1. NCCU Academic Hub
  2. Publications
  3. College of Commerce
  4. Theses
  5. Item

Publications-Theses

Article View/Open

Publication Export

Google ScholarTM

NCCU Library

Citation Infomation

Related Publications in TAIR

題名 藝術授權產業之營銷策略研究
作者 盧恩慈
Lu,Jacqueline
貢獻者 劉江彬
Lui, Paul
盧恩慈
Lu,Jacqueline
關鍵詞 藝術授權
授權產業
著作權
策略
行銷
art licensing
licensing
copyright
strategy
marketing
日期 2005
上傳時間 18-Sep-2009 09:34:02 (UTC+8)
摘要 摘　　　　要

論文題目： 藝術授權產業之營銷策略研究
校系所別： 國立政治大學科技管理研究所
指導老師： 劉江彬教授（國立政治大學科技管理研究所教授、政大智慧財產研究所所長）
研究生： 盧恩慈
關鍵詞： 藝術授權、授權產業、著作權、策略、行銷

摘要內容：
　　二十一世紀先進國家的人民，在累積足夠財富後，生活水準也隨之升高，對於『美』的需求與日俱增，追求『美』不僅是表面虛榮，更為內在的滿足。
　　反映在商場上，買者對各式商品美感層次之要求標準大為提昇，加上智慧財產權保護觀念日趨成熟、國際智財法律亦漸完備，以及國際商業授權活動的蓬勃發展，均為藝術授權產業創造有利的環境。
根據本研究資料顯示，近年來西方國家藝術授權產業產值持續成長，幅度超過其他各類授權，此趨勢值得關注。藝術授權在西方行之有年，尤其是美國的藝術授權產業，已有二十多年發展歷史，許多案例創造單一企業年營業額上億美元之規模，也發展出一些成功的經營策略與模式。據此，本研究蒐集美國藝術授權最佳授權業者經營資料，探討其營運與行銷模式，分析其成功關鍵因素，並訪談國內藝術授權業者之經營狀況，提出此產業之營銷策略建議。
　　根據研究問題，本研究之主要發現如下（節錄）：
一、藝術授權產業最直接的定義為：「從事開發、複製、經營、行銷藝術品之著作權（版權）的產業。」其最基本價值活動為著作權之交易。藝術授權產業的本質是藝術作品之智慧財產及其週邊相關服務的經營；它是『授權產業（包括品牌授權、運動授權等）』的類別之一，且與西方所謂『版權產業（泛指所有從事與智慧財產權利移轉、授與活動之事業）』範疇部份重疊。同時，藝術授權市場亦與藝術產業及數位內容產業重疊（參圖6-1.1）。
二、根據本論文第四章Thomas Kinkade Company個案之分析，其重要的營銷策略思考表現在『創意、品牌、生產、通路』四個層面上。
三、根據本研究結果，美國藝術授權產業之成功的關鍵環境因素與營銷策略包括下列數項：
1. 總體文化環境與經濟條件的支持，包括國家立法完善與執法嚴謹、人民生活水準與藝術鑑賞的配合、以及完整的產業上、下游價值鏈；
2. 創意端與目標市場文化背景相合；
3. 授權商品必須保有藝術的本質與價值；即加強複製藝術的品質，千萬不可以粗糙的、廉價的材料複製高價藝術。精緻的商品，才是藝術授權的活路；
4. 清楚一致的品牌定位與層次分明的通路策略。
四、在藝術品與藝術授權商品的關係上，除了利用高價知名藝術品牌提昇授權商品價值，對藝術複製品與衍生商品的品質與產量嚴格控制，加上積極的行銷活動運作，亦可塑造出一個高價值的藝術品牌，回頭帶動藝術品與藝術家的價值與知名度。
五、台灣藝術授權產業價值鏈尚未成形，整體授權產業概念與運作方式也不被企業所熟悉，必須加強對國外成功案例與產業環境的觀察與學習。目前台灣已有部分藝術授權代理商進軍國際，數位內容業者對藝術授權範疇也躍躍欲試，也開始與西方重要藝術授權代理商、或國際品牌合作開發授權商品。現階段在國際授權、禮品或相關商展中，雖尚能代表華人地區在扮演東方藝術授權供應方，但日本、香港、韓國、中國的急起直追，勢必擠壓台灣在國際藝術授權市場上的空間，日、韓廠商挾以過去在品牌與卡通授權的成功模式，是不可輕忽的潛在競爭者。台灣未來必須在行銷活動與複製藝術品質方面更上層樓，才能在此產業取得優勢。
六、目前台灣藝術授權產業最大的問題該是對建構品牌與行銷活動的生疏，以及對市場的茫然。這個弱點讓企業在經營上成為無頭蒼蠅，一味向更多國際廠商爭取合作，但最後仍淪為大廠品牌之下的美麗圖騰之一，或有如藝術圖庫般的價值，業者必須戒慎小心。本研究並歸納一些營銷建議在第六章第六項研究問題探討中。
　　根據研究結論，西方藝術授權產業目前與國內做法最大的不同在於『品質』與『品牌』；國外成功的授權商多半擁有強大的藝術品牌，強大的藝術品牌來自高品質的複製藝術商品，不論是否透過授權，不論商品種類，最重要的是要具備藝術該有的質感，才能建立令人心生喜悅並認同的藝術品牌。
目前對於新進業者尚無絕對有效的營運模式策略建議，但本研究認為至少必須抓到藝術之所以被認可為藝術的關鍵，要有原創性、商品品質要能與藝術本身匹配、要了解目標市場文化，並積極投資品牌行銷工作。
而歸納本研究最重要結論為，藝術授權產業的營銷策略即「以創造藝術的態度『複製』藝術。」以藝術之名為商，仍要忠於藝術本質才能成功。
Abstract

