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題名 韓國娛樂經紀公司創新商業模式與其價值創造形式-S.M. Entertainment 個案探討
Innovative Business Models and Modes of Value Creation of Korean Entertainment Agencies- A Case Study of S.M. Entertainment作者 洪婕 貢獻者 管康彥
洪婕關鍵詞 S.M. Entertainment
商業模式
價值創造形式
S.M. Entertainment
business model
mode of value creation日期 2016 上傳時間 22-Aug-2016 10:41:05 (UTC+8) 摘要 韓國流行音樂產業的崛起,娛樂經紀公司扮演關鍵的角色。本研究欲探究韓國龍頭娛樂經紀公司S.M. Entertainment商業模式的運作全貌,歸納、推論出其得以創造並維持競爭優勢的原理原則。因此從「商業模式各組成構面有哪些重要的價值創造活動?」以及「商業模式採用的價值創造形式與邏輯為何?」兩個研究問題著手,以Osterwalder與Pigneur(2010)提出的「Business Model Canvas」,以及Stabell與Fjeldstad(1998)和Möller與Rajala(2007)提出的價值創造形式分類作為個案分析的理論架構。 研究結果發現,S.M. Entertainment以「一源多用」的價值創造邏輯貫穿整體商業模式。商業模式中一系列策略性選擇的因果關聯,都可以用「一源多用」來說明。由於其商業模式獨特的價值主張,以及融合價值鏈、價值群、網絡型態多種價值創造形式形成的專屬價值活動配置,得以創造競爭優勢。並且進一步藉由取捨維持策略一致性;著重整體價值活動的配適性,使每項價值活動彼此互相提高效益;以及在實行策略時保持長期持續性,使其商業模式難以被競爭者複製,而得以擴大競爭優勢並延長優勢延續時間。將S.M.作為學習標竿的組織,可以從本研究結論了解到,一味模仿複製S.M.商業模式中的部分價值活動,不僅達不到預期效果,還可能造成經濟損失。透過歸納推論S.M.商業模式設計得以創造並維持競爭優勢的原理原則,以及商業模式內涵中展現的大膽突破、策略選擇方針、持續地創新與資源投入等精神,讓學習者能考量自身條件和所處環境,發展出具有競爭優勢之商業模式。 而S.M.對價值創造的關鍵資源與能耐進行系統化管理、積極因應媒體匯流挑戰,以及持續創新商業模式等企業營運作法,則對於包含流行音樂產業在內的文化創意產業,在創造並維持競爭優勢,以及健全地規模化發展,提供值得參考借鏡的管理意涵。 參考文獻 中文文獻1. 尤傳莉(譯)(2012)。獲利世代(原作者:A. Osterwalder & Y. Pigneur)。台北市:早安財經文化。(原著出版年:2010)2. 朴允善(2012)。韓國音樂產業全球化策略研究-以「S.M. Entertainment」為例,政治大學,傳播學院碩士在職專班,台北。3. 朴允善、張寶芳、吳靜吉(2014)。韓國流行音樂全球化之旅-「SM娛樂的創新實踐」。台北市:遠流4. 李雅筑(2012)。韓國流行音樂的視覺文化-以「少女時代」MV的看/用經驗為例,台灣大學,新聞研究所,台北。5. 梅衍儂(2013)。初探韓流下的偶像神話敘事-以Super Junior與E.L.F.的想像關係與情感認同為例,政治大學,新聞研究所,台北。6. 鍾憲瑞(2012)。商業模式創新與管理。新北市:前程文化。英文文獻1. Achrol, R. S., & Kotler, P. (1999). Marketing in the network economy. Journal of Marketing, 63(4), 146−163.2. Allee, V. (2002). The future of knowledge: Increasing prosperity through value networks. Boston, MA: Butterworth-Heinemann.3. Amit, R. and Zott, C. (2001). Value creation in e-business. Strategic Management Journal, 22, 493–520.4. Björkdahl, J. (2009). Technology cross-fertilization and the business model: the case of integrating ICTs in mechanical engineering products. Research Policy, 38, 1468–1477.5. Brandenburger, A. M. and Stuart, H. (1996). Value-added business strategy. Journal of Economics and Management Strategy, 5(1), 5-25.6. Cartwright, S. D., & Oliver, R.W. (2000). Untangling the value web. 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(2002). Leading the revolution. MA: Harvard Business School Press.22. Hansen, M. T. and Birkinshaw, J. (2007). The innovation value chain. Harvard Business Review, 85, 121–30.23. Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.24. Jenkins, H., Ford, S., & Green, J. (2013). Spreadable Media: Creating Value and Meeting in a Networked Culture. New York: New York University Press25. Johnson, M. W. (2010). Seizing the white space: Business model innovation for growth and renewa. Boston Mass: Harvard Business Press26. Johnson, M. W., Christensen, C. M. and Kagermann, H. (2008). Reinventing your business model. Harvard Business Review, 86, 50–59.27. Konczal, E. F. (1975). Models are for managers, not mathematicians. Journal of Systems Management, 26(1):12.28. Magretta, J. (2002). What management is: How it works, and why it’s everyone’s business. New York, NY: Free Press.29. Magretta, J. (2002). Why business model matter. Harvard Business Review, 80(5), 86-92.30. Möller, K. K. and Rajala, A. (2007). Rise of strategic nets – New modes od value creation. Industrial Marketing Management, 36, 895-908.31. Morris, M., Schindehutte, M., & Allen, J. (2005). The entrepreneur’s business model: Toward a unified perspective. Journal of Business Research, 58, 726-735.32. Osterwalder, A., Pigneur, Y., and Tucci, C. L. (2005). Clarifying business models: Origins, present, and future of the concept. Communication of the Associations for Information System, 16, 1-25.33. Porter, M. E. (1985), Competitive advantage: Creating and sustaining superior performance. New York: Free Press.34. Rappa, M. A. (2004). The utility business model and the future of computing services. IBM System Journal, 43(1), 32-42.35. Schramm, W. (1971). Notes on case studies for instructional media projects (Working paper for Academy of Educational Development, Stanford Institute of Communication Research, CA). Retrieved from http://eric.ed.gov/?id=ED09214536. Shafer, S., Smith H., and Linder, J. (2005). The power of business models. Business Horizons, 48(3), 199-207.37. Sharma, A., Krishnam, R., and Grewal, D. (2001).Value creation in market: A critical area of focus for business-to-business markets. Industrial Marketing Management, 30(4), 391-402.38. Spekman, R. E., Isabella, L. A., & MacAvoy, T. C. (2000). Alliance competence: Maximizing the value of your partnerships. New York: John Wiley & Sons.39. Stabell, C. B. and Fjeldstad, O. D. (1998). Configuring value for competitive advantage: on chains, shops, and networks. Strategic Management Journal, 19, 413-437.40. Stake, R. E. (1995). The art of case study research. CA: Sage.41. Teece, D. J. (2010). Business models, business strategy and innovation. Long Range Planning, 43, 172-194.42. Thompson, J. D. (1967). Organizations in Action. New York: McGraw-Hill.43. Timmers, P. (1998). Business models for electronic markets. Electronic Markets, 8(2), 3-8.44. Yin, Robert K. (1994). Case study research: Design and methods (2nd ed). CA: Sage45. Zott, C. and Amit, R. (2007). Business model design and the performance of entrepreneurial firms. Organization Science, 18, 181–99.46. Zott, C., Amit, R., and Massa, L., (2011). The Business Model:Recent Developments and Future Research. Journal of Management, 37(4), p.102447. Zott, C. and Amit, R. (2013). The business model: A theoretically anchored robust construct for strategic analysis. Strategic Organization, 11(4), 403-411.