerca, viene costruito un modello di analisi che prevede l’impiego della metodologia DEA applicata al settore della produzione e distribuzione cinematografica. Il modello è finalizzato alla valutazione dell’efficienza di un campione di film prodotti e distribuiti dalle più importanti case di produzione e distribuzione cinematografica statunitensi. Nel corso del terzo capitolo si descrivono le caratteristiche e le criticità relative al processo di produzione delle industrie cinematografiche, mentre il quarto capitolo è dedicato all’analisi empirica e alle osservazioni sui relativi risultati.
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Stea, Giusy <1997>. "Industrie Culturali e Creative a supporto del turismo: il caso della Mappa Parlante di Aquileia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19804.
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La seguente tesi analizza il tema delle Industrie Culturali e Creative (ICC) a servizio del turismo.
In seguito ad una prima parte esplorativa sulla letteratura esistente attinente al Sistema Culturale e Creativo e al suo funzionamento e andamento negli ultimi anni, il secondo capitolo analizza la relazione tra queste ultime ed il turismo. È stato, quindi, elaborato un modello che dimostra come le ICC, che costituiscono una ricchezza, vadano a valorizzare il patrimonio, che è bellezza, e come sia fondamentale creare una sinergia tra i vari attori per ottenere benefici a livello economico, culturale e di idee in tutto il territorio.
La tesi si concentra, poi, sul territorio del Friuli-Venezia Giulia, identificando le best practices per la realizzazione di un turismo sostenibile grazie al sostegno delle industrie culturali e creative, analizzando ciò che è emerso dal progetto “Creatures” della regione Adriatico – Ionica. Gli ultimi due capitoli, infine, si focalizzano sul caso della Mappa Parlante di Aquileia, realizzata dalla Fondazione Radio Magica, una delle buone pratiche del Friuli-Venezia Giulia, spiegando come quest’ultima abbia risposto alla crisi pandemica rinnovandosi e proponendo, in breve tempo, dei servizi online per le scuole, sviluppando anche una strategia di pricing e di promozione che potesse dare visibilità al progetto.
Il progetto si conclude con un’analisi della costumer satisfaction sulla base della rielaborazione dei dati raccolti dal questionario di valutazione delle gite online e con un’analisi SWOT che permetta di comprendere i punti di forza, di debolezza, le minacce e le opportunità di questo progetto.
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Santin, Erika <1996>. "Può la filiera del gioco da tavolo appartenere al sistema delle Industrie Culturali e Creative? Osservazioni sul settore." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21207.
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Può il settore del gioco da tavolo essere considerato parte di quel macro insieme di attività denominate Industrie Culturali e Creative? A quale titolo?
Il settore del gioco da tavolo non si trova inserito nei principali modelli di Industrie Culturali e Creative, i quali nella maggior parte dei casi includono invece il videogioco, ma presenta alcune peculiarità che ne potrebbero giustificare un futuro riconoscimento.
Attraverso una ricognizione storica sull'evoluzione dell'industria di giochi (da tavolo, di ruolo e di carte), l'utilizzo di casi studio e interviste ad alcuni game designer, si cercherà in questa tesi di individuare il generale funzionamento e le principali caratteristiche della filiera industriale dei giochi tabletop.
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Lefevre, Bruno. "Entrepreneurs musicaux et territoires : Les clusters culturels sous l'emprise des politiques publiques et des acteurs locaux." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCD093/document.
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Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locauxSince the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up
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Díaz, Munizaga Paz Loreto. "Industrias culturales e industrias creativas, evolución histórica y conceptual, confluencias y divergencias : El caso de Santiago creativo, plataforma para la exportación de la industria creativa." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115940.
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Licenciada en artes con mención en teoría e historia del arteEl concepto de Industria Creativa es relativamente reciente y su origen, ciertamente, se debe a la necesidad de establecer e implementar nuevas áreas de producción y creación de bienes culturales en la sociedad posmoderna. Comprender qué se entiende por bien cultural y cómo este actúa en una doble dimensión; por una parte como bien social al servicio de las condiciones de identidad y ciudadanía, y por otra como bien de consumo o mercancía, busca abrir nuevas perspectivas de análisis. Se revela así, una nueva forma de entender la relación entre cultura, economía y creatividad, poniendo en tensión el concepto más tradicional de Industria Cultural. En consecuencia, los conceptos y categorías existentes deben ser analizados críticamente para dar cuenta de estas transformaciones. Por este motivo, se pretende revisar la evolución conceptual de las Industrias Culturales y su desplazamiento hacia las Industrias Creativas, a partir de una revisión teórica que inicia en las primeras décadas del siglo pasado con Walter Benjamin y llega hasta nuestros días a través de George Yúdice, desde los primeros debates hasta llegar a los actuales, se busca replantearlos críticamente con el fin de iluminar los problemas teóricos y sus alcances prácticos.
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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.
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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective.
Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities.
This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap.
Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.published_or_final_version
Urban Planning and Design
Doctoral
Doctor of Philosophy
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ALIBERTI, DANIELA. "Le dinamiche di social evaluation di individui ed organizzazioni nei field istituzionali culturali e creativi." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/96133.
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Questa tesi di dottorato ha l’obiettivo di analizzare i processi attraverso cui individui ed organizzazioni costruiscono la loro posizione e la loro valutazione nel contesto di field istituzionali culturali e creativi. La tesi contiene tre capitoli che rappresentano tre distinti lavori di ricerca. Le analisi empiriche svolte sono incentrate sui settori del cinema (primo capitolo), della quality television (televisione ‘di qualità’, serie televisive) e della musica indipendente negli Stati Uniti. In tutti i lavori di ricerca sono stati utilizzati database longitudinali e metodi quantitativi e qualitativi. Nel primo capitolo, si analizza come gli scandali personali (di natura sessuale e non sessuale) influenzino la costruzione della peer recognition. Si prendono anche in considerazione gli effetti degli stereotipi legati al genere e dei comportamenti orientati alla valorizzazione delle diversità (solidarietà femminile), per comprendere come questi influiscano sulla peer recognition, insieme agli scandali, nell’ambito della valutazione degli attori di Hollywood (candidatura all’Oscar), nel lasso temporale 2003-2018. Nel secondo capitolo, viene teorizzato il processo di nascita e di consolidamento di un field interstiziale (interstitial issue field), attraverso l’analisi del caso del field nato tra la musica indipendente e la quality television negli Stati Uniti, dal 2003 al 2018. Si delineano le caratteristiche della infrastruttura istituzionale del field emerso, si definisce il ruolo lavoro degli attori istituzionali (institutional work) e degli spazi interstiziali (interstitial spaces). Nel terzo capitolo, i field istituzionali della musica indipendente e della quality television sono ulteriormente esaminati, tra il 2013 e il 2018, attraverso una indagine della collaborazione tra i due field, nell’ utilizzo di un album indipendente nella soundtrack di episodi di una serie televisiva. La ricerca mira a comprendere gli effetti della collaborazione sulla valutazione di un prodotto del field della musica indipendente (album indipendenti) che collabora con un field più ‘commerciale’ (quality television).This doctoral thesis aims at shedding light on the processes by which individuals and organizations negotiate their structure, position, and evaluation, within the context of creative and cultural fields. It contains three chapters that represent three research studies. The empirical analyses undertaken throughout the research pieces are focused on the fields of cinema (first chapter), quality television, and independent music (second and third chapter) in the United States. For all of them, longitudinal databases are employed, and both quantitative and qualitative methodologies are utilized. In the first chapter, the role of personal (sexual and non-sexual) scandals for peer recognition is investigated. The research focuses on how scandals, gender stereotypes, and engagement in diversity-valuing behaviors (female solidarity) affect peer recognition for Hollywood actors (nomination of actors for an Oscar), in the time frame 2003-2018. In the second chapter, the process of emergence and consolidation of an interstitial issue field is theorized, by exploring the case of the field that emerged between indie music and the quality television in the United States from 2003 to 2018. In the analysis, the features of the institutional infrastructure of the emerged field, with the role of institutional actors and of interstitial spaces, are taken into consideration. In the third chapter, the fields of independent music and quality television in the US are further examined, between 2013 and 2018, by focusing on the patterns of evaluation of one field’s products (independent music, independent albums) when this field interacts with the other (quality television) – that is, when independent albums are featured in quality television episodes.