Title: The Business and Marketing Strategies of the Art Licensing Industry
School: Graduate Institute of Technology and Innovation Management, National Chengchi University
Advisor: Paul Lui
Author: Jacqueline Lu
Key Words: Art Licensing, Licensing, Copyright, Strategy, Marketing
　　
　　In the 21st century, people of the developed countries accumulated a significant fortune and started to think about raising their quality of life. Their requirement of “beauty” in various kinds of markets went up rapidly. Purchasing “beauty” is not only for the shallow vanity, but also for the real inner satisfaction.
　　In the business world, purchasers tend to ask for increasingly pleasant looking and higher quality products of all kinds. In this environment, the idea of intellectual property rights protection is taking shape, the related laws are evolving, and the international licensing activities are flourishing. All of the above create a gainful environment for the art licensing industry.
According to this research, the sales of the art licensing industry in the western countries have been continuously growing, and developing faster than other licensing businesses such as cartoon character licensing.
　　Western countries have done this business of art licensing for years, especially the United States with over 20 years history. There are numerous businesses with successful business models and strategies with revenue exceeding $100 million. This paper focuses on the most successful art licensor, Thomas Kinkade Company, and presents information collected about its business strategies and marketing approaches, and analyzes its key success factors. In addition, this research presents the stories of Taiwan’s main art licensing company, artkey Co., and one domestic artist, Mr.Shi, as an independent licensor to sum up some business strategies of this industry.
　　The important findings of this research are as follows (extraction):
1. The simplest definition of “art licensing industry” is “the industry working on developing, copying, managing, and marketing the copyright of art works.”
　　The nature of art licensing is the business related to the intellectual property rights of fine art and the peripheral services. It is one of the main categories in the licensing industry, which belongs to the cultural creative industry. In addition, the art licensing industry also partially overlaps the copyright industry, the art industry and the digital content industry. (see chart 6-1.1)
2. Base on the analysis of Thomas Kinkade Company in Chapter 4, the most critical business and marketing strategy is shown in 4 different aspects,” creativity, brand, production, and channel.”
3. According to this study, the key success factors and the preferred business and marketing strategies of the art licensing business in the United States include:
(1) The support from the overall culture status and the economic condition such as the more consummate laws and regulations with stricter law enforcement; the higher life standard and the better appreciation of art; the more complete industrial value chain availability.
(2) The cultural background of the creative departments and the target markets are compatible.
(3) The art licensing products must keep the nature and the sense of value of original art works. In other words, the companies should enhance the quality of the duplication of art; they should not copy a real art with rough, cheap and low quality material. Only “fine products” can represent “fine art” and make big sales.
(4) Art licensing also needs a constant and clear brand position with distinct strategy of the channel layers.
　　4. By observing the relationship between art works and art licensing products, companies can take advantages of the expensive famous artists or art works upgrade the value of the licensing products. Severely controlling the quality and productivity of the art duplications or licensed goods plus founding an active marketing program can also establish a high value art brand that benefits the original art works or artists.
5. In Taiwan, the complete upstream and downstream value chain of art licensing business is still forming. The whole idea of licensing industry is not clear for most of the domestic firms. Taiwanese entrepreneurs have to observe the international licensing world more and learn about the successful strategies people use in this industry overseas.
　　Currently, there are some art licensing agents in Taiwan starting to conduct their business abroad. They are making contact with some crucial art licensing agents or globally well-known brand to open up new art licensing product lines. More and more digital content suppliers are also interested in this pie.
　　So far Taiwanese companies can still play the main role of being the art licensing suppliers of oriental art in most of the international licensing shows and gift trade shows. But in no time, Japan, Hong Kong, Korea, and China will catch up and squeeze the international market share from Taiwan. Especially with their successful brand and character licensing experience, the Japanese and Korean companies are certainly Taiwan’s greatest competitors. To keep their superiority in the future, Taiwanese art licensors must upgrade their marketing strength and the quality control.
6. Presently, Taiwanese licensors’ biggest problems are not having the expertise to build a brand and being unfamiliar to the market. Fighting for more opportunities to work with super brands makes their art become nothing but a pretty pattern of other brands. This study generalizes some art licensing business and marketing advice in chapter 6 question number 6.
　　As to the conclusion of this study, the most obvious difference between Taiwanese art licensors and western companies is how they manage the quality and their brands. In developed countries, art licensors usually own very powerful art brands. Powerful art brands are mostly created from perfect quality of copying products or art duplications. No matter licensing the art or not, this business should provide the quality of products as good as fine art. Only this can create a real art brand people would like to enjoy.
　　Although this paper does not present an absolute business model, this research does offer some basic success factors for art licensors. “Art” and “beauty” are the keys to this industry. Some things all the art licensors should know and practice are to be original, develop compatible products, learn the culture of the market and invest the money in marketing.
　　To sum up, the most important conclusion of this study for the business and marketing strategies in the art licensing industry is to “copy” the art with the attitude of “creating” the art. Stick to the nature of art, and your art licensing products could possibly win the battle.
參考文獻 論文參考資料
壹、中文文獻
一、書籍
1. 大前研一著，黃宏義譯，1989，「策略家的智慧」，長河
2. 尹萍譯，John Naisbitt著， 2000，「高科技．高思維」，台北市：時報文化。
3. 司徒達賢，1995，「策略管理」，台北：遠流
4. 司徒達賢，2005，「管理學的新世界」，天下文化
5. 司徒達賢譯，Glueck , William F.著，1984，「企業政策與策略規劃」，東華書局
6. 邱志聖，2001，「策略行銷分析：架構與實務應用」，智勝文化
7. 吳思華，2000，「策略九說：策略思考的本質」，臉譜
8. 周旭華譯，Porter, Michael E.著， 1998，「競爭策略」，天下文化
9. 尚榮安譯，Yin R.K.著， 2001，「個案研究」，弘智文化
10. 林潔盈譯，Elizabeth Hill, Catherine O’Sullivan, Terry O’sullivan 著， 2004，「如何開發藝術市場」，五觀藝術管理
11. 許士軍，1989，「管理學」，東華
12. 湯明哲，2003，「策略精論」，天下遠見
13. 馮震宇主編，1999，「實用科技智材法全書」，展智文化
14. 陳羚芝譯，Smith Constance著，2004，「藝術家這一行 如何以藝術為職業的自修手冊」，五觀藝術管理
15. 張肇祺，1993，「美學與藝術哲學論集」，文史哲出版社
16. 黃俊英，1990，「行銷管理」，華泰
17. 葉日武，1997，「行銷學理論與實務」，台北：前程企業管理有限公司
18. 劉文潭譯，Wtadystaw Tatarkiewicz著，1989，「西洋六大美學理念史」，聯經
19. 顧建華主編，1980，「藝術引論」，中國文化大學
20. 顧敏，2003，「網路博物館-知識管理與創新」，揚智文化
二、期刊、論文：
1. 方亮淵，1993，「國際品牌授權策略之研究」，政治大學企業管理研究所碩士論文
2. 方素惠，1991，「文化產業三級跳」，天下雜誌第124期
3. 王秉鈞，1995，「個案研究法個案研究法在企業管理上之應用與評議」，定性研究研討會論文集。
