本研究主題是在多核心之都市文化經濟脈絡下,探討文化產業群聚與創新活動之關聯。關於文化產業之空間群聚研究,多運用企業群聚或新經濟地理學的領域創新理論,分析企業間之經濟與社會互動網絡所促進之創新活動。然而,多數經驗研究關注於成功區域內製造業群聚之經驗案例,忽略討論文化產業所強調之聲望機制,及其對空間群聚與創新活動之影響,也因為既有空間群聚研究欠缺分析文化產業特殊性,使得既有都市文化經濟研究文獻,並未能充分解釋核心問題:「為何文化產業會持續群聚於特定都市?此空間群聚是如何影響文化產業創新活動」。 本研究基於都市文化經濟之主要爭論,透過行動者與環境互動之認識論,概念化文化產業群聚與聲望之關係,提出「地方聲望效果」之分析架構,並且運用質化方法論進行台北音樂產業之個案研究。本研究資料收集及分析,乃是作者透過追縱音樂產業之行動者網路,進行30位半結構之深入訪談(包括音樂產業從業者及政府官員),輔以官方普查統計資料。藉由質量並重之研究策略,回答上開問題。 透過個案研究解析,本研究延伸既有空間群聚文獻所強調文化企業間之交易與非交易依賴關係,進一步主張文化產業空間群聚之第三種依賴關係:「地方聲望效果」,本研究檢驗音樂產業群聚演化所展現之地方聲望效果。主要結論指出音樂產業之所以持續群聚於台北市,主要有兩點:第一,基於創新及創意刺激之需求,音樂生產者之面對面接觸與身處都市瞭解消費者市場資訊成為音樂產業創新活動之來源,此一微觀之創新治理與都市環境互動過程,形塑台北之創意能力。第二,音樂產業持續群聚於都市乃因為地方聲望之象徵依賴,此一結論延伸個別聲望機制討論,強調音樂生產系統、地方勞動力市場及地方消費市場共同建構一種地方聲望,形構台北成為華人區域之音樂產業都市。最後,台北音樂產業之發展策略應該結合文化資源配置規劃及產業能力兩種取向,也唯有從創新治理之角度分析地方音樂產業及勞動力市場,擬議適宜之空間規劃與策略以支持音樂產業及市場發展。
This dissertation aims to explore the symbolic relationship between spatial clustering and the innovation governance of cultural industries by the case study of Taipei’s music industries. The existing research on cultural industry clusters had put much emphasis on the traded and un-traded dependence as the mechanism of local innovative clusters. Less attention was given to the symbolic dimension of place dependence which has influenced on the innovation capacity in a cultural enterprise. In particular, the role of reputation in the innovation governance of cultural industry clusters still remains poorly understood. Two research questions were rised- what kind of mechanism which make cultural enterprieses agglomerate at the urban environment? How is this innovation governance in the cultural industry clusters? Thus this research attempts to move beyond the theoretical deficit of cultural industry cluster and conceptualize the role of reputation into the urban cultural economy. Within the debates on urban cultural economy, this research conceptualizes the reputation mechanism into the innovation governance of cultural industry cluster through the interactive relationship of actor-environment. This research, following the framework of analysis, uses a qualitative methodology to analyze the spatial, social and institutional dynamics of Taipei’s music industry production system. Two major research methods were conducted as follows. (1) The author collected informal and formal data of the music industry product system to identify the major spatial distributions of music enterprises and employment in Taipei and within Taiwan. (2) The author contacted the key informants of Taipei’s music production projects and conducted thirty semi-structured interviews to analyze the governance of innovation in a project-led music cluster. The author concluded that the ‘local reputation effect’ is the casual mechanism of why music enterprises continued to agglomerate at the Taipei urban region. After examining the case of music enterprises in Taipei, this author have two major conclusions. Firstly, music enterprises and workers have to agglomate at the Taipei urban region due to the pursuit of creative and innovative energy. This is because the production of innovative music commodity, the transfer of tacit knowledge and individual career developement are highly embedeed into local music production system, labor market and consumer market. The interaction of urban environment and mirco-governance of music production, including face-toface contact, social interaction and ‘being’ in urban environment, had shaped an urban creative capacity. Secondly, spatial cluster of project-led music enterprise constituted a geographic uniqueness of a music production system, the dynamics of labor market and local consumer market. Three dimensions of urban environment constituted the local reputation effect which influenced the spatial cluster of music enterprises and workers. Only through understanding the institutional-building process of place’s reputation will a virtuous cycle for the revitalization of a unique urban environment be generated.
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