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ALIBERTI, DANIELA. "Le dinamiche di social evaluation di individui ed organizzazioni nei field istituzionali culturali e creativi." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/96133.
Full textAbstract:
Questa tesi di dottorato ha l’obiettivo di analizzare i processi attraverso cui individui ed organizzazioni costruiscono la loro posizione e la loro valutazione nel contesto di field istituzionali culturali e creativi. La tesi contiene tre capitoli che rappresentano tre distinti lavori di ricerca. Le analisi empiriche svolte sono incentrate sui settori del cinema (primo capitolo), della quality television (televisione ‘di qualità’, serie televisive) e della musica indipendente negli Stati Uniti. In tutti i lavori di ricerca sono stati utilizzati database longitudinali e metodi quantitativi e qualitativi. Nel primo capitolo, si analizza come gli scandali personali (di natura sessuale e non sessuale) influenzino la costruzione della peer recognition. Si prendono anche in considerazione gli effetti degli stereotipi legati al genere e dei comportamenti orientati alla valorizzazione delle diversità (solidarietà femminile), per comprendere come questi influiscano sulla peer recognition, insieme agli scandali, nell’ambito della valutazione degli attori di Hollywood (candidatura all’Oscar), nel lasso temporale 2003-2018. Nel secondo capitolo, viene teorizzato il processo di nascita e di consolidamento di un field interstiziale (interstitial issue field), attraverso l’analisi del caso del field nato tra la musica indipendente e la quality television negli Stati Uniti, dal 2003 al 2018. Si delineano le caratteristiche della infrastruttura istituzionale del field emerso, si definisce il ruolo lavoro degli attori istituzionali (institutional work) e degli spazi interstiziali (interstitial spaces). Nel terzo capitolo, i field istituzionali della musica indipendente e della quality television sono ulteriormente esaminati, tra il 2013 e il 2018, attraverso una indagine della collaborazione tra i due field, nell’ utilizzo di un album indipendente nella soundtrack di episodi di una serie televisiva. La ricerca mira a comprendere gli effetti della collaborazione sulla valutazione di un prodotto del field della musica indipendente (album indipendenti) che collabora con un field più ‘commerciale’ (quality television).This doctoral thesis aims at shedding light on the processes by which individuals and organizations negotiate their structure, position, and evaluation, within the context of creative and cultural fields. It contains three chapters that represent three research studies. The empirical analyses undertaken throughout the research pieces are focused on the fields of cinema (first chapter), quality television, and independent music (second and third chapter) in the United States. For all of them, longitudinal databases are employed, and both quantitative and qualitative methodologies are utilized. In the first chapter, the role of personal (sexual and non-sexual) scandals for peer recognition is investigated. The research focuses on how scandals, gender stereotypes, and engagement in diversity-valuing behaviors (female solidarity) affect peer recognition for Hollywood actors (nomination of actors for an Oscar), in the time frame 2003-2018. In the second chapter, the process of emergence and consolidation of an interstitial issue field is theorized, by exploring the case of the field that emerged between indie music and the quality television in the United States from 2003 to 2018. In the analysis, the features of the institutional infrastructure of the emerged field, with the role of institutional actors and of interstitial spaces, are taken into consideration. In the third chapter, the fields of independent music and quality television in the US are further examined, between 2013 and 2018, by focusing on the patterns of evaluation of one field’s products (independent music, independent albums) when this field interacts with the other (quality television) – that is, when independent albums are featured in quality television episodes.
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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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Escudero, Nelli, Julie Freundt, Sylvia Falcón, and Harry Orsos. "Somos creativos, seámoslo siempre." Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656945.
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Nelli Escudero (Perú) - Moderadora /
Julie Freundt (Perú) - Panelista /
Sylvia Falcón (Perú) - Panelista /
Harry Orsos (Perú) - PanelistaConversatorio que tocará los temas de industrias culturales y el trabajo de ASICREA por el Bicentenario.
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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
15
Granata, Gianluca <1992>. "IL DIRITTO INTERNAZIONALE APPLICATO ALLE INDUSTRIE CULTURALI." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17134.
Full textAbstract:
La tesi analizza il trattamento riservato alle opere culturali dei media nel quadro delle norme e dei principi inerenti al diritto degli scambi commerciali sul piano internazionale ed europeo. Le paure rese pubbliche da molte persone riguardo alle conseguenze del processo di globalizzazione collettiva, legislativa e finanziaria in atto sulle particolarità e le usanze culturali locali, si ampliano e raggiungono l’apice nel momento in cui trattano le politiche sul mercato dei media: in tale ambito, i negoziati sul commercio e sugli investimenti si sono incagliate sul tema di “eccezione culturale” che permetterebbe di concedere ai beni e ai servizi culturalmente importanti un trattamento privilegiato rispetto ad altri generi di prodotti o servizi con la concezione che per svilupparsi, la filiera culturale abbia bisogno di un sussidio pubblico. Se, nel diritto internazionale, il tema si è presentato con tutte le sue complicazioni alla fine dell’Uruguay Round del 1994, con l’introduzione, fra le norme commerciali, di una riserva che escludeva la cinematografia e altri beni audiovisivi dalle leggi adottate con il negoziato, nel procedimento di integrazione europea la necessità di tutelare le differenze culturali è destinata ad essere in contrasto con lo slancio verso la concretizzazione del mercato unico. Sul differente ambito della collaborazione in campo culturale, la Dichiarazione Unesco sulla diversità culturale del 2001 ha messo le fondamenta per una serie di progetti internazionali le quali, finalizzate a promuovere l’istituzione di standard per la difesa della cultura nelle sue numerose espressioni, sono arrivate all’apice nel 2005, con la ratifica della Convenzione sulla protezione e la promozione della diversità delle espressioni culturali, primo strumento vincolante rivolto a tutelare le differenze culturali. Provando ad offrire una ricognizione generale sui legami che la produzione artistico/culturale dei media ha con la regolamentazione degli scambi commerciali, la tesi sarà prima di tutto volta ad intendere quale sia il ruolo ricoperto da tali opere nel più esteso ambito del patrimonio culturale. Inoltre la tesi presenta un approfondimento sulle industrie culturali dal punto di vista economico con maggiore attenzione per quanto riguarda il comparto audiovisivo.
