摘要(英) |
The cultural and creative industries include film industry, refers to the content and scope of the film industry in the production of films, the film’s release, film exhibition, and the provision of equipment, facilities and technology to complete the production of films. Film culture industry is a long way, like running a marathon, you need to adhere to long-term, and the film should be bearers of culture, in the wave of globalization, to find self-positioning, thus integration into the world culture. Product strategy companies develop business strategies, we must first clear that the enterprise can provide what kind of products and services to satisfy the demands of consumers, and to solve product strategy problem. The key to business success and development is to satisfy consumer’s demand and product strategy of correct or not. Film distribution compared to the general merchandise, but also full of high-risk and not uncertainty. This study mainly research on the Taiwanese film’s product strategy selection factors for film distributors, these factors will cause customers go to the cinema, then film distributors will create successful box office.Scope of this study only in Taiwan issued by domestic films, The research method is using the Analytic Hierarchy Process (AHP), eight experts to participate. The results of analysis are described as followings :
(1) The target dimensions of a cultural and creative industries policy choice influencing factors can be divided into: the script choice of topic, Cast (Actor)lineup, the mix of merchandise and directing the production and participation. Which script theme select the dimensions of the right to re-value, sort first, the presentation aspects of the Cast (actor) lineup for the second. Director of the production parameters, merchandise mix, respectively the third and fourth.(2)This study in accordance with the overall weight order to retrieve the 10 key factors in the level of the weight part of creative fictional story, followed by the true story is the highest, from 0.095 to 0.374,comic books or original adaptation of the story is third, up to 0.07, manufacturers cross-industry alliance of goods were the lowest, only 0.008.(3)In this study, using the Analytic Hierarchy Process is divided into four dimensions and 18 factors indicators for Taiwan distributors reference in the choice of film product strategy, thereby reducing the risk of failure at the box office, to increase the support of the people for the domestic film industry.
|
參考文獻 |
中文文獻
[1] 司徒達賢,「策略管理新論:觀念架構與分析方法」,智勝文化,台北,2011。
[2] 俞海琴、董珮珊 編譯,「財務管理 第二版」,華泰文化,台北,2009年7月。
[3] 林建煌,「行銷管理」,華泰文化,台北,2009年10月。
[4] 劉維公,「文化產業概念釋義」,典藏雜誌,2003年5月。
[5] 吳思華(2003),「文化創意的產業化思維」,推動文化產業的契機與個案實踐國際論壇,台北,10月30日-11月1日,台北市文化局。
[6] 行政院經濟建設委員會新聞稿,政府提供多項資金管道積極協助文創產業發展,2011年9月30日。
[7] 經濟部工業局(2009),「台灣文化創意產業發展年報」,台北市:工業局出版。
[8] 劉維公(2010),「台灣文化創意產業整體發展概況」,台北:台北市文化局。
[9] 行政院新聞局(2011),「2011年台灣電影年鑑」,台北:行政院新聞局。
[10] 程予誠(1993),「現代電影學」,台北:五南書局。
[11] 黃詩凱(2004),「一九九○年代台灣電影工業的政治經濟分析」,國立中正大學電訊傳播研究所碩士論文。
[12] 莊翰華(1998),「都市行銷理論與實務」,建都文化事業出版社,新竹。
[13] 陳定國(1996),「企業概論」,三民圖書出版公司,臺北。
[14] 李貽鴻(1986),「觀光行銷學:供應與需求」,淑馨出版公司,臺北。
[15] 詹瑋琦(2003),「華語電影的好萊塢式行銷-以英雄雙瞳在台灣的行銷為例」,淡江大學大眾傳播學系碩士論文。
[16] 楊士賢(2003),台灣電影產業國際競爭力與全球化策略情境規劃-波特. 「鑽石體系」之應用,國立中山大學企管研究所碩士論文。
[17] 彭小芬(2000),臥虎藏龍之後,好萊塢的跨國文化現象,新觀念,第168期,P.54-55。
[18] 黃茂昌(2001),電影完成之後─台灣地區華語電影發行現況與展望,發表於「2001獨立製片與紀錄片國際學術研討會暨南方影展論文集」,台南:國立台南藝術學院。
[19] 盧美惠(2009),台灣電影產業進軍大陸市場關鍵成功因素之探討,私立中國文化大學國際企業管理研究所未出版之碩士論文。
[20] 蘇瑋鈴(2009),台灣電影部落格行銷之研究---以《海角七號》、《囧男孩》、以及《漂浪青春》為例,國立臺灣師範大學圖文傳播學系碩士論文。
[21] 蔡羽彤(2009),台灣國片電影之行銷策略與網路媒體運用研究:以國片《囧男孩》與《艋舺》為例,世新大學傳播管理研究所碩士論文。
[22] 廖惠如(2010),文化創意產業國際化關鍵成功因素之探討—以電影產業為例,大葉大學管理學院碩士在職專班碩士論文。
[23] 陳信雄(1998),先進大眾運輸系統規劃與技術評估,台灣大學土木工程學系研究所碩士班博士論文。
英文文獻
[1] Lowett, G. and Litman, J. M. , 1989. Movies as mass Communication. Newbury Park: Sage.
