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    Title: 原創內容作品從創意到商業化之過程
    Authors: 陳育璉
    Chen ,Yu-Lien
    Contributors: 溫肇東
    Wen ,ChaoTung
    陳育璉
    Chen ,Yu-Lien
    Keywords: 商業模式
    商業化過程
    開放式創新
    動畫
    Business Model
    Commercialization Process
    Open Innovation
    Animation
    Date: 2004
    Issue Date: 2009-09-18 09:36:26 (UTC+8)
    Abstract: 台灣動畫產業,長期以來屬於代工的角色,如今面臨產業移轉而要往自製原創動畫發展時,明顯的面臨了很大的障礙,至目前一直沒有顯著的作品發表。就算是當初在網路上紅極一時的阿貴與幹譙龍,始終無法突破網路的限制,創造出更好的獲利機制。而2004年12月終於有第一部台灣原創之電視卡通動畫-魔豆傳奇,在台視上映,這部動畫影集是由創業三年多的電視豆公司發展出來的,不禁讓自己思考電視豆到底是如何完成這部卡通影集的,到底說了怎樣的故事,才能贏得了觀眾與日本製作公司的青睞?而且與日本合作開發的過程,更是讓我感到好奇的。如果說原創是電視豆成功的秘訣,那同樣獲得數位內容國際動畫雛形獎的其他作品,為何無法創造與電視豆類似的經驗與市場價值?而且多數獲獎廠商都比電視豆握有更多的資源。這些現象是很值得深入探討的。

    綜合對商業模式與創意商業化等文獻之回顧以及對個案的了解,本研究引用Chesbrough(2002)對創意會影響商業模式之看法,分析Afuah(2003)所提出之「產業因素」、「定位」、「資源」、「活動」與「成本」等商業模式五構面,與其組成要素之變化,並結合Jolly(1997)所提出之技術商業化過程中的橋樑之概念,也就是由「動員興趣與支持」、「移轉證明所需之資源」、「動員市場構型」與「動員互補性資源」等,將商業模式之變化調整轉化成原創商業化之過程。

    經過研究個案比較比較分析,本研究發現:

    動畫原創內容從創意到商業化之過程可分為「想像」、「孵育」、「修正」與「持續」等四個次分段。

    1.原創內容商業化過程中的次分段與橋樑,會因為產業因素與定位之影響,促使各次分段有不同之發展內涵,以及不同之關鍵外部資源之進入與銜接次分段。

    2.原創內容商業化過程成功與否,除了有銜接之橋樑外,還要能有內部商業模式之配合。

    3.每一次分段的演化循環中,原創內容會驅動商業模式變化,使其能動員橋樑,並利用外來資源強化商業模式本身,且進一步可加值原創內容。

    動畫原創內容從創意到商業化之過程會受到商業模式不同構面與其組成要素之影響。

    4.影響想像次分段的關鍵成功因素為產業關鍵驅動力、提供之價值與市場區隔。

    5.影響孵育次分段的關鍵成功因素為合作力、總體產業環境、提供之價值、個人能力與動畫開發類型。

    6.影響修正次分段的關鍵成功因素為組織能力、個人能力與動畫作品和開發類型。

    7.影響持續次分段的關鍵成功因素為合作力與無形資產。

    原創內容演化之關鍵

    8.新創動畫公司可以由肖像或故事兩個角度來發展原創內容,兩者之商業模式雖有很大之差異,但商業化成功之基本條件為具有可商業化之肖像。

    9.原創內容不僅要將市場導向之設計策略融入內容與作品創造中,還必須以創意行銷增加原創內容商業化成功之潛力。

    10.在想像次分段中,會有外部創意進入讓原創內容進一步演化,或者內部創意移出發展成新的應用。在孵育與修正兩個次分段,是以業界專家之創意移入為主。進入到持續次分段時,作品續集會漸漸轉由內部創意主導,週邊商品則需要相關開發商之創意加入,針對新市場而發展。

    較適合新創動畫公司之商業模式特質

    11.要擴大獲利能力,必須突破市場之限制。跨入國際市場可以參考分區經營或者全球統合經營兩種國際合作經營模式。

    12.在執行商業模式時,較適合採取雙領導人制度。也就是有ㄧ負責管理或籌資之領導人,與另一位管理創意之領導人。另外,組織較適合小規模發展。
    For the past decades, Taiwan' s animation industry focused on playing the role of OEM. Because of that, most of animation companies face a lot of obstacles during converting their positions into the origin al animation, suah as a-Kuei & KoungGiyo Dragon which could not overcome the on-line limitation to create substanti al profit models. Until December in 2004, there was the first original cartoon from Taiwanese company, TVbean, which is an emerging company for less than 3 years. I was wondering how they could attract audiences and Japanese produing company and surpass other comp anies which have an abundance of resources in a short time.

    Due to the copious processes of developments for the animation movie and the TV cartoon, there are many key success factors which need to be discovered. Moreover, the digital technologies facilitate animation industry to become more diversified than as before. Based on this kind of industry enviroment, animation works should not be saw merely as products. In the other words, we should concern about the effects of cultures and information transmission and transfer them into e xplicit knowledge which can help Taiwanese animation companies to develop.

    In this thesis, I will describe and analyse completely the process from idea to commercialization for TVbean' s first original animation. Also, I will compare TVbean with other foreign animation companies, VOOZ & Pixar, to draw the evolution process for commercialization and the relationship between business model and c ontents.