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Ali, Ahmad Bilal. "Économie créative, spécialisation internationale et tourisme." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20035/document.
Full textAbstract:
L’émergence du nouveau concept de l’économie créative, qui constitue désormais une part importante dans les flux d’échanges commerciaux à l’échelle internationale, a profité à de nombreux pays de tous les niveaux économiques. L’essor des industries créatives a fortement influencé la production par la formation de clusters de compétitivité. Cette situation se révèle être favorable au développement et à la diversification des biens et des services créatifs notamment pour les petites et moyennes entreprises. L’économie créative peut être expliquée par les théories de la spécialisation internationale en particulier du point de vue des échanges de services et du tourisme. Ainsi, le développement des industries créatives constitue une véritable opportunité de spécialisation internationale touristique basée sur un processus d’innovation culturelle et soutenue par une transformation de la demande touristique. Cette innovation, fondée sur la créativité, engendre une forte valeur ajoutée pour les biens et les services créatifs, ainsi que des avantages absolus qui ouvrent une nouvelle voie de développement pour les pays les moins avancés, pour conquérir les marchés d’exportation et réduire la pauvretéThe emergence of the new concept of the creative economy, which is now an important part of international trade flows, has benefited countries of all economic levels. The rise of creative industries has strongly influenced production through the formation of competitiveness clusters. This situation is proving to be conducive to the development and diversification of creative goods and services, particularly for small and medium firms. The creative economy can be explained by theories of international specialization in particular from the point of view of services trade and tourism. Thus, the development of these creative industries constitutes a genuine opportunity for international tourism specialization based on a process of cultural innovation and sustained by a transformation of tourism demand. This innovation, based on creativity, creates high added value for creative goods and services as well as absolute advantages, which opens up a new development path for the least developed countries to conquer export markets and reduce poverty
17
Sepúlveda, S. Diego. "ICS: — Industrias Creativas Santiago." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/100417.
Full textAbstract:
El presente proyecto de título nace como un cuestionamiento personal acerca del
consumo cultural en nuestro país. Pretendo abordar con fascinación la producción cultural
contemporánea, fuertemente infl uenciada por la tecnología y la electrónica de consumo,
y que ha sufrido un acelerado desarrollo desde la inserción de la televisión en los hogares
chilenos en la década del 60’.
Propongo pensar en un espacio para la concepción, producción, post-producción y
difusión de este tipo de bien cultural, en todos los niveles de profesionalismo, bajo el amparo
del concepto de industria creativa, un aporte que puede aportar a la consolidación cultural
y el acceso democrático a esta expresión.
Finalmente el proyecto desarrolla paralelamente una memoria audiovisual
complementaria a este documento, que puede ser visitada en la url http://
memoriaics.tumblr.com/ como una herramienta sugerente al proyecto de arquitectura y
sus posibles situaciones y con eso una ayuda ante cualquier decisión del mismo y su
comprensión.
18
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.
Full textAbstract:
Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.
19
Doneman, Michael. "Creative industries development in regional Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16281/.
Full textAbstract:
Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.
20
Serova, Nina. "Building an institution with emotional labour: Analysis of a post-industrial art centre, beyond the creative industries." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16731.
Full textAbstract:
Once established, institutions become systems that imply the naturalness of their political and cultural dynamics. But how are institutions produced? This thesis presents an analysis of the Sydney post-industrial art centre Carriageworks. I argue that Carriageworks’ institutionalisation is enabled by social investment – specifically, the emotional labour of those separately involved in establishing, managing and working at the centre, as well as its publics. Given its location in a former industrial railway workshop adjacent to Redfern, a suburb famed for its Indigenous political activism, the establishment of Carriageworks would typically be read either as a welcome answer to urban decline, tied into place competition; or critically, as displacement in the name of cultural regeneration. However, I shift the focus from these creative industries formulations to argue that the establishment of Carriageworks was by no means a historical given. Ethnographic detail of this centre’s formation reveals the crucial role of emotional labour (a term I adapt from its beginnings in Arlie Hochschild’s work), in allowing this institution to exist and subsequently thrive. In presenting diverse instances of Carriageworks’ development, from instantiation to policy formulation, I also emphasise the affective power of its building in not only establishing the centre as an institution, but broadening the terms on which places like it can be valued. In the process, I explore how we can ‘deal with’ middle-class success, without immediately slapping it down with all analysis suspended, to consequently question the complex ways in which people relate to creative place.
21
Tsai, Hui-Ju. "Creative industries policy in Taiwan : the effects of neoliberal reform." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36207.
Full textAbstract:
Since 2002 Taiwan has transformed its cultural policy, following the lead of the UK's creative industry discourse in particular and neoliberal policy regimes in general. This thesis investigates the processes through which neoliberal thinking shaped changing cultural policy and the impact this has had on cultural workers and practices in Taiwan s cultural landscape. I examined policy making documents and interviewed a range of involved actors, including government officials and cultural workers to learn more about the policy process and its impact. The research argues that the creative economy has heavily influenced the development of cultural policy discourse and generally failed to promote the public interest in Taiwan. The results of neoliberalisation have been embodied in several salient characteristics such as the privatisation of public space, marketisation of public subsidy and investment, commercialisation of higher education, and flexibilisation of cultural labour market. I argue that cultural policy needs to be reshaped to represent the public interests and diversity of our cultural landscape.
22
Figueroa, Lizana Loreto Andrea. "Emergencia de la industria creativa en barrios de Santiago." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/101337.
Full textAbstract:
El proyecto de investigación tiene el propósito de examinar la cultura del Diseño en Chile, desde una revisión histórica y actual de la disciplina como es el ejercicio de economía local en barrios de Santiago (Bellas Artes e Italia). El contexto social, académico, político y profesional del área ha cambiado durante los últimos años, por lo cual una investigación dedicada a profundizar los tópicos direccionales del Diseño en Chile, aportará a la comunidad involucrada una reflexión necesaria para aumentar la extensión en el país y la forma de afrontar el emergente desarrollo de la Industria Creativa.
23
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.
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.
24
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.
25
De, Re Linda <1994>. "Imprese culturali e creative: le Fondazioni di Impresa." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21516.
Full textAbstract:
L'elaborato propone un’analisi introduttiva al codice del Terzo Settore dal punto di vista economico e giuridico; proseguirà con un excursus esemplificativo delle imprese culturali e creative, indagando l’esigenza che ha portato alla loro diffusione nel panorama europeo e nello specifico in quello italiano.
