課程資訊
課程名稱
文創管理理論與實務
Cultural and Creative Industries : Theories and Practices 
開課學期
108-1 
授課對象
管理學院  管理學院企業管理碩士專班(GMBA)  
授課教師
陳峙維 
課號
GMBA7088 
課程識別碼
749EM1100 
班次
 
學分
3.0 
全/半年
半年 
必/選修
選修 
上課時間
星期三2,3,4(9:10~12:10) 
上課地點
管二302 
備註
本課程以英語授課。
限GMBA班學位生
總人數上限:50人 
Ceiba 課程網頁
http://ceiba.ntu.edu.tw/1081CCI 
課程簡介影片
 
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課程概述

Defined as a sector of subsectors encompassing industries that exploited creative talent through various types of intellectual property, the term Cultural & Creative Industries (CCIs) was coined in the 1990s, with a view to redefining the economic value of arts and culture. The concept of ‘creative industries’ has grown and gained more importance in the fields of economics, politics and academia ever since.

In this course we are to approach CCIs from a variety of perspectives first by enabling students to contextualise the activities of creative industries within wider cultural and commercial frameworks, and then by exploring major issues addressed and strategies employed in the industries. The course is delivered through a combination of lectures and seminars. While in the former key issues, concepts and theories will be identified, in the latter students will discuss ideas and engage in debates arising from the lectures, the required readings and practical cases.

There are three main units:

Unit 1: Culture policy and the development of the CCIs
This unit explores why the CCIs have grown by looking into shifts in modes of consumption, leisure and time use, together with the shift in developed economies away from industrial production to service industries.

Unit 2: Work and organisation in the CCIs
This unit looks at the characteristics and varieties of organisation and management of cultural production, as well as the nature of work within the CCIs. It examines the process of entrepreneurship, in which culture and the market meet, and who is involved and why it is important in the context of the CCIs.

Unit 3: Convergence, production and consumption
This unit examines changes in the organisation of cultural production, and further considers the relationship between technology and organisations. It then looks at the shifting interrelationships between the production and consumption in the digital era, and models of audience segmentation. 

課程目標
This course aims to equip students with both theoretical and practical understandings of CCIs and the development of a cultural economy to create their own creative initiatives in the future. 
課程要求
Students are required to attend the lecture regularly, read the assigned reading materials and actively participate in the in-class discussion. 
預期每週課後學習時數
 
Office Hours
另約時間 
指定閱讀
Key readings:
Bilton, Chris, Management and Creativity: From Creative Industries to Creative Management (Oxford: Blackwell, 2007).

Recommended further readings:
Week 1
Galloway, Susan and Stewart Dunlop, ‘A critique of definitions of the cultural and creative industries in public policy’, International Journal of Cultural Policy, 13:1 (2007), pp. 17-31.

Week 2
Creative Industries Mapping Documents 1998 (Department for Culture, Media & Sport, UK, 1998)
Creative Industries Mapping Documents 2001 (Department for Culture, Media & Sport, UK, 2001)
Working Group of EU Member States Experts on Cultural and Creative Industries, European Agenda for Culture: Work Plan for Culture, 2011-2014, Policy Book (European Union Open Method of Coordination, 2012)

Week 4
Göran Roos, Stephen Pike and Lisa Fernstrom, ‘Putting intellectual capital resources to value-creating use’, in Managing Intellectual Capital in Practice (Oxford: Butterworth-Heinemann, 2006), pp.141-149.
Maria Aggestam, 'Art-entrepreneurship in the Scandinavian music industry', in Colette Henry (ed.), Entrepreneurship in the Creative Industries: An International Perspective (Cheltenham: 2007), pp.30-53.
Stabell, Charles B. and Øystein D. Fjeldstad, ‘Configuring value for competitive advantages: On chains, shops, and networks’, Strategic Management Journal, 19 (1998), pp. 413-437.
Xavier Greffe, ‘Creative enterprises: choosing a development strategy’, in Managing Creative Enterprises (Geneva: WIPO, 2006), pp.26-39.