    According to the concepts of Business Model (Afuah 2004) and Open Innovation (Chesbrough 2003), I analysed the research cases by 5 elements, which are industry factors, position, resource, activity and cost, of Business Model and tried to find out the bridges which could connect different subprocesses by the changes of Business Model. After modifying the process of technology commercialization (Jolly 1997), I specified that how innovations make original content evolve into various business during each subprocess.

    Through studying the comparative analysis of the cases, the discoveries and conclustions of this thesis are described as follows:

    The commercialization process of original animation content comprises four subprocesses called ‘Imagining’, ‘Incubating’, ‘Modifying’ and ‘Mustaining’.

    1.The subprocesses of the original content commercialization process will be influenced by industry factors and position which could push different developments of contents and attract various resources in each subprocess.

    2.If we would like to make the original content commercialization successful, we will need a suitable internal business model to cooperate with the connected bridges.

    3.During the evolution of each subprocess circulation, the original content will drive the business model change , enable it to mobilize the bridges, and utilize outside resources to strengthen business model itself. Besides, the original content could be added value by the improved business model.

    The commercialization process of original animation content will be influenced by different constitutions and elements of business model.

    4.The key successful factors of ‘Imagining’ subprocess will be influenced by the industrial key deivers, value and market segments.

    5.The key successful factors of ‘Incubating’ subprocess will be influenced by the cooperation, macro industry environment, value, individual capability and the cooperation models of animation.

    6.The key successful factors of ‘Modifying’ subprocess will be influenced by the organization ability , individual capability and the cooperation models of animation.

    7.The key successful factors of ‘Sustainng’ subprocess will be influenced by the cooperation and intangible assets.

    The key factors of original content evolutions

    8.The new star-up animation companies could develop the original content by two directions, characters and stories. Although the business models of these two directions have very great differences, the basic successful factor of commercializtion is creating the character which could be commercialized.

    9.It is very important to apply market oriented design strategies to the creating of content and works in order to enhance the potential for commercialization.

    10.Open innovation will occur In ‘imagining’, ‘incubating’ and ‘modifying’ subprocesses, but the development of the sequal to the original works will transfer to closed innovation. Moreover, peripheral products need relevant developer join for new market developments.

    The characteristics of business model which are suitable for new star-up animation companies.

    11.It need to break the restriction of the market to expand profit potential. How to get into global market could base on two types of management, separate areas business and global integrated business.

    12.While implementing the business model , it is suitable to adopt dual leader system. Because of that, one leader is responsible for managing or raising funds, and the other one is in charge of managing innovations. In addition, the development of the organization is suitable for a small scale.
    Reference: 中文文獻
    1. C.K. Prahalad 著、顧淑馨譯 (2002),《消費者王朝-與顧客共創價
    值》,天下雜誌出版
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    5. 林宏文、林衍億、今週刊 (2004),《「電視豆」改寫數位內容產
    業新模式》。
    6. 林于勝、許瓊予,資策會MIC (2003),《我國動畫產業發展沿革
    與現況分析(上下)》。
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    22. 資策會(2004),《台日韓數位內容產業發現趨勢與展望國際論壇》。
    英文文獻
    1. Afuah A. (2003), “Business Models: A Strategic Management Approach”
    2. Amit R. & Zott C. (2000), “Value Drivers of e-Commerence Business
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    3. Ahn J., “On the Circulation of Japanese Animation as Global Cultural
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    4. Chesbrough H. (2002), “Open Innovation”, Harvard Business School Press
    5. Cunningham S. (2002), “From Cultural to Creative Industries: Theory,
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    Making of Toy Story” p.41
    7. Jolly V. K.(1997) , “Commercializing New Technologies: getting from
    mind to market”
    8. Vedpuriswar A. V. (2003), “Business Models”, the quarterly journal of
    State Bank Academy, Gurgaon
    9. Introduction of KOCCA
    10. Introduction of Bucheon Cartoon City
    韓文資料
    1. 2004 문화산업백서
    網站資料
    1. Sviokla (1995), “Virtual Value Chain”
    http://www.ncollin.demon.co.uk/valuechain.html
    2. FKE 新聞稿(2004/7),”Foxkids Europe Acquires Pan-European Licensing
    Rights To PUCCA” http://www.jetixeurope.com
    3. FKE 新聞稿(2004/12),”FoxKids Europe Launchs Animated Cult Korea
    Property Pucca At Mip-TV” http://www.jetixeurope.com
    4. 林曉娟、數位文化誌(2004),《Flash 動畫 日本流行集體創作
    http://mag.udn.com/mag/dc/storypage.jsp
    5. 首爾動畫中心官方網站 http://ani.seoul.kr
    6. 駱英毅、3DUSER(2005) ,《透視日本動畫發展-專訪ANIMAGE 雜誌
    總編輯大野修一》http://mag.udn.com/mag/dc/storypage.jsp
    7. 馮達發「著作權原創性要件之檢討」
    http://www.taiwanlaw.com/f.php?no=133&id=5
    8. 傻呼嚕同盟、數位文化誌(2005),《貧乏中的豐富 貧乏動畫五十年》,
    http://mag.udn.com/mag/dc/storypage.jsp
    9. 韓國動畫製作協會 官方網站英文簡介 http://www.koreaanimation.or.kr
    10. 韓流地帶 動畫界狀況 http://hanliu.hanguo.nat.cn
    11. 韓國文化振興院官方網站 http://koreacontent.org
    Description: 碩士
    國立政治大學
    科技管理研究所
    92359009
    93
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0923590091
    Data Type: thesis
    Appears in Collections:[科技管理研究所] 學位論文

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