In seguito, dall’indagine generale ci si andrà a focalizzare in modo specifico su una particolare tipologia di enti: le Fondazioni di Impresa e di Famiglia. Dopo una ricerca teorica sulla materia, dopo aver esposto la struttura portante delle Fondazioni italiane ed aver risposto a quesiti relativi alle motivazioni che hanno portato alla loro nascita, al modo in cui si sono sviluppate ed evolute nel tempo, ci sarà un’ulteriore approfondimento dell’argomento.
L'intento è scegliere alcune Fondazioni italiane che hanno dato la loro disponibilità e tramite un questionario d'indagine analizzarne l'impostazione, la struttura, il rapporto con l'impresa fondatrice, il tipo di benefici fiscali correlati e l'influenza di questi enti in termini di Corporate Social Responsibility.
26
Conefrey, Carmel. "Creative rural places : a study of cultural industries in Stroud, UK." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/24003/.
Full textAbstract:
This thesis explores how different geographical places and space shape the way cultural industries work. In a departure from much of the existing literature, this study focuses on rurally based industries. In particular, it seeks to identify the ways in which and the extent to which a rural setting shapes the workings of rurally based cultural industries. A rural focus will help to broaden the intellectual knowledge base and adds to an emerging body of economic geography inspired study that is looking to refocus the cultural industries research agenda away from a pre-occupation with cities. The rural dimension is examined through a study of visual arts and crafts industries in the Stroud District, Gloucestershire, UK. The empirical phase was steered by the notion of the production system and the analytical lenses of spatial organisation, relationships and place. Mixed methods were used to generate qualitative and quantitative data and in the case of the latter, included personal network data. The empirical phase was sequential, leading with an on-line questionnaire for individual practitioners, followed by a set of semi-structured interviews with actors from the range of processes that comprise the visual arts and crafts production system. The Stroud study challenges the notion that cultural industries are quintessentially city phenomena. Of the three analytical lenses, the place dimension proved particularly potent for understanding the Stroud Case. The findings show a place based community of practitioners and a number of art businesses, some of national repute, and an active cultural infrastructure - networked principally through inter-personal relationships. A rural dimension was evident in terms of the scale of activity, the functioning of the local milieu and particular perceptions towards cultural products produced by rurally based practitioners. The impact of the rural setting was not experienced uniformly but was contingent on the status of the practitioner and the visual arts and crafts discipline practised. The analysis has practical implications for policy developers particularly at a local authority level.
27
Luca, Mariavittoria <1991>. ""Cultural and Creative Industries: the Role of Culture in the Economy"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10068.
Full textAbstract:
In the first chapter I will discuss the cultural industry making an historical overview, classification and analysis concerning the measurement methods related to it.
In the second chapter I will speak about the cultural attractors (museums, theaters) and how these drivers create new jobs.
In the third chapter instead I will consider the relationship between the creative and traditional industries.
The final chapter will be about the policy and the access to finance for the cultural and creative sectors.
28
Wong, Cho-ting, and 黃楚婷. "Adaptive reuse of industrial buildings and creative spaces in Hong Kong : a comparison of Fotanian Artist Village and Jockey Club Creative Arts Centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195117.
Full textAbstract:
Adaptive reuse of industrial buildings into creative spaces has recently sparked global (Mommaas, 2000, 2004; Daniels, Ho, and Hutton, 2012)and local interests (Leung, 2010; Kong, 2012). The clustering effects of creative spaces have also inspired extensive research on how creative spaces could contribute to urban development and in particular economic growth (Pratt, Andy C., 2004; Evans, 2009; Mommaas, 2009).
This dissertation critically reviews existing literature and examines the hypothesis with a comparative study of the Fotanian Artist Village (Fotanian) and Jockey Club Creative Arts Centre (JCCAC), which represent two distinctive development trajectories namely organic and planned creative spaces in Hong Kong. It is argued that the development of creative spaces in industrial buildings is strongly correlated to the intention of the public sector to promote creative economies, as well as market assumptions in dealing with obsolescence in urban environment. Both are governed by the concept of neoliberalism, which advocates utilization of land resources based on exchange value rather than use value, and the use of creative spaces as urban development tools. Thus, developing creative spaces in obsolete places through adaptive reuse would restrain the organic growth of creative spaces, or result in its commodification and institutionalization.
The hidden neoliberal agenda has also led to the misconception that creative spaces should be assessed for its efficiency and effectiveness as a cluster based on the agglomeration effect of industrial cluster in traditional sense. Fotanian and JCCAC are selected to test against their success performances based on the cluster theory. The two cases are compared to examine whether the planned is less successful than the organic as suggested by the literature. Findings suggest that neither one of them entirely fulfills all the conditions of creative cluster identified in the literature for a successful creative space. Indeed the clustering effect is an inconclusive, if not misleading, criterion of successful creative spaces, given that the development of creative spaces in cities might bring a variety of benefits.
Studies have shown that the adaptive reuse of obsolete places might pose potential threats to creative spaces. It is argued that the success of organic and planned creative spaces can only be possible in the long term when breeding and sustaining factors are introduced.published_or_final_version
Urban Planning and Design
Master
Master of Science in Urban Planning
29
Asri, Paramita, and Nikolaos Tsourounakis. "The Eye of Co-Creation: A Guide for Governance of Cultural Co-Creative Projects : Taking Umeå 2014 European Capital of Culture as a Case Study." Thesis, Umeå universitet, Företagsekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85513.
Full textAbstract:
Creative economies can establish sustainable development through co-creative cultural projects. Project management practice and particularly project governance can balance creativity and control fostering the co-creative environment that inspires and ignites innovation. The success of those cultural projects is the platform that leads to long-term development and growth. This thesis work aims to answer the following research question, “How will project governance structure provide the environment for the co-creation approach to flourish and enhance project performance?” The objective of this research is to examine how the project governance structure creates a conducive environment for the co-creation approach to burgeon and boost project performance. The authors investigate the subject by building a theoretical frame of reference, formulating a proposition and designing the research strategy in order to answer the research question. This research applies the qualitative method through semi-structured interviews based on a case study on Umeå 2014 as the ECoC. Thirteen respondents participated in this research, all of whom are members of the Umeå 2014 Project Team. As secondary data, six interviews with Umeå 2014 project owners were investigated and analysed in order to support and increase the reliability of the research findings from the primary data analysis. All primary and secondary data were analysed based on the theoretical framework. The research revealed that project governance nurtures the environment necessary for co-creation to flourish. The co-creation approach will flourish when developed within the mixture of hierarchical and relational project governance structures that foster co-creative elements. The synergy between co-creation and project governance will boost the potential to achieve sustainable development and long-term growth.
30
Oruc, Sercan. "Modeling The Dynamics Of Creative Industries: The Case Of Film Industries." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611988/index.pdf.