4. 何琦瑜，2004，「創新>競爭：感性．創新，下一個世紀的心跳」，天下雜誌第300期
5. 邱纓琇，1999，「國際品牌授權稀釋效果之研究」，政治大學企業管理研究所碩士論文
6. 林文珊，2004，「從跨領域合作趨向論視覺藝術產業之經營策略」，元智大學藝術管理研究所碩士論文
7. 夏傳位，1999，「網路資訊開放與控制之爭：誰能擁有智慧財產？」，天下雜誌第219期
8. 郭羿承，2004，「荷蘭銀行用梵高賺大錢」，Artkey郭羿承專欄
9. 郭冠英，2004，「前衛的藝術視野，積極的行銷手法」，今藝術雜誌
10. 陳建勳，2002，「商品藝術化與藝術商品化之研究-視覺藝術產業發展的第一步」，元智大學藝術管理研究所碩士論文
11. 黃維明，1999，「劉其偉、薛璋：讓藝術走入生活」，天下雜誌 第215期
12. 蔡明洵，2004，「創意產業促進者，郭羿承：把齊白石、張大千推向國際」，天下雜誌第300期
13. 漢寶德，1989，「富而美好」，天下雜誌第101期
14. 鄧淑玲，2002，「企業投資文化藝術產業之利基與建言」，元智大學藝術管理所碩士論文
15. 羅蘭，1984，「文人與『市場』」，天下雜誌第035期
三、網站：
1. 文化創意產業推動組織，「2003台灣文化創意產業發展年報」，文化創意產業專屬網站：http://www.cci.org.tw/portal/index.asp　
2. 汲紙鎮：http://www.papertown.com.tw/　
3. 東森中華藝賞網站：http://www.ettvusa.com/promotion/Artkey/index.htm　
4. 藝奇藝術授權中心：http://www.artkey.com.tw/eweb/index.htm　
四、電子資料：
1. 行政院文建會，2002，「創意藝術產業先期規劃報告」（http://www.cca.gov.tw/creative/page/main_06.htm）
2. 司徒達賢主講，2002，「擁抱策略，管理未來」，EMBA 世界經理文摘雜誌（http://www.emba.com.tw/emba/speech/123-2.asp）
3. 李河，2004，「發達國家當代文化政策一瞥」（http://www.china.org.cn/chinese/zhuanti/2004whbg/503924.htm）
4. 范子凡，2003，「從Artkey談藝術文化材的授權與交易」，文建會CASE網路學園（http://case.cca.gov.tw/case3/）
5. 范子凡，2005，「藝術授權產業持續成長—總檢2003國際授權產業報告」，Artkey藝術授權中心（http://www.nmipo.org.tw/e/files/94/0105/940105-4.pdf）　
6. 邱高生，2004，「文化創意產業：文化加創意加產業等於文化創意產業？」，中時行銷市場情報分析（http://www.cyberone.com.tw/item_detail_page/marketing_survey/marketing_survey_content.asp?MMContentNoID=8473）
7. 李順德，2003，「文化產業與知識產權」（http://www.china.com.cn/chinese/culture/ 101177.htm）　
8. 郭羿承，2004，「莫內比齊白石畫得好?」（http://www.nmipo.org.tw/e/files/93/930915/artkey0915.pdf）　
9. 郭羿承，2004，「國際藝術授權及其發展趨勢」（http://www.china.org.cn/chinese/zhuanti/2004whbg/503805.htm）　
10. 陳超、楊榮斌，2004，「世界城市文化發展趨向 — 以紐約、倫敦、新加坡、香港為例」，网上中国（http://www.china.org.cn/chinese/zhuanti/2004whbg/503891.htm）　
11. 葉朗，2003，「文化產業和我國21世紀經濟發展」　　　　　　　　（http://www.eifi.com.cn/new_page_5.htm）　
12. 鄭思宏，2004，「顛覆生活美學---「數位內容」的延伸--藝術授權業」，電子商務時報（http://www.2300.com.tw/author/ShowContent.asp?contentid=15230）
13. 劉大和，2003，「文化產業特質之初步探討」　　　　　　　　　　　（http://home.kimo.com.tw/liutaho/2002112402.htm）　
14. 劉增泉╱鄭宗賢合著，2002，「文藝復興藝術史」（http://www2.tku.edu.tw/~tahx/lau/index2.htm）　
貳、外文文獻
一、期刊、書籍
1. Alderson, W., “Marketing Behavior and Executive Action”, Irwin, Homewood, IL, 1957
2. Ansoff, Igor, Ⅱ.”Corporate Strategy”, New York, NY: Mcgraw-Hill, 1965
3. Aaker, D.A., “Developing Business Strategy”, New York: Willey and Sons, p.35-36, 1984
4. Battersby, Gregory J. and Grimes, Charles W., “Licensing Desk Book”, New York: Aspen Law & Business, 1999
5. Bounds, Gwendolyn, “How an Artist Fell Into a Profitable Online Card Business”, the Wall Street Journal Marketplace, 2004
6. Böll, Karin, “Merchandising und Licensing”. München: Vahlen, 1999
7. Cherbo, Joni M. & Wyszomirski, M.Jane (edited), “The Public Life of the Arts in America”, 2000
8. Craig, James & Grant, Robert M., “Strategic Management”, Kogan Page, 1993
9. Daniel, D.R., “Management Information Crisis”, Harvard Business Review, Sep.-Oct., p.3, 1961
10. Eisenhardt, K.M., ”Building Theories from Case Study Research.”Academy of Management Review,1989
11. Harvard Business Review Paperback Series, “Harvard business review on managing the value chain”, Boston, Mass.: Harvard Business School Press, 2000
12. Hill, W.L. & Jones, G.R., Strategic Management an Integated Approach”, 4th, Boston, Houghton Mifflin Co., 1998
13. Hofer, C.W. & Dan Schendel, “Strategy Formulation: Analytical Concepts”, Minnesota: West Publishing Co., 1978
14. Hoving, Thomas,　”Art For Dummies”, IDG Books Worldwide, Inc.,1999
15. Keller, Kevin, “Strategic Brand Management”, Upper Saddle River: Prentice-Hall, 1998
16. Thomas Kinkade, “The Thomas Kinkade Story: A 20-Year Chronology of the Artist”, Bulfinch, 2004
17. Leidecker, J. & Bruno, A.V., “Identifying and Using Critical Success Factor”, Long Range Planning 17(1), p.23-32, 1984
18. Naisbitt, John, ”Megatrends 2000: Ten New Directions For the 1990`s”, New York:Avon Books, 1990
19. Owens, Thomas, “A Contractual Approach to Partnering”, Small Business Reports, 1991
20. Petersen, Andrea, “Art for when there`s nothing on TV”, Wall Street Journal, Feb.17, 2005.
21. Raugust, Karen, “The Licensing Business Handbook” New York: EPM Communications, 1995
22. Raugust, Karen, “Merchandise Licensing in the Television Industry”, Newton: Butteworth -Heinemann, 1996
23. Revoyr, Jack , “A Primer on Licensing” Stamford: Kent Press,1995
24. Richard, Normann, “Designing interactive strategy : from value chain to value constellation”, Chichester, England ; New York : Wiley, 1994
25. Taine, H.A., translated by H. Van Laun,1873, “History of English Literature”, Edinburgh: Edmonston and Douglas
26. Throsby, David, “Economics and Culture”, UK, Cambridge University Press, 2001
27. Vracker, Jeffery, “The Historical Development of The Strategic Management Concept”, Academy of Management Review, Vol.5, No.2, p.220-221,1980
28. White, Edward P., “Licensing, a strategy for profits”, Chapel Hill, N.C. : KEW Licensing Press, 1990
二、電子資料：
1. Fondo, Lisa, “Art Licensing Show Steady Growth”, Art Business News, 2003. （http://www.findarticles.com/p/articles/mi_m0HMU/is_6_30/ai_102840385）
2. D.G. Brian Jones and Eric H. Shaw, “A History of Marketing Thought”, 2002. （http://www.nuigalway.ie/faculties_departments/marketing/Noticeboard/ATorres/Jones%20&%20Shaw%20Ch02%20copy.pdf）
3. Joshua Kaufman, “Protect yourself from copyright infringement – includes related article”, Art Business News, 2002.（http://www.findarticles.com/p/articles/mi_m0HMU/is_13_29/ai_95909523）
4. “Art, Collegiate, Non-Profit, Sports and Trademarks/Brands See Gains”, LIMA Sponsored Harvard/ Yale Study, Freeman Public Relations, 2004. （http://www.licensing.org/news/PressRelease/LIMAStatisticalStudy04.doc）
5. “Copyright”, the Free Encyclopedia ”Wikipedia”.（http://en.wikipedia.org/wiki/Copyright）
6. ”History of Licensing in USA”, ARMM International, 2003.　　　　（http://www.artroadmm.com/ artlicensing03_eng.htm）
7. “Industry Annual Report 2003: Licensing business captures a fair sales increase at worldwide retail in 2002”, License Research, 2003, （http://www.licensemag.com/licensemag/article/articleDetail.jsp?id=71767&pageID=1）
8. “Industry Annual Report 2004: Licensing business captures a fair sales increase at worldwide retail in 2003”, License Research, 2004, 　　　　　（http://www.licensemag.com/licensemag/article/articleDetail.jsp?id=127352&pageID=1&sk=&date=）
9. “Media Arts artists create new work for fall buying season”, Art Business Journal V28 No.10 p.22, Oct/2001. （http://www.findarticles.com/p/articles/mi_m0HMU/is_10_28/ai_79438836）
三、網站
1. ACC網站：http://www.artcc.org/　
2. Art Plates Inc.：http://www.artplates.com/　
3. Center for the public domain （美國公共領域中心）：http://www.centerpd.org/　
4. CopyrightForms.Org網站：http://www.copyrightforms.org/　
5. Creative Commons：http://creativecommons.org/　
6. Jacquielawson.com藝術賀卡公司：http://www.jacquielawson.com　
7. Frederic M. Scherer之個人網站：http://www.fmscherer.com/　
8. World Cultural Intelligence Network, WCIN,（世界文化智慧網）：http://members.shaw.ca/wcin/2.0.arts.htm
描述 碩士
國立政治大學
科技管理研究所
89359014
94
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0893590144
資料類型 thesis
dc.contributor.advisor 劉江彬zh_TW
dc.contributor.advisor Lui, Paulen_US
dc.contributor.author (Authors) 盧恩慈zh_TW
dc.contributor.author (Authors) Lu,Jacquelineen_US
dc.creator (作者) 盧恩慈zh_TW
dc.creator (作者) Lu,Jacquelineen_US
dc.date (日期) 2005en_US
dc.date.accessioned 18-Sep-2009 09:34:02 (UTC+8)-
dc.date.available 18-Sep-2009 09:34:02 (UTC+8)-
dc.date.issued (上傳時間) 18-Sep-2009 09:34:02 (UTC+8)-
dc.identifier (Other Identifiers) G0893590144en_US
dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/34357-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 科技管理研究所zh_TW
dc.description (描述) 89359014zh_TW
dc.description (描述) 94zh_TW
dc.description.abstract (摘要) 摘　　　　要