[2] Aksoy, A. and K. Robins , 1992, Hollywood for the 21th century: global competition for critical mass in image markets, Cambridge Journal of Economics, 16:1-22.
[3] Allen, Robert and Douglas Gomery, 1985, Film History: Theory and Practice. ,
New York: McGraw Hill.
[4] Linton,J.& Petrovich,J.A. ,1988, The Application of the Consumer Information
Acquisition Approach to Movie Selection:An Exploratory Study,in
B.A.Austin(Ed.),Current Research in Film Audiences,Economics,and Law(4)(24-44),New
Jersey:Ablex Publish Corporation.
[5] Durie J, Annika P. & W.Neil, 2000. Marketing and selling your film around the world : a guide for independent filmmakers, Los Angeles : Silman-James Press.
[6] Vogel, Harold L., 2001, Entertainment Industry Economics, 5th ed. Cambridge, UK: Cambridge University Press.
[7] Litman, Barry R. Predicting Success of Theatrical Movies: An Empirical Study, Journal
of Popular Culture, 16 (1), 1983, 159-175.
[8] Litman, Barry R. and Kohl, A. Predicting Financial Success of Motion Pictures: The 80’s Experience, The Journal of Media Economics, 2 (1), 1989, 35-50.
[9] Litman, Barry R. and Ahn, H., 1998, “Predicting Financial Success of Motion Pictures,” in B.R. Litman, The Motion Picture Mega-Industry, Allyn & Bacon Publishing, Inc.: Boston, MA.
[10] Terry, Neil, Butler, Michael and De’Armond, De’Arno , 2004, The Economic Impact of Movie Critics on Box Office Performance,Academy of Marketing Studies Journal, 8 (1), 61-73.
[11] Austin, B. A., 1981, Film attendance:Why college students chose to see their most recent film. Journal of Popular Film and Television, 9, 43-49.
[12] Wallace, Timothy W., Seigerman, Alan, and Holbrook, Morris B., 1993,The Role of Actors and Actresses in the Success of Films: How Much is a Movie Star Worth? , Journal of Cultural Economics, 17 (1), 1-27.
[13] Sochay, Scott, 1994, Predicting the Performance of Motion Pictures, The Journal of Media Economics, 7 (4), 1-20.
[14] Elizabeth C. Hirschman and Andrew Pieros Jr., 1985, Relationships among indicators of success in broadway plays and motion pictures Journal of Cultural Economics Volume 9, Number 1 / 1985, june, 35-63.
[15] Levin, Aron M., Irwin P. Levin, and C. Edward Heath, 1997, Movie Stars and Authors as Brand Names: Measuring Brand Equity in Experiential Products, in Advances in Consumer Research, Vol. 24, Merrie Brucks and Debbie MacInnis, eds. Provo, UT: Association for Consumer Research, 175-181.
[16] Reddy, Srinivas K., Vanitha Swaminathan, and Carol M. Motley, 1998, Exploring the Determinants of Broadway Show Success,Journal of Marketing Research, 35 (August), P.370-383.
[17] De Vany, Arthur and David Walls, 1999, Uncertainty in the Movies: Can Star Power Reduce the Terror of the Box Office? Journal of Cultural Economics, 23 (November), 285-318.
[18] Ravid, S. Abraham, 1999, Information, Blockbusters, and Stars: A Study of the Film Industry, Journal of Business, 72 (October), 463-492.
[19] Tziner, Aharon and Dov Eden, 1985, Effects of Crew Composition on Crew Performance: Does the Whole Equal the Sum of Its Parts? Journal of Applied Psychology, 70 (February), 85-93.
[20] Groysberg, Boris, Jeffrey T. Polzer, and Hillary Anger Elfenbein, 2006, Too Many Cooks Spoil the Broth: How High Status Individuals Decrease Group Effectiveness, working paper, Harvard Business School.
[21] Bossert, J.L. (1991),“Quality Function Deployment-a Practitioner’s Approach”, ASQC Quality Press Inc., New York.
[22] King, Timothy, 2007, Does film criticism affect box office earnings? Evidence from movies released in the U.S. in 2003, Journal of Cultural Economics, 31, 171-186.
[23] Vogel A. , Noack, J. Huttmann, G., and G. Paltauf, 2007, Mechanisms of femtosecond laser nanosurgery of cells and tissues ,Journal of Physical. Conf. Seri. 59, 249–254
[24] De’Armond and Zachary,2009. The Determinants of Opening Weekend Box Office Revenue for Movis, Academy of Business and Economics, 9, 4, 193-201.
網路資料
[1]國立中央大學放映週報,http://www.funscreen.com.tw
[2] Yahoo!奇摩電影網,http://tw.movie.yahoo.com
[3]台灣電影筆記,http://movie1.cca.gov.tw
[4]因為有您 國片起飛,http://blog.roodo.com/twmovie
[5]文建會,文化創意產業推動服務網,http://www.cci.org.tw/cci/cci/index.php
[6]財團法人國家電影資料館,http://www.ctfa.org.tw
[7]Tony 獎,http://www.tonyawards.com
[8]中華民國行政院新聞局,http://info.gio.gov.tw
[9]TVBS新聞,http://www.tvbs.com.tw
|