韓文文獻1. 每日經濟韓流本色專案小組(2012),韓流本色。首爾:每日經濟新聞社。(原文:매일경제 한류본색 프로젝팀(2012),한류본색,매일경제 신문사)2. 韓國內容振興院(2013),KOCCA Statistics Briefing3. Jeong, T. (2010),偶像團體主導的新韓流時代,《三星經濟研究所SERI經營Note》,第76期。(原文:정태수[2010],아이돌그룹이 이끄는 신한류시대. 삼성경제연구소 SERI경영노트,Vol.76)4. Kim, S.(2007),韓流明星培育過程的個案研究:以S.M. Entertainment 為例,仁川大學碩士論文。(原文:김수정[2007],한류스타가 만들어지는 과정에대한사례연구:SM엔터테인먼트를 중심으로. 인천대학교석사학위논문)5. Kim, Y.(2010),韓流:K-POP進軍海外市場與IT匯流的重要性,文化與產業的相遇研討會。(原文:김영민[2010], 한류:K-POP의 해외진출과 IT융합의 중요성.문화 와 산업의 만남 심포지엄)6. S.M. Entertainment 2012、2013、2014及2015年第一季報告書 (原文:S.M.엔터테인먼트 분기보고서)7. Soe, M., Lee, D., Hong, S. & Jeong, T.(2012),K-POP成功因素與企業的活用戰略,《三星經濟研究所CEO Information》,Vol. 841。(原文:서민수,이동훈,홓선영,정태수,K팝의성공요인과기업의활용전략. 삼성경제연구소CEO Information, Vol. 841, 2012.02.15)網路資料1. 財團法人台灣唱片出版事業基金會,台灣唱片業近年來的發展,檢自:http://www.ifpi.org.tw/2. 文化部影視及流行音樂產業局,102年流行音樂產業調查報告,檢自:https://www.bamid.gov.tw/files/15-1000-2185,c226-1.php3. 中央日報,[K-POP 인베이전] 유튜브 한국 동영상 229국서 8억 회 조회,2011.01.16,檢自:http://news.joins.com/article/49327594. 中央日報,K-POP 유튜브 동영상 작년 235개국 23억 번 조회, 2012.01.02,檢自:http://news.joins.com/article/70348315. 中央日報,이노패스트2011 ⑤ SM엔터테인먼트, 2011.02.20,檢自:http://article.joins.com/news/article/article.asp?total_id=5082511&cloc=olink%EF%BD%9Carticle%EF%BD%9Cdefault6. 中央日報,[사람 속으로]K-POP 작곡가, 스윗튠•신사동호랭이•용감한 형제,2012.05.19,檢自:http://news.joins.com/article/82269027. 亞洲經濟,[INTERVIEW] Record producer Yoo Young-jin,上網日期2010.06.11,檢自:http://www.asiae.co.kr/news/view.htm?idxno=20100611093102680658. 東亞日報,SM타운 라이브 월드 투어 in LA…한류는 뜨거웠다] 김영민 SM 엔터 대표 “SM 브랜드 알리는 일…월드투어 지속적으로 추진”,2010.09.06,檢自:http://sports.donga.com/3/all/20100905/30986544/39. 首爾新聞,김영민 SM엔터테인먼트 대표가 말하는 ‘K팝과 한류의 미래’,2012.04.03,檢自:http://www.seoul.co.kr/news/newsView.php?id=2012040300900710. 朝鮮日報,이제는 유럽 韓流… 10년전부터 오늘을 준비해왔다,2011.06.07,檢自: http://news.chosun.com/site/data/html_dir/2011/06/07/2011060700125.html11. 朝鮮日報,이수만 SM엔터테인먼트 회장 문화산업 비법은?… 소녀시대 `노예계약` 논란에 입열어,2011.10.15,檢自: http://biz.chosun.com/site/data/html_dir/2011/10/14/2011101401275.html12. 聯合新聞,인스타그램서 부는 한류열풍…가장 사랑받는 스타는,2015.06.11,檢自:http://www.yonhapnews.co.kr/bulletin/2015/06/10/0200000000AKR20150610181500017.HTML13. 韓國日報,한국엔터산업빅3,이수만ㆍ양현석ㆍ나영석,2015.06.12,檢自:http://www.hankookilbo.com/v/7189d04fdc8b4091a801d08a392864b614. Herald經濟,전세계 매년 30만명 오디션…스타육성 투자비용 年 50억-SM의 캐스팅•트레이닝 시스템은,2012.07.06,檢自:http://news.heraldcorp.com/view.php?ud=20120706000245&md=20120708003102_D15. SPIN(2012.03.26), Seoul Trained: Inside Korea’s Pop Factory, Retrieved from http://www.spin.com/2012/03/seoul-trained-inside-koreas-pop-factory/影音資料1. Close-up現代(2010.11.16)。潛入!K-POP idol育成的秘密。東京:NHK。取自:https://youtu.be/08PsVNoNsRA2. SBS Special(2014.02.16)。下定決心一萬小時。首爾:SBS。取自:https://youtu.be/E2cFWDL4Qlwhttps://youtu.be/wU74_tDkPBU(原文:SBS스페셜[2014.02.16],작심1만시간)3. 李秀滿(監製)、裴聖尚(導演)(2015)。SMTOWN THE STAGE【電影DVD】。 首爾:S.M. C&C 描述 碩士
國立政治大學
企業管理學系