論文題目： 藝術授權產業之營銷策略研究
校系所別： 國立政治大學科技管理研究所
指導老師： 劉江彬教授（國立政治大學科技管理研究所教授、政大智慧財產研究所所長）
研究生： 盧恩慈
關鍵詞： 藝術授權、授權產業、著作權、策略、行銷

摘要內容：
　　二十一世紀先進國家的人民，在累積足夠財富後，生活水準也隨之升高，對於『美』的需求與日俱增，追求『美』不僅是表面虛榮，更為內在的滿足。
　　反映在商場上，買者對各式商品美感層次之要求標準大為提昇，加上智慧財產權保護觀念日趨成熟、國際智財法律亦漸完備，以及國際商業授權活動的蓬勃發展，均為藝術授權產業創造有利的環境。
根據本研究資料顯示，近年來西方國家藝術授權產業產值持續成長，幅度超過其他各類授權，此趨勢值得關注。藝術授權在西方行之有年，尤其是美國的藝術授權產業，已有二十多年發展歷史，許多案例創造單一企業年營業額上億美元之規模，也發展出一些成功的經營策略與模式。據此，本研究蒐集美國藝術授權最佳授權業者經營資料，探討其營運與行銷模式，分析其成功關鍵因素，並訪談國內藝術授權業者之經營狀況，提出此產業之營銷策略建議。
　　根據研究問題，本研究之主要發現如下（節錄）：
一、藝術授權產業最直接的定義為：「從事開發、複製、經營、行銷藝術品之著作權（版權）的產業。」其最基本價值活動為著作權之交易。藝術授權產業的本質是藝術作品之智慧財產及其週邊相關服務的經營；它是『授權產業（包括品牌授權、運動授權等）』的類別之一，且與西方所謂『版權產業（泛指所有從事與智慧財產權利移轉、授與活動之事業）』範疇部份重疊。同時，藝術授權市場亦與藝術產業及數位內容產業重疊（參圖6-1.1）。
二、根據本論文第四章Thomas Kinkade Company個案之分析，其重要的營銷策略思考表現在『創意、品牌、生產、通路』四個層面上。
三、根據本研究結果，美國藝術授權產業之成功的關鍵環境因素與營銷策略包括下列數項：
1. 總體文化環境與經濟條件的支持，包括國家立法完善與執法嚴謹、人民生活水準與藝術鑑賞的配合、以及完整的產業上、下游價值鏈；
2. 創意端與目標市場文化背景相合；
3. 授權商品必須保有藝術的本質與價值；即加強複製藝術的品質，千萬不可以粗糙的、廉價的材料複製高價藝術。精緻的商品，才是藝術授權的活路；
4. 清楚一致的品牌定位與層次分明的通路策略。
四、在藝術品與藝術授權商品的關係上，除了利用高價知名藝術品牌提昇授權商品價值，對藝術複製品與衍生商品的品質與產量嚴格控制，加上積極的行銷活動運作，亦可塑造出一個高價值的藝術品牌，回頭帶動藝術品與藝術家的價值與知名度。
五、台灣藝術授權產業價值鏈尚未成形，整體授權產業概念與運作方式也不被企業所熟悉，必須加強對國外成功案例與產業環境的觀察與學習。目前台灣已有部分藝術授權代理商進軍國際，數位內容業者對藝術授權範疇也躍躍欲試，也開始與西方重要藝術授權代理商、或國際品牌合作開發授權商品。現階段在國際授權、禮品或相關商展中，雖尚能代表華人地區在扮演東方藝術授權供應方，但日本、香港、韓國、中國的急起直追，勢必擠壓台灣在國際藝術授權市場上的空間，日、韓廠商挾以過去在品牌與卡通授權的成功模式，是不可輕忽的潛在競爭者。台灣未來必須在行銷活動與複製藝術品質方面更上層樓，才能在此產業取得優勢。
六、目前台灣藝術授權產業最大的問題該是對建構品牌與行銷活動的生疏，以及對市場的茫然。這個弱點讓企業在經營上成為無頭蒼蠅，一味向更多國際廠商爭取合作，但最後仍淪為大廠品牌之下的美麗圖騰之一，或有如藝術圖庫般的價值，業者必須戒慎小心。本研究並歸納一些營銷建議在第六章第六項研究問題探討中。
　　根據研究結論，西方藝術授權產業目前與國內做法最大的不同在於『品質』與『品牌』；國外成功的授權商多半擁有強大的藝術品牌，強大的藝術品牌來自高品質的複製藝術商品，不論是否透過授權，不論商品種類，最重要的是要具備藝術該有的質感，才能建立令人心生喜悅並認同的藝術品牌。
目前對於新進業者尚無絕對有效的營運模式策略建議，但本研究認為至少必須抓到藝術之所以被認可為藝術的關鍵，要有原創性、商品品質要能與藝術本身匹配、要了解目標市場文化，並積極投資品牌行銷工作。
而歸納本研究最重要結論為，藝術授權產業的營銷策略即「以創造藝術的態度『複製』藝術。」以藝術之名為商，仍要忠於藝術本質才能成功。		zh_TW
dc.description.abstract (摘要) Abstract

