Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115575
Title: 英國創意產業政策下博物館、美術館的轉變
Changes of the Museum and Gallery under the Creative Industry Policy in UK
Authors: 林磐聳
Lin, Pan-song
林仲如
Lin, Chungju
Keywords: 英國博物館策略
文化創意產業
Museum and gallery policy
Cultural and Creative Industry
Issue Date: 2012
Abstract: 在全球文化、創意產業的熱潮下,博物館、美術館理當置於文化創意產業核心的位置,不單是本身的文化經濟產值,更重要的是它亦提供創作者、藝術家及社會大眾每個人靈感的啟發及確保文化資本的延續。因此,英國這個以博物館、美術館產業與創意產業均聞名於全球的國家,其經驗成為各國學習的重要案例。 英國政府經長期的在地研究後,把博物館、美術館放在創意產業推手的位置,於是開始了創意產業的黃金時期。雖然英國博物館、美術館不在英國創意產業下的類別項中,但相關策略卻積極的配合推廣:從免票制確保博物館、美術館內的文化資產被社會大眾自由使用;到文藝復興政策,重視地方的文化能量並協助其打造地方文化地圖;到新經濟新人才計畫,確保創意人才被社會所見。這種種的博物館、美術館策略,無一不在架構文化創意之環境,也反應出英國政府從過去被動的補助政策,到積極的參與文化藝術活動,以期將「創意英國」的口號,具體實踐。 因此本研究主要在說明英國的博物館、美術館政策如何架構創意產業的環境,相對的,在這個架構的過程中,博物館、美術館本身也經歷了改變。同時,在互動過程中,強化了博物館、美術館未來的發展。文中佐以案例,以說明博物館、美術館與創意產業下所產生的創新現象。 英國不論是創意產業或是博物館、美術館的發展,均是經過長期的研究與不斷的修正其政策路線後,就結果再度深入研究、反省、討論,再執行,反覆這樣循環模式所產生。政策的產生,需在地化,需與社會大眾結合,需符合文化所需,需結合這個國家的所有力量,才能有效的發揮。英國的博物館、美術館在創意產業政策下,發揮其功能,支持創意產業展現亮眼成績。台灣也有自我的文化創意產業發展優勢,如何去發揮,也許並非單從英國博物館、美術館政策或是創意產業政策中去引用,而是如應同英國政府務實的看著自己的問題,想出解決之道,執行,再檢討,不斷的去完成自我目標、找尋問題所在與如何解決之道。台灣博物館、美術館如何在文化創意產業中找到自己最具功效的位置,事先應好好的就台灣本身的優勢、不足點詳加思索,而後重新檢視如何改變現況。
Museums and galleries should be placed in the core of culture and creative production in the present global expansion. Not only do museums and galleries have important cultural and economic value but they also provide inspirations for creators, artists, and communities and to ensure the continuation of the cultural capital. The United Kingdom is worldly renowned for its museums, art galleries, and creative productions, therefore, their experiences and practices have become important case studies for countries all over the world. After long periods of domestic research, the United Kingdom government utilizes the museums and galleries to advocate innovative industries and thus signified the beginning of the Golden Age. Though the museums and galleries in United Kingdom have not been classified into any category however, relevant museum policies are deeply affected. From free entrance to ensure the museum and gallery are accessible to the public to the Renaissance scheme which focuses on the local culture and assist in establishes local cultural map to Creative Britain which ensures New Talents for the New Economy scheme to make sure the creative talent can be seen. All the policies demonstrate that the aims of museums and galleries are to assist in constructing a creative and cultural environment. In order to accomplish its “Creative Britain” motto, The United Kingdom government turns their passive culture and art attitude to actively participating in all sorts of arts and cultural activities. This research primarily indicates how the museum and gallery policy framework affected the creative industry in the UK. Interactively during this constructive progress, the museums and galleries have also been changed and strengthened for their future development. The development of the creative industry and museum schemes in United Kingdom has been consistently examined then followed by more researches, amendments, discussions, and execution. The efficient policy is constructed by this cycling progress. The establishment of a policy framework needs to be localized and connect with the local community in order to conform to the culture. Taiwan has its own cultural and creative industry, how to develop the policy framework that uniquely fits the Taiwanese people is not only relied on exploring the experience of the United Kingdom’s museum and gallery policy but also to focus more on Taiwan’s own problems. Like the United Kingdom, the most valuable experience needed is to learn about how to base on the needs of Taiwan and to find solutions for its own problems.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0894600096%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115575
Other Identifiers: GN0894600096
Appears in Collections:學位論文

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