Full textAbstract:
Dynamic complexity occurs in every social structure. Film industry, as a type of creative industries, constitutes a dynamic environment where uncertainty is at high levels. This complexity of the environment renders the more traditional operations research models somewhat ineffective, and thus, requires a dynamic analysis. In this study, a model showing the dynamics of film exhibition is given. The interactions within and between the theatrical and the DVD sales channels are implemented by the model. Later on, the possible effects of piracy to the model are discussed, using the inferences obtained by the created model. The model is examined with scenario and sensitivity analysis. All the modeling studies are done with a commercial dynamic systems modeling software. The model also can be extended for the whole film industry, or for some other creative industries like the publishing industry.
31
Cavallini, Giulia. "Sensi e significati del lavoro nelle industrie culturali e creative: il caso del game development in Italia." Doctoral thesis, 2022. https://hdl.handle.net/2158/1288504.
Full textAbstract:
La ricerca si inserisce nel dibattito sullo studio del senso del lavoro, presentando una prospettiva teorica di ispirazione weberiana, e fornendo un contributo empirico attraverso l’applicazione di tale approccio all’analisi del senso e dei significati del lavoro nel settore creativo del gaming. Questo caso di studio si inserisce nel più ampio insieme delle industrie culturali e creative, caratterizzate dalla letteratura sociologica come ambiti in cui il senso del lavoro è legato alla dimensione della passione. Le interviste qualitative agli sviluppatori di videogiochi italiani fanno emergere la rilevanza delle dimensioni relazionali nella costruzione delle rappresentazioni soggettive del lavoro, in cui la pluralizzazione di sensi e significati trova una ricomposizione in relazione ai gruppi sociali e agli universi simbolico-culturali in cui i creativi sono inseriti.
The research is part of the debate on the study of the meaning of work, presenting a Weberian-inspired theoretical perspective, and providing an empirical contribution through the application of this approach to the analysis of the meaning and sense of work in the creative sector of gaming. This case study is part of the broader set of cultural and creative industries, characterized in the sociological literature as fields in which the meaning of work is linked to the dimension of passion. Qualitative interviews with Italian video game developers highlight the relevance of relational dimensions in the construction of subjective representations of work, in which the pluralization of senses and meanings finds a recomposition in relation to the social groups and symbolic-cultural universes in which creatives are embedded.
32
BRANDNER, LOU THERESE ELISABETH. "The social capital of creative freelancers. Networking practices in digital and urban spheres." Doctoral thesis, 2021. http://hdl.handle.net/11573/1568978.
Full textAbstract:
This study explores how freelancers in the creative and cultural industries (CCI) create, utilise and maintain social capital in the context of highly flexibilised, deregulated and digitalised labour markets. CCI freelancers organise their own workplace, working schedule and social security. Regardless of widespread precarity, they commonly perceive their working conditions as an autonomous choice to enjoy the privilege of working creatively. In relational, project-based working environments, their main way to find employment opportunities and reduce risk are social relationships. Their networking practices potentially lead to an intertwinement of private and professional spheres as well as digital and physical connections, and therefore to specific forms of sociality.
This project has a qualitative approach, focusing on freelance creatives in Rome, Italy, and Berlin, Germany. Interviews were conducted with 31 creative freelancers living or working in the neighbourhoods of San Lorenzo and Pigneto in Rome as well as Kreuzberg and Neukölln in Berlin. These data were analysed with a grounded theory approach. Additionally, creative freelancers’ urban surroundings, networks and social media content were analysed with a network-ethnographic perspective to networking practices in digital and urban spaces.
Findings imply that within the sample, the creation, utilisation and maintenance of social capital constitute continuous tasks throughout the careers of creative freelancers. Berlin’s urban space as a networking environment is more professionalised and adapted to the needs of the “creative class” compared to Rome’s more improvised yet more tight-knit creative scene. The relationship of social capital and the digital sphere appears to be shifting, with social media platforms increasingly serving the purpose of bonding on a more personal level with audiences through curated displays of intimacy. Constant networking as an integral part of the entrepreneurial ethos of creative professions overall leads to a profound blurring of personal and private spheres for creative freelancers.
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QUERCIA, GRAZIA. "La piattaformizzazione della serialità complessa. Ecosistemi narrativi transmediali nel platform ecosystem." Doctoral thesis, 2022. http://hdl.handle.net/11573/1655347.
Full textAbstract:
L’obiettivo di questa ricerca è comprendere la relazione tra l’ecosistema delle piattaforme e gli ecosistemi narrativi seriali, prendendo come caso di studio le serie originali prodotte da Facebook e Youtube, osservando il sistema distributivo, i contenuti e la reazione da parte del pubblico.
L’avvento delle tecnologie digitali ha cambiato l’epistemologia del panorama mediale, aprendo la strada alle piattaforme, definite come una serie di relazioni che devono essere costantemente performate su architetture digitali programmabili, volte a organizzare gli scambi tra utenti (Van Dijck 2013), i cui elementi fondanti sono la datafication, commodification e selection (van Dijck et al. 2018).
Le piattaforme facilitano e controllano le connessioni tra distinti gruppi di utenti al fine di monetizzare dati e attenzione degli utenti, cambiando così i modelli di business, in favore di un mercato più globalizzato e multiside (Rieder & Sire 2014): in particolare, le super-piattaforme, che non agiscono in un solo settore, stanno accentrando sempre più funzioni nel proprio ecosistema formato da differenti canali, servizi e contenuti, rendendo adatti ai sistemi piattaforma sempre più elementi e ambiti.
La serialità è uno dei contenuti profondamente trasformati dalla piattaformizzazione: il genere narrativo è diventato sempre più complesso e strutturato anche grazie alle possibilità delle tecnologie internet-based. I racconti seriali sono passati da essere prodotti monomediali, a universi transmediali, fino a trasformarsi in ecosistemi narrativi, ovvero sistemi aperti, in equilibrio, resilienti, dalle strutture interconnesse, dichiarativi e con componenti biotiche e abiotiche (Pescatore 2018).
La domanda a cui questo studio vuole rispondere riguarda le innovazioni apportate dalle super-piattaforme Facebook e YouTube alla produzione e distribuzione della serialità, oltre a comprenderne l’impatto sulle audience.
L’analisi si svolge su tre diversi livelli. Il primo, tecno-strutturale, osserva l’architettura delle sezioni dedicate a tali prodotti seriali, attraverso una griglia di analisi composta dagli elementi di datafication, commodification e selection (van Dijck et al. 2018). Il secondo, contenutistico, analizza una serie originale Facebook e una YouTube, cercando di comprenderne affinità e differenze con i tratti caratteristici degli ecosistemi narrativi, attraverso una nuova griglia di analisi che utilizza come categorie le caratteristiche osservate da Pescatore (2018). Per ultimo, si è avviata una ricerca esplorativa sull’impatto di tali sistemi e prodotti sugli utenti: è stato prima sottoposto un questionario a 700 fan di prodotti seriali, selezionati attraverso un campionamento a scelta ragionata, seguito da interviste semistrutturate a quattro soggetti compilatori del questionario.