Title: The Business and Marketing Strategies of the Art Licensing Industry
School: Graduate Institute of Technology and Innovation Management, National Chengchi University
Advisor: Paul Lui
Author: Jacqueline Lu
Key Words: Art Licensing, Licensing, Copyright, Strategy, Marketing
　　
　　In the 21st century, people of the developed countries accumulated a significant fortune and started to think about raising their quality of life. Their requirement of “beauty” in various kinds of markets went up rapidly. Purchasing “beauty” is not only for the shallow vanity, but also for the real inner satisfaction.
　　In the business world, purchasers tend to ask for increasingly pleasant looking and higher quality products of all kinds. In this environment, the idea of intellectual property rights protection is taking shape, the related laws are evolving, and the international licensing activities are flourishing. All of the above create a gainful environment for the art licensing industry.
According to this research, the sales of the art licensing industry in the western countries have been continuously growing, and developing faster than other licensing businesses such as cartoon character licensing.
　　Western countries have done this business of art licensing for years, especially the United States with over 20 years history. There are numerous businesses with successful business models and strategies with revenue exceeding $100 million. This paper focuses on the most successful art licensor, Thomas Kinkade Company, and presents information collected about its business strategies and marketing approaches, and analyzes its key success factors. In addition, this research presents the stories of Taiwan’s main art licensing company, artkey Co., and one domestic artist, Mr.Shi, as an independent licensor to sum up some business strategies of this industry.
　　The important findings of this research are as follows (extraction):
1. The simplest definition of “art licensing industry” is “the industry working on developing, copying, managing, and marketing the copyright of art works.”
　　The nature of art licensing is the business related to the intellectual property rights of fine art and the peripheral services. It is one of the main categories in the licensing industry, which belongs to the cultural creative industry. In addition, the art licensing industry also partially overlaps the copyright industry, the art industry and the digital content industry. (see chart 6-1.1)
2. Base on the analysis of Thomas Kinkade Company in Chapter 4, the most critical business and marketing strategy is shown in 4 different aspects,” creativity, brand, production, and channel.”
3. According to this study, the key success factors and the preferred business and marketing strategies of the art licensing business in the United States include:
(1) The support from the overall culture status and the economic condition such as the more consummate laws and regulations with stricter law enforcement; the higher life standard and the better appreciation of art; the more complete industrial value chain availability.
(2) The cultural background of the creative departments and the target markets are compatible.
(3) The art licensing products must keep the nature and the sense of value of original art works. In other words, the companies should enhance the quality of the duplication of art; they should not copy a real art with rough, cheap and low quality material. Only “fine products” can represent “fine art” and make big sales.
(4) Art licensing also needs a constant and clear brand position with distinct strategy of the channel layers.
　　4. By observing the relationship between art works and art licensing products, companies can take advantages of the expensive famous artists or art works upgrade the value of the licensing products. Severely controlling the quality and productivity of the art duplications or licensed goods plus founding an active marketing program can also establish a high value art brand that benefits the original art works or artists.
5. In Taiwan, the complete upstream and downstream value chain of art licensing business is still forming. The whole idea of licensing industry is not clear for most of the domestic firms. Taiwanese entrepreneurs have to observe the international licensing world more and learn about the successful strategies people use in this industry overseas.
　　Currently, there are some art licensing agents in Taiwan starting to conduct their business abroad. They are making contact with some crucial art licensing agents or globally well-known brand to open up new art licensing product lines. More and more digital content suppliers are also interested in this pie.
　　So far Taiwanese companies can still play the main role of being the art licensing suppliers of oriental art in most of the international licensing shows and gift trade shows. But in no time, Japan, Hong Kong, Korea, and China will catch up and squeeze the international market share from Taiwan. Especially with their successful brand and character licensing experience, the Japanese and Korean companies are certainly Taiwan’s greatest competitors. To keep their superiority in the future, Taiwanese art licensors must upgrade their marketing strength and the quality control.
6. Presently, Taiwanese licensors’ biggest problems are not having the expertise to build a brand and being unfamiliar to the market. Fighting for more opportunities to work with super brands makes their art become nothing but a pretty pattern of other brands. This study generalizes some art licensing business and marketing advice in chapter 6 question number 6.
　　As to the conclusion of this study, the most obvious difference between Taiwanese art licensors and western companies is how they manage the quality and their brands. In developed countries, art licensors usually own very powerful art brands. Powerful art brands are mostly created from perfect quality of copying products or art duplications. No matter licensing the art or not, this business should provide the quality of products as good as fine art. Only this can create a real art brand people would like to enjoy.
　　Although this paper does not present an absolute business model, this research does offer some basic success factors for art licensors. “Art” and “beauty” are the keys to this industry. Some things all the art licensors should know and practice are to be original, develop compatible products, learn the culture of the market and invest the money in marketing.
　　To sum up, the most important conclusion of this study for the business and marketing strategies in the art licensing industry is to “copy” the art with the attitude of “creating” the art. Stick to the nature of art, and your art licensing products could possibly win the battle.		en_US
dc.description.tableofcontents 目　　　　錄

圖次...................................................三
表次...................................................五
第一章　緒論...........................................1
第一節　研究動機.....................................1
第二節　研究問題與目的...............................4