Week 5
de Bono, Edward, ‘Exploring patterns of thought: Serious creativity’, Journal for Quality and Participation, 18:5 (1995), pp. 12-18.

Week 6
Blaire, Helen and Al Rainnie, ‘Flexible films?’, Media, Culture and Society, 22 (2000), pp. 187-204.

Week 8
Barrett, Frank J., ‘Creativity and Improvisation in Jazz and Organizations: Implications for organizational learning’, Organization Science, 9:5 (1998), pp. 605-622.
Mintzberg, Henry and Alexandra McHugh, ‘Strategy Formation in an Adhocracy’, Administrative Science Quarterly, 30 (1985), pp. 160-197.

Week 11
Greiner, E. Greiner, ‘Evolution and revolution as organizations grow’, Harvard Business Review, 50:4 (1972), pp. 37-46.
Sykes, Nigel, ‘Envisioning, enabling and enacting: Metamorphosing the enterprise’, Warwick Business School's Small and Medium Sized Enterprise Centre Working Papers No.71.

Week 12
Currah, Andrew, ‘Managing creativity: the tensions between commodities and gifts in a digital networked environment’, Economy and Society, 36:3 (2007), pp. 467-494.
Kim, Minjeong, ‘The creative commons and copyright protection in the digital era: Uses of creative commons licenses’, Journal of Computer-Mediated Communication, 13 (2008), pp. 187-209.
World Intellectual Property Organisation, ‘Basic legal notions’, in Guide on Surveying the Economic Contribution of the Copyright-based Industries (Geneva: WIPO, 2003), pp. 13-25.

Week 14
Cova, Bernard, ‘The postmodern explained to managers: Implications for marketing’, Business Horizons, 39:6 (1996), pp. 15-23.
Boorsma, Miranda, ‘A strategic logic for arts marketing: Integrating customer value and artistic objectives’, International Journal of Cultural Policy, 12:1 (2006), 74-92.

Week 15
Mommaas, Hans, ‘Spaces of Culture and Economy: Mapping the Cultural-Creative Cluster Landscape’, in L. Kong and J. O’Connor (eds), Creative Economies, Creative Cities: Asian-European Perspectives (Berlin: Springer, 2008), pp. 45-59. 
參考書目
 
評量方式
(僅供參考)
 
No.
項目
百分比
說明
1. 
Group project 
60% 
Students are expected to form 10 groups (depending on the intake of students). Each group is required to write a formal business plan. A 10-min proposal presentation (10%) is to be delivered in Week 10, and a 20-min final presentation (20%) in Weeks 16 and 17. The whole written plan (30%) in English is to be submitted online to the course website by the end of Week 18.  
2. 
Individual writing assignment 
20% 
One essay of 1,000 words on the unique characteristics of CCIs as opposed to other industry sectors, due in Week 12.  
3. 
Participation and attendance 
20% 
 
 
課程進度
週次
日期
單元主題
Week 01
09/11  Defining cultural and creative industries 
Week 02
09/18  How did it start? The case of EU 
Week 03
09/25  The case of Taiwan 
Week 04
10/02  Entrepreneurial dimension of the CCIs 
Week 05
10/09  Creative teams and innovation 
Week 06
10/16  Creative system and self-motivated creative worker 
Week 07
10/23  Strategy, leadership and adhocracy 
Week 08
10/30  A Pianist’s View on Artistic Creativity and Teamwork (Dr. Kaiyin Huang, guest speaker) 
Week 09
11/06  Group project proposal presentations 
Week 10
11/13  Business development and organisational change 
Week 11
11/20  Creativity management in the digital era 
Week 12
11/27  Messages of Innovation and Creativity (Eric Hsi-Ping Chuang, guest speaker) 
Week 13
12/04  From creative marketing to creative consumption 
Week 14
12/11  Mapping the cultural-creative cluster landscape 
Week 15
12/18  Group presentations 
Week 16
12/25  Group presentations