I risultati hanno suggerito una crescente piattaformizzazione e transmedialità mono-ambientale dei prodotti diffusi dalle superpiattaforme, le quali utilizzano le affordances delle piattaforme già
integrate, mentre le narrazioni risultano essere sempre più ecosistemiche e partecipative. Dal questionario e dalle interviste, però, si nota come esse non sempre vengano partecipate da parte degli utenti proprio a causa di dinamiche proprie di tali social network e ben radicate nei sistemi, oltre a una scarsa campagna di promozione delle serie Originals da parte dei produttori. Il fenomeno è tutt’ora in evoluzione e la presente indagine esplorativa necessiterà di ulteriori osservazioni in base alle evoluzioni di prodotti e sistemi.
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Tufarelli, Margherita. "Futuro del patrimonio, patrimonio del futuro. Un'esplorazione sul significato del cultural heritage digitalizzato." Doctoral thesis, 2020. http://hdl.handle.net/2158/1191203.
Full textAbstract:
La ricerca intende indagare il ruolo che gli archivi digitali del Cultural Heritage possono avere per il design, e comprendere la relazione inversa: come la cultura del design può favorire l’attivazione degli archivi al fine di stimolare i processi di produzione di nuove espressioni culturali da parte delle altre industrie creative. Lo studio è stato condotto con l’ausilio di un caso di studio specifico: la piattaforma Europeana aggregatore multi- tematico del patrimonio culturale europeo.
Heritage è un termine dal significato esteso, il cui valore è principalmente radicato nell’uso e nella capacità che può avere di generare nuova cultura: la tutela, infatti, non è più identificabile nella protezione dell’oggetto in sé, ma del processo che ne permette la creazione. Ci troviamo quindi di fronte ad un’endiadi in cui consumo e produzione di cultura fanno parte dello stesso processo che è storicamente fluido.
L’avvento del digitale ha portato intensi cambiamenti nella scienza archivistica che si è trovata di fronte ad una mutazione sostanziale di funzioni e scopo: gli archivi non sono più luoghi di conservazione passiva, ma al contrario, hanno la possibilità di diventare contenitori di informazioni pronte ad essere attivate per supportare la creazione di nuove produzioni culturali.
Si intende quindi indagare la relazione e la contaminazione che è sempre esistita tra cultura del passato e creatività contemporanea, per esplorare il “futuro del patrimonio” e il “patrimonio del futuro”.
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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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Chiao-Huei, Wu, and 吳巧惠. "Establishing the Visual image of Cultural and Creative Industries Park- HuaShan 1914 Cultural and Creative Industries Park." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/11089344246184792122.
Full textAbstract:
碩士國立臺灣師範大學
設計研究所
99
The establishment of the cultural and creative industries park has been carried out in European and American countries for many years. According to the development of policy in recent years, our government proposes the plan to establish cultural and creative industries park, in order to complete the environment for developing cultural and creative industries. Nowadays, many cultural and creative industries parks base on the reusing of inactive land and buildings and focus on the space planning and using. The visual image and identity system should combine with the local cultural characteristics, and let people recognize, understand and has the emotion. This research focuses on establishing visual image and identity system for cultural and creative industries park, and find out the character of visual image and identity to improve the communication of visual image and the representation of design. And through literature review, case studies and design practice to discuss and verify, we could import the brand concept into the identity system, and use identity system to promote the visual image. The main conclusions are as follows: (1) The purpose of cultural and creative industries park is through the integration of resources and efficient administrative support to create a space, providing research, education, performances and rest. (2) Most of culture and creative industries parks in Taiwan reuse the inactive land and buildings, and expect to retain the traces of history. But the visual identity is still hard to associate with the local cultural characteristics. (3) Based on literature review, case studies and design practice to discuss and verify, the framework of establishing visual image and identity system is divided into plan and design two stages. (4) It’s the most effective and direct way to communicate through the process of visualization, and people can recognize, understand and has the emotion from the planning and management of identity system. (5) The factors used in identity system of cultural and creative industries park can be divided into standard letters, Logo, and standard color, and derivate to identity signs, direction signs, location signs, buildings signs, symbols, map and street furniture. (6) The visual image of the cultural and creative industries park should have full planning from space, moving route and identity system to keep the cultural image and establish uniform style.
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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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Liu, Chun-Yi, and 劉均怡. "Industrial Analysis and Case Study for Crafts Industry of Taiwan Cultural and Creative Industries." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/52636963486622246205.
Full textAbstract:
碩士元智大學
國際企業學系
96
From the experiences of many developed countries, we can discover that cultural and creative industries play an important role in the development of countries. These industries bring not only economic growth of the nation, but also maintain the uniqueness and preserve cultural heritage, even become a source of national competitiveness. From the statistic data, we can know the present situation of Taiwan cultural and creative industries, find out the potential of industries in the near future, understand what the difficulties are and try to solve the problems. In order to explore extensively and deeply, the author uses a framework and Porter’s models to analyze several levels from nation, industry to specific firms. The author puts importance on case study and chooses three local firms with international brands: FRANZ, LIULIGONGFANG, and TITTOT, respectively. Those companies are benchmarks for firms in the traditional industries. In addition to examine their strategies, the author compares three brands from many dimensions and find out the differences between their positions in the market. Finally, the author gives some suggestions to the government, industry and firms for the improvement of Taiwan cultural and creative industries.
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SHY, GWO-LONG, and 施國隆. "The Transformation Project of Industrial Heritage：The Case of Taichung Cultural and Creative Industries Park." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8unzfy.
Full textAbstract:
博士亞洲大學
數位媒體設計學系
106
In Taiwan, industries used to support livelihood economy, however the globalization impact and the conversion of management mode caused factories were compelled to closure in some area, and this situations also bring problems of urban development. Therefore, how to preserve, reuse and also establish operational management mechanism of industrial sites and old buildings would be a crucial issue in our country. Taichung cultural and creative industrial park(former Taichung Brewery Factory) is one of the five major parks are managed by Ministry of Culture. It is the transition park of industrial heritage, which combines the cultural heritage incubator with creative experiment lab. Firstly, the paper discusses the connotation of reuse of industrial heritage and the case of the development of cultural and creative park in Taiwan. Secondly, it also analyzes the development, position and management of Taichung cultural and creative industrial park in the process of preservation and reuse. Moreover, according to the requirements of activities, equipment management and personnel assignment in the park, the functions of intelligence management, operations and digital technology navigation will be the pivotal strategy which can promote a demonstration effect to the intelligence park. Finally, through the former description of transformation mechanism, we can demonstrate the effectiveness of Taichung cultural and creative industrial park in the re-use of industrial heritage and it also provides reference for other industrial heritage.
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Hsieh, Chia-Chi, and 謝佳琪. "The Perspectives of Creative Clusters on Taiwan Cultural and Creative Industries." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/vg4b5s.