第二章　文獻探討.......................................6
第一節　文化（創意）產業.............................6
　第二節　授權產業.....................................14
　第三節　藝術授權產業.................................24
　第四節　經營策略理論.................................39
　第五節　策略行銷理論.................................55
　第六節　關鍵成功因素.................................62


第三章　研究方法.......................................65
第一節　研究架構與研究流程.............................65
　第二節　研究方法與研究對象...........................67
　第三節　研究限制.....................................69

第四章　美國藝術授權個案分析...........................70
　第一節　湯瑪斯金肯公司（Thomas Kinkade Company）.....70
　第二節　TKC經營策略分析..............................86
　第三節　TKC策略行銷分析..............................96

第五章　台灣藝術授權個案分析...........................105
　第一節　企業個案：artkey藝術授權中心.................105
　第二節　artkey之營銷策略分析.........................119
　第三節　藝術家個案：畫家施並致.......................127


第六章　研究問題探討...................................133

第七章　研究結論與建議.................................144
　第一節　研究結論.....................................144
　第二節　後續研究建議.................................147

論文參考資料...........................................-1-
附錄
　附錄一　2005紐約國際授權展 (Licensing International Show) 簡介..............-8-
　附錄二　1997年湯瑪斯．金肯與MAGI簽訂之授權契約內容......-10-		zh_TW
dc.format.extent 63919 bytes-
dc.format.extent 147087 bytes-
dc.format.extent 130745 bytes-
dc.format.extent 184588 bytes-
dc.format.extent 662013 bytes-
dc.format.extent 182908 bytes-
dc.format.extent 1100494 bytes-
dc.format.extent 650809 bytes-
dc.format.extent 286110 bytes-
dc.format.extent 181292 bytes-
dc.format.extent 147727 bytes-
dc.format.extent 203225 bytes-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.format.mimetype application/pdf-
dc.language.iso en_US-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0893590144en_US
dc.subject (關鍵詞) 藝術授權zh_TW
dc.subject (關鍵詞) 授權產業zh_TW
dc.subject (關鍵詞) 著作權zh_TW
dc.subject (關鍵詞) 策略zh_TW
dc.subject (關鍵詞) 行銷zh_TW
dc.subject (關鍵詞) art licensingen_US
dc.subject (關鍵詞) licensingen_US
dc.subject (關鍵詞) copyrighten_US
dc.subject (關鍵詞) strategyen_US
dc.subject (關鍵詞) marketingen_US
dc.title (題名) 藝術授權產業之營銷策略研究zh_TW
dc.type (資料類型) thesisen
dc.relation.reference (參考文獻) 論文參考資料zh_TW
dc.relation.reference (參考文獻) 壹、中文文獻zh_TW
dc.relation.reference (參考文獻) 一、書籍zh_TW
dc.relation.reference (參考文獻) 1. 大前研一著，黃宏義譯，1989，「策略家的智慧」，長河zh_TW
dc.relation.reference (參考文獻) 2. 尹萍譯，John Naisbitt著， 2000，「高科技．高思維」，台北市：時報文化。zh_TW
dc.relation.reference (參考文獻) 3. 司徒達賢，1995，「策略管理」，台北：遠流zh_TW
dc.relation.reference (參考文獻) 4. 司徒達賢，2005，「管理學的新世界」，天下文化zh_TW
dc.relation.reference (參考文獻) 5. 司徒達賢譯，Glueck , William F.著，1984，「企業政策與策略規劃」，東華書局zh_TW
dc.relation.reference (參考文獻) 6. 邱志聖，2001，「策略行銷分析：架構與實務應用」，智勝文化zh_TW
dc.relation.reference (參考文獻) 7. 吳思華，2000，「策略九說：策略思考的本質」，臉譜zh_TW
dc.relation.reference (參考文獻) 8. 周旭華譯，Porter, Michael E.著， 1998，「競爭策略」，天下文化zh_TW
dc.relation.reference (參考文獻) 9. 尚榮安譯，Yin R.K.著， 2001，「個案研究」，弘智文化zh_TW
dc.relation.reference (參考文獻) 10. 林潔盈譯，Elizabeth Hill, Catherine O’Sullivan, Terry O’sullivan 著， 2004，「如何開發藝術市場」，五觀藝術管理zh_TW
dc.relation.reference (參考文獻) 11. 許士軍，1989，「管理學」，東華zh_TW
dc.relation.reference (參考文獻) 12. 湯明哲，2003，「策略精論」，天下遠見zh_TW
dc.relation.reference (參考文獻) 13. 馮震宇主編，1999，「實用科技智材法全書」，展智文化zh_TW
dc.relation.reference (參考文獻) 14. 陳羚芝譯，Smith Constance著，2004，「藝術家這一行 如何以藝術為職業的自修手冊」，五觀藝術管理zh_TW
dc.relation.reference (參考文獻) 15. 張肇祺，1993，「美學與藝術哲學論集」，文史哲出版社zh_TW
dc.relation.reference (參考文獻) 16. 黃俊英，1990，「行銷管理」，華泰zh_TW
dc.relation.reference (參考文獻) 17. 葉日武，1997，「行銷學理論與實務」，台北：前程企業管理有限公司zh_TW
dc.relation.reference (參考文獻) 18. 劉文潭譯，Wtadystaw Tatarkiewicz著，1989，「西洋六大美學理念史」，聯經zh_TW
dc.relation.reference (參考文獻) 19. 顧建華主編，1980，「藝術引論」，中國文化大學zh_TW
dc.relation.reference (參考文獻) 20. 顧敏，2003，「網路博物館-知識管理與創新」，揚智文化zh_TW
dc.relation.reference (參考文獻) 二、期刊、論文：zh_TW
dc.relation.reference (參考文獻) 1. 方亮淵，1993，「國際品牌授權策略之研究」，政治大學企業管理研究所碩士論文zh_TW
dc.relation.reference (參考文獻) 2. 方素惠，1991，「文化產業三級跳」，天下雜誌第124期zh_TW
dc.relation.reference (參考文獻) 3. 王秉鈞，1995，「個案研究法個案研究法在企業管理上之應用與評議」，定性研究研討會論文集。zh_TW
dc.relation.reference (參考文獻) 4. 何琦瑜，2004，「創新>競爭：感性．創新，下一個世紀的心跳」，天下雜誌第300期zh_TW
dc.relation.reference (參考文獻) 5. 邱纓琇，1999，「國際品牌授權稀釋效果之研究」，政治大學企業管理研究所碩士論文zh_TW
dc.relation.reference (參考文獻) 6. 林文珊，2004，「從跨領域合作趨向論視覺藝術產業之經營策略」，元智大學藝術管理研究所碩士論文zh_TW
dc.relation.reference (參考文獻) 7. 夏傳位，1999，「網路資訊開放與控制之爭：誰能擁有智慧財產？」，天下雜誌第219期zh_TW
dc.relation.reference (參考文獻) 8. 郭羿承，2004，「荷蘭銀行用梵高賺大錢」，Artkey郭羿承專欄zh_TW
dc.relation.reference (參考文獻) 9. 郭冠英，2004，「前衛的藝術視野，積極的行銷手法」，今藝術雜誌zh_TW
dc.relation.reference (參考文獻) 10. 陳建勳，2002，「商品藝術化與藝術商品化之研究-視覺藝術產業發展的第一步」，元智大學藝術管理研究所碩士論文zh_TW
