摘要 淡水近年在藉著漁人碼頭、老街、古蹟園區等地方發展成功的轉型帶動之下,至今儼然成為台灣最著名的觀光消費重鎮之ㄧ,而二十世紀以來,文化創意產業發展逐漸成為全球各國生活文化中主要產業項目。近年來,更因為新北市政府文化局所指派的古蹟園區博物館單位與鎮公所的相互配合,致力於老街周邊文化、空間、產業多元向度之發展,包括古蹟園區的經營、藝術產業之導入、文化創意產業園區之規劃等等,並以「創意城市」為核心目標。而文化創意產業之概念在台灣,大體上屬於萌芽階段,因此在政府投入地方推動過程中,重視地方群體之認同或參考相關成功案例等機制策略更是不可或缺。 因此,本研究主要以文化產業與社區營造之角度介入,透過公部門及社區行動者推動地方發展以及深入地方產業經營之調查及訪談,並輔以創意城市發展之理論;以淡水老街地方文化及產業為研論主軸,針對地方產業文化發展之需求趨勢加以分析並深入探討文化、創意、產業之面向以及社區發展整合策略及方針,進一步研擬適當建議,以作為社區產業文化永續經營目標之參考基礎。
ABSTRACT Tamsui has become one of the most important tourist towns in Taiwan due to the successful development and transformation of tourist attractions including Fisherman’s Wharf, Old Street and Historic Park in recent years. In addition, the growth of Cultural and Creative Industry has also gradually turned into the primary objective of life culture in the most of the countries since the 20th century. Actually, the Tamsui Historic Sites and Township Office have cooperated and devoted to the Old Street peripheral culture, the space and the multi-dimensional development of industry. They takes “The Creative City” as the main goal to implement the policies including the management of historical park, the introduction of artistic industry and plan of cultural creativity industry park and so on. However, the concept of Cultural and Creative Industry just starts and is immature in Taiwan, so it is essential to respect the recognition of the local community and to refer to the successful cases in the past during the process of the government investment. This research executes mainly from the views of cultural industry and community empowering with applying the creative city development theory to investigate and interview the official agency and community actor whose strive to promote the operation and improvement of local industry, and then takes the local culture industry of Tamsui Old Street as spindle to analyze the various sides of culture, creative and industry of town and provide the strategies for integration of community development on purpose of the demand of local culture industry, and finally further discusses suitable suggestions for the basis of sustainable management of the community culture industry.