Full textAbstract:
碩士國立中山大學
劇場藝術學系研究所
104
The significance of Cultural and Creative Industries(CCI) has had numbers of controversies, but it still belongs to an industry and has potential and benefits in economy. From the aspect of industry development, the phenomenon and the occurrence of cluster effect can recognize the maturity and competitiveness of the industry. Moreover, cultural creation that belongs to the connotations of the industrial cluster effect seems to have some differences from the traditional industry. Government considers cultural creation as the strength and development of a national economy, so it decrees the strategies and the policies which still belong to the developing thinking of traditional industry. Therefore, it is possible to find out that cluster effect is important and effective for CCI development which directs industrial parks, but it still has various aspects of considerations which need to be improved. In addition, from the theory of creative clusters, it mentions the concept of Creative Milieu, which occurs in city among neighborhoods. Observing the current status of Taiwan, creative neighborhood is gradually forming and developing stably. The cluster effect seems to be more active than Cultural and Creative Industries Park, so it is worthy to deeply research the development models of creative neighborhood for the economic effects and potential development of CCI. This research attempts to analyze the current structure and development of CCI in Taiwan through creative clusters theory, to explore the advantages of two modes which are Cultural and Creative Industries Park and Creative Neighborhood, and to discuss what form is more suitable for the development of CCI. Through interviews of organization building cultural and creative neighborhood, interviews of the professionals and industry brand, and personal involvement and observation in both fields, including Creative Neighborhood and Cultural and Creative Industries Park, using philosophy researching method to inquiry, reflect, and verify on the phenomenon; moreover, adopting survey method to collect questionnaires from CCI stores, and to investigate the viewpoint of both of Creative Clusters and Creative Milieu in order to permit the actual situation. By the multiple aspects information, we can conclude the development of CCI, and their respective advantages and appropriate position of the industries parks and neighborhoods. Eventually, whether Creative Clusters succeeds or not, it is not related to the actual output of the industry. Today, we talk about creative cluster, it still depends on the accumulation of creative capital. However, due to the features of cultural and creative output, creative capital doesn’t necessarily turn into economic benefits directly. Therefore, the markets (consumers) need to face Industries Park, but the production (creation, creative) should face Creative Neighborhood. Furthermore, cultural and creative value is divided into intangible and tangible. Creative capital has both of creation and economic production, but its intangible value is much more important. Therefore, when CCI only concerns about their output value, it can’t keep running the industry because of the loss, unsustainable content and spirit. However, it is interesting that the continuing development of the industry needs output value to support itself, so CCI seems to have this dilemma. It can’t be diffusely extended toward economic scale, and it should face the commercial market.
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Chien, Chia-Wei, and 簡嘉緯. "Mazu Culture Study on Cultural and Creative Industries." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09228433154217640884.
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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Yang-Kai-Cheng and 楊凱程. "A Study on Copyright Infringement of Cultural and Creative Industries - Focus on Re-create Public Domain." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/13184046842460067881.
Full textAbstract:
碩士亞洲大學
數位媒體設計學系碩士班
98
Cultural and creative industries is the key development industry in Taiwan. The issue about Cultural re-creation is a huge problem of cultural creators and copyright. The problem is affect the national interests, and therefore related discussions have been constantly. As cultural and creative Include “Cultural”, “Law” and “Creators”. Using public domain to re-create will Infringe the copyright law. Furthermore, such as the issue on “Idea Expression Dichotomy” and the restriction on “Right of Integrity”, also the fair use on right of copy in public domain. Those problem are the copyright law issue on cultural and creative industries. To solve these problem, This study summarizes the theory as follows: 1. Understanding the significance of hermeneutics. And using hermeneutics as a basis for discussion between creativity and law. 2. Overview cultural Industries and the distinction with industry culture, outlined the structure of cultural and creative industries. 3. Discussing about re-create involve cultural and creative industries, in order to understand the problems faced. 4. Investigating the implications of cultural and creative industries to the property rights of copyright law, using case study to understand the view of creation. And then using hermeneutics as Investigation on issues between the creative work and copyright, in order to close to the core of the problem. Finally, according to the findings and conclusions of the study, make the recommendations to the relevant units of the domestic copyright law and future research suggestions.
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HUI, HUANG CHIUNG, and 黃瓊慧. "Preliminary Study on the development of cultural and creative industries in Taiwan – In the case of Chiayi Cultural and Creative Industries Park." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10692370219039617981.
Full textAbstract:
碩士國立嘉義大學
管院碩士在職專班
101
In this globalized era, the content of industrial competition has changed from the model of industrialized mass production into the age of knowledge-based economy. In Taiwan, the establishment of cultural and creative industries park has become the symbol of the upgrade of industrial park. In 2010, “Law for the Development of the Cultural and Creative Industries” had pass, therefore, the proper use of the national development fund to invest the cultural and creative industries and make sure that can exert the maximum benefit will be an important issue of Taiwan Government. In this study, the range of investigation will focus on “Chiayi Cultural &; Creative Industries Park”. Access objects include: non-governmental persons or groups who have the experiences that been participated in cultural and creative industries and the undertakers and directors of government. Using qualitative survey interview as research method and interview the director of cultural bureau who manage the cultural and creative industries park in government, project managers, the person in charge of private enterprises, municipal advisors, the planner of communities empowerment, artists in residence, former dean of the National Palace Museum, former national policy advisor etc, then integrated the research results to reflect the development and possibility of cultural and creative industries park. According to the conclusion of this study, we found that the cultural and creative industries in Chiayi have enough cultural basis, use the cultural and creative industries park as a base to approve the development of the local leisure and tourism industry would be a feasible direction, by the way, we suggest that competent administrative units need to emphasis and implement on local culture, amendment to the relevant laws, devolved, to reach the fully cooperated of local public sector and the team that stationed in industries park.
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Chang, Yi-Yun, and 張意雲. "A research on residents’ attitude of cultural and creative industries in Hualien City：A case study of Hualien Cultural and Creative Industries Park." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/39033480118133207440.
Full textAbstract:
碩士國立東華大學
臺灣文化學系
100
This study aimed to explore the residents in Hualien City about their attitude of current situation,differences, relevance and impact factors to Hualien Cultural and Creative Industry Park. The subjects are the residents whom have domiciled in Hualien City administrative area over 20 years old or more, via the self-edit questionnaire "The research of Hualien City residents’ attitude about cultural and creative industries " to collect empirical data, using Proportionate Stratified Sampling method to get 825 residents as samples, the total usable are 710 samples. The questionnaire collected data are analyzing by the statistical methods such as Statistical Package for Social Science (SPSS) to do the descriptive statistics, Independent Sample T Test, One-Way Analysis of Variance, Pearson's Product-moment Correlation Coefficient and Stepwise Regression Analysis. After discussing the analysis results, the conclusions are made and also make recommendations which could be the reference for the relevant units. The main conclusions of this study are as follows: 1. The residents’ performance of "cognitive", "cordiality", "behavioral tendencies" about the attitude of Hualien cultural and creative industries park are moderately, positive, where as the average score is. 2. At the "cognitive" aspect ,the attitude of Hualien cultural and creative industries park, six items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence area. At the " cordiality " aspect , seven items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence time, and there are seven significant differences at the "behavioral tendencies" aspect which are: age , education level, occupation, personal monthly income, marital status, ethnic and residence area. 3. Among the residents’ "cognitive," " cordiality," "behavioral tendencies" aspects, all have a significant positive correlation, in which of them, the correlation between the " cordiality " aspect and "behavioral tendencies" aspect is the highest, next is the correlation between the "cognitive" aspect and the " cordiality " aspect, and the lowest correlation is between "cognitive" aspect and "behavioral tendencies" aspect. The "cordiality " aspect of Hualien residents has most relevant with "overall attitude ". 4. The significant factors which influence the residents about the "Cognitive" of Hualien's cultural and creative industrial park are " cordiality " aspect, "behavioral tendencies" aspect, "ethnic, " occupation", " residence area". The significant factors which influence the residents about the " cordiality " of Hualien's cultural and creative industrial park are: "behavioral tendencies" aspect, "cognitive" aspect, " occupation ", "education level ", "residence time". Final, about the significant factors which influence the residents about the "behavioral tendencies" of Hualien's cultural and creative industrial park are "cordiality " aspect, "cognitive" aspect, " occupation ", "personal monthly income", "residence area" and "residence time".