dc.relation.reference (參考文獻) 11. 黃維明，1999，「劉其偉、薛璋：讓藝術走入生活」，天下雜誌 第215期zh_TW
dc.relation.reference (參考文獻) 12. 蔡明洵，2004，「創意產業促進者，郭羿承：把齊白石、張大千推向國際」，天下雜誌第300期zh_TW
dc.relation.reference (參考文獻) 13. 漢寶德，1989，「富而美好」，天下雜誌第101期zh_TW
dc.relation.reference (參考文獻) 14. 鄧淑玲，2002，「企業投資文化藝術產業之利基與建言」，元智大學藝術管理所碩士論文zh_TW
dc.relation.reference (參考文獻) 15. 羅蘭，1984，「文人與『市場』」，天下雜誌第035期zh_TW
dc.relation.reference (參考文獻) 三、網站：zh_TW
dc.relation.reference (參考文獻) 1. 文化創意產業推動組織，「2003台灣文化創意產業發展年報」，文化創意產業專屬網站：http://www.cci.org.tw/portal/index.asp　zh_TW
dc.relation.reference (參考文獻) 2. 汲紙鎮：http://www.papertown.com.tw/　zh_TW
dc.relation.reference (參考文獻) 3. 東森中華藝賞網站：http://www.ettvusa.com/promotion/Artkey/index.htm　zh_TW
dc.relation.reference (參考文獻) 4. 藝奇藝術授權中心：http://www.artkey.com.tw/eweb/index.htm　zh_TW
dc.relation.reference (參考文獻) 四、電子資料：zh_TW
dc.relation.reference (參考文獻) 1. 行政院文建會，2002，「創意藝術產業先期規劃報告」（http://www.cca.gov.tw/creative/page/main_06.htm）zh_TW
dc.relation.reference (參考文獻) 2. 司徒達賢主講，2002，「擁抱策略，管理未來」，EMBA 世界經理文摘雜誌（http://www.emba.com.tw/emba/speech/123-2.asp）zh_TW
dc.relation.reference (參考文獻) 3. 李河，2004，「發達國家當代文化政策一瞥」（http://www.china.org.cn/chinese/zhuanti/2004whbg/503924.htm）zh_TW
dc.relation.reference (參考文獻) 4. 范子凡，2003，「從Artkey談藝術文化材的授權與交易」，文建會CASE網路學園（http://case.cca.gov.tw/case3/）zh_TW
dc.relation.reference (參考文獻) 5. 范子凡，2005，「藝術授權產業持續成長—總檢2003國際授權產業報告」，Artkey藝術授權中心（http://www.nmipo.org.tw/e/files/94/0105/940105-4.pdf）　zh_TW
dc.relation.reference (參考文獻) 6. 邱高生，2004，「文化創意產業：文化加創意加產業等於文化創意產業？」，中時行銷市場情報分析（http://www.cyberone.com.tw/item_detail_page/marketing_survey/marketing_survey_content.asp?MMContentNoID=8473）zh_TW
dc.relation.reference (參考文獻) 7. 李順德，2003，「文化產業與知識產權」（http://www.china.com.cn/chinese/culture/ 101177.htm）　zh_TW
dc.relation.reference (參考文獻) 8. 郭羿承，2004，「莫內比齊白石畫得好?」（http://www.nmipo.org.tw/e/files/93/930915/artkey0915.pdf）　zh_TW
dc.relation.reference (參考文獻) 9. 郭羿承，2004，「國際藝術授權及其發展趨勢」（http://www.china.org.cn/chinese/zhuanti/2004whbg/503805.htm）　zh_TW
dc.relation.reference (參考文獻) 10. 陳超、楊榮斌，2004，「世界城市文化發展趨向 — 以紐約、倫敦、新加坡、香港為例」，网上中国（http://www.china.org.cn/chinese/zhuanti/2004whbg/503891.htm）　zh_TW
dc.relation.reference (參考文獻) 11. 葉朗，2003，「文化產業和我國21世紀經濟發展」　　　　　　　　（http://www.eifi.com.cn/new_page_5.htm）　zh_TW
dc.relation.reference (參考文獻) 12. 鄭思宏，2004，「顛覆生活美學---「數位內容」的延伸--藝術授權業」，電子商務時報（http://www.2300.com.tw/author/ShowContent.asp?contentid=15230）zh_TW
dc.relation.reference (參考文獻) 13. 劉大和，2003，「文化產業特質之初步探討」　　　　　　　　　　　（http://home.kimo.com.tw/liutaho/2002112402.htm）　zh_TW
dc.relation.reference (參考文獻) 14. 劉增泉╱鄭宗賢合著，2002，「文藝復興藝術史」（http://www2.tku.edu.tw/~tahx/lau/index2.htm）　zh_TW
dc.relation.reference (參考文獻) 貳、外文文獻zh_TW
dc.relation.reference (參考文獻) 一、期刊、書籍zh_TW
dc.relation.reference (參考文獻) 1. Alderson, W., “Marketing Behavior and Executive Action”, Irwin, Homewood, IL, 1957zh_TW
dc.relation.reference (參考文獻) 2. Ansoff, Igor, Ⅱ.”Corporate Strategy”, New York, NY: Mcgraw-Hill, 1965zh_TW
dc.relation.reference (參考文獻) 3. Aaker, D.A., “Developing Business Strategy”, New York: Willey and Sons, p.35-36, 1984zh_TW
dc.relation.reference (參考文獻) 4. Battersby, Gregory J. and Grimes, Charles W., “Licensing Desk Book”, New York: Aspen Law & Business, 1999zh_TW
dc.relation.reference (參考文獻) 5. Bounds, Gwendolyn, “How an Artist Fell Into a Profitable Online Card Business”, the Wall Street Journal Marketplace, 2004zh_TW
dc.relation.reference (參考文獻) 6. Böll, Karin, “Merchandising und Licensing”. München: Vahlen, 1999zh_TW
dc.relation.reference (參考文獻) 7. Cherbo, Joni M. & Wyszomirski, M.Jane (edited), “The Public Life of the Arts in America”, 2000zh_TW
dc.relation.reference (參考文獻) 8. Craig, James & Grant, Robert M., “Strategic Management”, Kogan Page, 1993zh_TW
dc.relation.reference (參考文獻) 9. Daniel, D.R., “Management Information Crisis”, Harvard Business Review, Sep.-Oct., p.3, 1961zh_TW
dc.relation.reference (參考文獻) 10. Eisenhardt, K.M., ”Building Theories from Case Study Research.”Academy of Management Review,1989zh_TW
dc.relation.reference (參考文獻) 11. Harvard Business Review Paperback Series, “Harvard business review on managing the value chain”, Boston, Mass.: Harvard Business School Press, 2000zh_TW
dc.relation.reference (參考文獻) 12. Hill, W.L. & Jones, G.R., Strategic Management an Integated Approach”, 4th, Boston, Houghton Mifflin Co., 1998zh_TW
dc.relation.reference (參考文獻) 13. Hofer, C.W. & Dan Schendel, “Strategy Formulation: Analytical Concepts”, Minnesota: West Publishing Co., 1978zh_TW
dc.relation.reference (參考文獻) 14. Hoving, Thomas,　”Art For Dummies”, IDG Books Worldwide, Inc.,1999zh_TW