101355025資料來源 http://thesis.lib.nccu.edu.tw/record/#G0101355025 資料類型 thesis dc.contributor.advisor 管康彥 zh_TW dc.contributor.author (Authors) 洪婕 zh_TW dc.creator (作者) 洪婕 zh_TW dc.date (日期) 2016 en_US dc.date.accessioned 22-Aug-2016 10:41:05 (UTC+8) - dc.date.available 22-Aug-2016 10:41:05 (UTC+8) - dc.date.issued (上傳時間) 22-Aug-2016 10:41:05 (UTC+8) - dc.identifier (Other Identifiers) G0101355025 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/100446 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 企業管理學系 zh_TW dc.description (描述) 101355025 zh_TW dc.description.abstract (摘要) 韓國流行音樂產業的崛起,娛樂經紀公司扮演關鍵的角色。本研究欲探究韓國龍頭娛樂經紀公司S.M. Entertainment商業模式的運作全貌,歸納、推論出其得以創造並維持競爭優勢的原理原則。因此從「商業模式各組成構面有哪些重要的價值創造活動?」以及「商業模式採用的價值創造形式與邏輯為何?」兩個研究問題著手,以Osterwalder與Pigneur(2010)提出的「Business Model Canvas」,以及Stabell與Fjeldstad(1998)和Möller與Rajala(2007)提出的價值創造形式分類作為個案分析的理論架構。 研究結果發現,S.M. Entertainment以「一源多用」的價值創造邏輯貫穿整體商業模式。商業模式中一系列策略性選擇的因果關聯,都可以用「一源多用」來說明。由於其商業模式獨特的價值主張,以及融合價值鏈、價值群、網絡型態多種價值創造形式形成的專屬價值活動配置,得以創造競爭優勢。並且進一步藉由取捨維持策略一致性;著重整體價值活動的配適性,使每項價值活動彼此互相提高效益;以及在實行策略時保持長期持續性,使其商業模式難以被競爭者複製,而得以擴大競爭優勢並延長優勢延續時間。將S.M.作為學習標竿的組織,可以從本研究結論了解到,一味模仿複製S.M.商業模式中的部分價值活動,不僅達不到預期效果,還可能造成經濟損失。透過歸納推論S.M.商業模式設計得以創造並維持競爭優勢的原理原則,以及商業模式內涵中展現的大膽突破、策略選擇方針、持續地創新與資源投入等精神,讓學習者能考量自身條件和所處環境,發展出具有競爭優勢之商業模式。 而S.M.對價值創造的關鍵資源與能耐進行系統化管理、積極因應媒體匯流挑戰,以及持續創新商業模式等企業營運作法,則對於包含流行音樂產業在內的文化創意產業,在創造並維持競爭優勢,以及健全地規模化發展,提供值得參考借鏡的管理意涵。 zh_TW dc.description.tableofcontents 第一章 緒論 1第一節 研究背景與動機 1第二節 研究目的 5第三節 研究方法 7第四節 研究流程與架構 9第二章 文獻探討 11第一節 商業模式 11第二節 價值創造形式 25第三章 個案背景 39第一節 韓國音樂產業概述 39第二節 個案公司經營概況 44第四章 個案探討 51第一節 價值主張 51第二節 關鍵資源 53第三節 關鍵活動 62第四節 通路 79第五節 顧客關係 91第六節 目標客層 98第七節 關鍵合作夥伴 102第八節 成本結構 110第九節 收益流 113第十節 價值創造形式 116第五章 結論與建議 120第一節 研究結論 120第二節 管理意涵 125第三節 研究限制 130第四節 後續研究建議 131參考文獻 132 zh_TW dc.format.extent 2471290 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0101355025 en_US dc.subject (關鍵詞) S.M. Entertainment zh_TW dc.subject (關鍵詞) 商業模式 zh_TW dc.subject (關鍵詞) 價值創造形式 zh_TW dc.subject (關鍵詞) S.M. Entertainment en_US dc.subject (關鍵詞) business model en_US dc.subject (關鍵詞) mode of value creation en_US dc.title (題名) 韓國娛樂經紀公司創新商業模式與其價值創造形式-S.M. Entertainment 個案探討 zh_TW dc.title (題名) Innovative Business Models and Modes of Value Creation of Korean Entertainment Agencies- A Case Study of S.M. Entertainment en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 中文文獻1. 尤傳莉(譯)(2012)。獲利世代(原作者:A. Osterwalder & Y. Pigneur)。台北市:早安財經文化。(原著出版年:2010)2. 朴允善(2012)。韓國音樂產業全球化策略研究-以「S.M. Entertainment」為例,政治大學,傳播學院碩士在職專班,台北。3. 朴允善、張寶芳、吳靜吉(2014)。韓國流行音樂全球化之旅-「SM娛樂的創新實踐」。台北市:遠流4. 李雅筑(2012)。韓國流行音樂的視覺文化-以「少女時代」MV的看/用經驗為例,台灣大學,新聞研究所,台北。5. 梅衍儂(2013)。初探韓流下的偶像神話敘事-以Super Junior與E.L.F.的想像關係與情感認同為例,政治大學,新聞研究所,台北。6. 鍾憲瑞(2012)。商業模式創新與管理。新北市:前程文化。英文文獻1. Achrol, R. S., & Kotler, P. (1999). Marketing in the network economy. Journal of Marketing, 63(4), 146−163.2. Allee, V. (2002). 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