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Chang, Tzu-ting, and 章紫庭. "Study on Hakka cultural and creative industries innovation Strategies." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/63118319873656243559.
Full textAbstract:
碩士國立中央大學
客家研究碩士在職專班
103
Abstract Cultural and creative industries have brought infinite vital and business opportunities for various countries. In 2002, Executive Yuan has formally listed cultural and creative industries as an important item in “Challenge 2008: National Development Focus Plan”; Hakka Affairs Council also began promoting “Hakka Taiwan Hakka Taiwan products/vendor certification” and “Hakka Industry Counseling Program Key Business,” in order to promote Hakka industries. Facing the rapid changes in economy and society, as Hakka specialty products with Hakka cultural characteristics are being developed as cultural and creative industries, at each stage of the product output life cycle, the most innovative strategies should be implemented, through planning of marketing strategy innovation, to elevate the competitiveness of Hakka industries. It is hoped that through planning of innovative strategies, specialty businesses can work with the government in developing a blue ocean market for Hakka cultural and creative industries to achieve sustainable development in which economics and culture can coexist, based on this, this study uses SWOT analytical theory, through literature review and in-depth interviews, with vendors with Hakka specialties as case studies to explore their strengths, weaknesses, opportunities, and threats in developing Hakka cultural and creative merchandise. This study also explores the innovative strategies in the product life cycle and marketing, to provide recommendations for the government and other specialty vendors in the future. Finally, it is hoped that the research results can be provided to vendors with Hakka specialties, so that they can have more constructive referential indicators when developing cultural and creative industries in the future, so that vendors with Hakka specialties can sustain their operations in a rapidly changing time, to continue and pass on the vitality of Hakka culture. Keywords: Hakka cultural and creative industries, vendors with Hakka specialties, SWOT analysis, 4P marketing strategy
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Su, Chao-Ming, and 蘇昭銘. "The website analysis of Taiwan Cultural & Creative Industries." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/81683994080976085308.
Full textAbstract:
碩士世新大學
行政管理學研究所(含博、碩專班)
94
The cultural creativities industry in Taiwan is still developing, However, Taiwan government have keep improving cultural creativities industry, base on rapid Taiwan technical development and integration with cultural creativities industry, it can be expected to bring advanced value for the industry in the near future. Generally, Website content establishing can’t be separated with the network information. To make communication more efficient and raise the importance of website content, how the cultural creativities industry can be applied on website becomes more and more important. Consequently, to ensure website can be fully utilized as well as spread around with the function of cultural creativities industry and its service is a key component to evaluate if products value can be boosted. As a result, this research aim to identify and differentiate types of Taiwan cultural creative industries websites and examine its content and differentiation of technical information utilization. The research tool uses the content analysis method, carries on the website content analysis in view of the Taiwan cultural creative industries websites. The sampling method is purposive sampling, the sample number altogether 84.Besides, the Industries and the information science and technology fuse the degree can because of the different industrial attribute, the management way be different, but has the dissimilar information result. The affiliation by the research found, this research has established three related propositions, respectively is: First, the more business function, the more websites functions ; Second, the website content is richer, more can unify with the customer demand; Third, more can utilize the network and the marketing strategy, more has the success key to promoted cultural creativity industries. This research institute proposed reality service suggestion and the academic suggestion minute states as follows: First, the solid service suggested is that result of this research may aim at this research cases to improvement, or does for other cultural creative industries cases erects the website the reference. Second, the academic suggestion is that at present still lacked in view of the cultural and creative industries websites content analysis research, also the industrial attribute was different, used the similar category to weigh with difficulty. Therefore, the following research may state two flaws in view of front to perform to trace the discussion.
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Chou, Tzu-Lin, and 周玆琳. "The Discussion on Fundraising of Cultural and Creative Industries." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/85272090482210564392.
Full textAbstract:
碩士元智大學
管理碩士在職專班
104
In the Taiwanese Cultural and Creative Industries, there are mainly four channels to raise fund for its businesses: subsidy from government, bank loans, direct investments and stock market. However, since Cultural and Creative Industries firms are small-siged mostly, financing is often a key concern. Even those larger firms also face challenges including lack of proper mechanism to evaluate corporate intangible assets, lack of government regulation/policy, limited domestic demand for cultural innovation content and etc. In this study, we aim to establish a fundamental database to evaluate intangible assets, by using the theory of “one source multiple applications” and by integrating resources across various organizations/ institutions. The goal is to provide suggestions and a road map towards the Taiwanese Cultural and Creative Industry’s future development and financing methods.
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pin, Wang chien, and 王建斌. "Preliminary study of cultural and creative industries in taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/98247803645423176649.
Full textAbstract:
碩士國立中正大學
高階主管管理碩士在職專班
99
Abstract Taiwan's cultural and creative industries gradually be taken seriously, and there are many scholars and cultural workers to do related research, first proposed in the UK cultural industries, whether academics or industry, also made a lot of research and some practical strategies and practice, therefore, the cultural and creative industries are the economic benefits generated by improved; this paper the main cultural and creative industries in Taiwan to explore the current situation and hope for Taiwan's cultural and creative industries policy and the development of cultural and creative industries to explore the potential for, hope to learn from other countries experience in the development of cultural and creative industries to help Taiwan's future policy formulation and implementation can be helpful. Taiwan is to develop cultural and creative industries, not only is it possible for the government to truly focus on the industry and the government did not really attach importance to cultural and creative industries; our high-tech industry and the government's support of cultural and creative industries to compare, we can understand these two industries are of great importance to the extent of the gap between how we expect the Government to effectively create a conducive environment for the development of cultural and creative industries. Therefore, the development of Taiwan's cultural and creative industries are most needed is not just the cultivation of cultural and creative talents, develop new markets and increase demand for cultural goods, more importantly. Government policy support and shape the cultural and creative environment
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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.