dc.relation.reference (參考文獻) 15. Keller, Kevin, “Strategic Brand Management”, Upper Saddle River: Prentice-Hall, 1998zh_TW
dc.relation.reference (參考文獻) 16. Thomas Kinkade, “The Thomas Kinkade Story: A 20-Year Chronology of the Artist”, Bulfinch, 2004zh_TW
dc.relation.reference (參考文獻) 17. Leidecker, J. & Bruno, A.V., “Identifying and Using Critical Success Factor”, Long Range Planning 17(1), p.23-32, 1984zh_TW
dc.relation.reference (參考文獻) 18. Naisbitt, John, ”Megatrends 2000: Ten New Directions For the 1990`s”, New York:Avon Books, 1990zh_TW
dc.relation.reference (參考文獻) 19. Owens, Thomas, “A Contractual Approach to Partnering”, Small Business Reports, 1991zh_TW
dc.relation.reference (參考文獻) 20. Petersen, Andrea, “Art for when there`s nothing on TV”, Wall Street Journal, Feb.17, 2005.zh_TW
dc.relation.reference (參考文獻) 21. Raugust, Karen, “The Licensing Business Handbook” New York: EPM Communications, 1995zh_TW
dc.relation.reference (參考文獻) 22. Raugust, Karen, “Merchandise Licensing in the Television Industry”, Newton: Butteworth -Heinemann, 1996zh_TW
dc.relation.reference (參考文獻) 23. Revoyr, Jack , “A Primer on Licensing” Stamford: Kent Press,1995zh_TW
dc.relation.reference (參考文獻) 24. Richard, Normann, “Designing interactive strategy : from value chain to value constellation”, Chichester, England ; New York : Wiley, 1994zh_TW
dc.relation.reference (參考文獻) 25. Taine, H.A., translated by H. Van Laun,1873, “History of English Literature”, Edinburgh: Edmonston and Douglaszh_TW
dc.relation.reference (參考文獻) 26. Throsby, David, “Economics and Culture”, UK, Cambridge University Press, 2001zh_TW
dc.relation.reference (參考文獻) 27. Vracker, Jeffery, “The Historical Development of The Strategic Management Concept”, Academy of Management Review, Vol.5, No.2, p.220-221,1980zh_TW
dc.relation.reference (參考文獻) 28. White, Edward P., “Licensing, a strategy for profits”, Chapel Hill, N.C. : KEW Licensing Press, 1990zh_TW
dc.relation.reference (參考文獻) 二、電子資料：zh_TW
dc.relation.reference (參考文獻) 1. Fondo, Lisa, “Art Licensing Show Steady Growth”, Art Business News, 2003. （http://www.findarticles.com/p/articles/mi_m0HMU/is_6_30/ai_102840385）zh_TW
dc.relation.reference (參考文獻) 2. D.G. Brian Jones and Eric H. Shaw, “A History of Marketing Thought”, 2002. （http://www.nuigalway.ie/faculties_departments/marketing/Noticeboard/ATorres/Jones%20&%20Shaw%20Ch02%20copy.pdf）zh_TW
dc.relation.reference (參考文獻) 3. Joshua Kaufman, “Protect yourself from copyright infringement – includes related article”, Art Business News, 2002.（http://www.findarticles.com/p/articles/mi_m0HMU/is_13_29/ai_95909523）zh_TW
dc.relation.reference (參考文獻) 4. “Art, Collegiate, Non-Profit, Sports and Trademarks/Brands See Gains”, LIMA Sponsored Harvard/ Yale Study, Freeman Public Relations, 2004. （http://www.licensing.org/news/PressRelease/LIMAStatisticalStudy04.doc）zh_TW
dc.relation.reference (參考文獻) 5. “Copyright”, the Free Encyclopedia ”Wikipedia”.（http://en.wikipedia.org/wiki/Copyright）zh_TW
dc.relation.reference (參考文獻) 6. ”History of Licensing in USA”, ARMM International, 2003.　　　　（http://www.artroadmm.com/ artlicensing03_eng.htm）zh_TW
dc.relation.reference (參考文獻) 7. “Industry Annual Report 2003: Licensing business captures a fair sales increase at worldwide retail in 2002”, License Research, 2003, （http://www.licensemag.com/licensemag/article/articleDetail.jsp?id=71767&pageID=1）zh_TW
dc.relation.reference (參考文獻) 8. “Industry Annual Report 2004: Licensing business captures a fair sales increase at worldwide retail in 2003”, License Research, 2004, 　　　　　（http://www.licensemag.com/licensemag/article/articleDetail.jsp?id=127352&pageID=1&sk=&date=）zh_TW
dc.relation.reference (參考文獻) 9. “Media Arts artists create new work for fall buying season”, Art Business Journal V28 No.10 p.22, Oct/2001. （http://www.findarticles.com/p/articles/mi_m0HMU/is_10_28/ai_79438836）zh_TW
dc.relation.reference (參考文獻) 三、網站zh_TW
dc.relation.reference (參考文獻) 1. ACC網站：http://www.artcc.org/　zh_TW
dc.relation.reference (參考文獻) 2. Art Plates Inc.：http://www.artplates.com/　zh_TW
dc.relation.reference (參考文獻) 3. Center for the public domain （美國公共領域中心）：http://www.centerpd.org/　zh_TW
dc.relation.reference (參考文獻) 4. CopyrightForms.Org網站：http://www.copyrightforms.org/　zh_TW
dc.relation.reference (參考文獻) 5. Creative Commons：http://creativecommons.org/　zh_TW
dc.relation.reference (參考文獻) 6. Jacquielawson.com藝術賀卡公司：http://www.jacquielawson.com　zh_TW
dc.relation.reference (參考文獻) 7. Frederic M. Scherer之個人網站：http://www.fmscherer.com/　zh_TW
dc.relation.reference (參考文獻) 8. World Cultural Intelligence Network, WCIN,（世界文化智慧網）：http://members.shaw.ca/wcin/2.0.arts.htmzh_TW