文化創意產業園區政策執行成效之研究—— 以華山1914訪客為例

Abstract

文化創意產業園區作為文創產業的重要載體，在2002年時被台灣將列為「挑戰2008：國家發展重點計畫」中之一項（文化部國家文化資料庫，2011），政府開始重視文化創意產業發展的環境，文創產業亦自此走進台灣大眾的視線，受到人們的重視與關注。華山1914文化創意產業園區作為台灣發展最早的五個示範園區之一，在2007年就被文建會定位為「台灣文化創意產業的旗艦基地」，至今仍然是社會大眾中知名度最高的文創園區之一。筆者作為澳門僑生也曾在澳門聽過園區的名字，將其視為來台北必參觀的景點之一。本研究以台灣較具代表性的華山1914文化創意產業園區訪客作為研究對象，先以文獻分析法找出可能影響台灣文創產業發展的政策進行探討分析，以華山1914園區的營運政策為基礎建構問卷，利用便利抽樣的問卷調查法進行資料收集。以華山文創園區的訪客為例，一窺現今台灣文化政策在文創產業上執行成效表現如何，提供其他園區、台灣各界乃至澳門政府及其他澳門文創園區作為參考，並且根據上述結果提出本研究之結論、建議與限制。本研究之有效問卷合共回收253份，問卷中以五點量表設計的關於文創園區政策執行成效的問題內部一致性係數為0.918，說明本研究問卷內部一致性極佳。經研究發現，訪客都能體會並同意華山文創園區所執行的政策，16項政策中同意度最高的項目為認為華山有「塑造出生活美學風格」，而最低的則是認為華山「園區是前衛的」。訪客普遍認同各項政策，平均分數多介於「尚可」到「同意」之間，顯示政策具有一定成效，但也仍有進步提升到「非常同意」的空間；最容易出現顯著差異的背景變項為訪客自認為「對園區的了解程度」。本研究集中於短期內的華山文創園區發展狀況，未能涵蓋園區長期運營的動態變化，可能忽略了某些長期影響和趨勢，如果後續研究能將時間拉長或放在特定節假日中派發問卷可能會得到更到詳盡或不一樣的分析研究結果。未來也可以用不同角度作切入點或輔以半結構式訪談以此來作更進一步的延伸研究，相信可以得到更詳盡的結果為園區未來發展或者其他外地、外國的園區作參考借鑒之用。In 2002, Taiwan included cultural and creative industry parks as a key component of the"Challenge 2008: National Development Plan" (Ministry of Culture National Cultural Database, 2011). This marked the government's increased emphasis on the cultural and creative industry environment, bringing it to public attention and significance. Huashan 1914 Creative Park, one of the five earliest demonstration parks in Taiwan that represents culture and creativity in Taiwan. The park was designated by the Council for Cultural Affairs in 2007 as the "flagship base for Taiwan's cultural and creative industries". It remains one of the most recognized creative parks in society. As a Macau overseas student, I had heard of Huashan in Macau and considered it a must-visit attraction in Taipei. This study aims to evaluate the effectiveness of Taiwan's cultural policies in the creative industry sector, providing insights for other parks, Taiwanese stakeholders, the Macau government, and its creative park development. Putting focus on visitors of the Huashan 1914 Creative Park. The research begins with a literature review to identify policies that may influence the development of Taiwan's cultural and creative industries. Then, based on Huashan's operational policies, a questionnaire was constructed and data were collected using convenience sampling (253 valid responses). Conclusions, recommendations, and limitations are discussed based on the findings. The analysis revealed a high reliability, with a coefficient of 0.918 for internal consistency questions on the effectiveness of creative park policies, measured on a five-point llikert scale. Overall, visitors generally agreedwith Huashan’s implemented policies. The policy with the highest agreement was"creating a lifestyle aesthetic," while the lowest was "being avant-garde." The average scores ranged from "moderate" to "agree," indicating that the policies are somewhat effective but have room for improvement to reach "strongly agree." Notable, the most significant variable influencing differences in responses was the visitors' self-reported "level of understanding of the park." Limitations of this study lie in its focus on the short-term development of Huashan Creative Park, potentially overlooking long-term trends and impacts. Extending the research period or distributing questionnaires during specific holidays might yield more comprehensive results. Future research could delve deeper by incorporating different perspectives or semi-structured interviews for further exploration. This enriched data would provide more detailed results to inform the future development of Huashan and other creative parks, both domestically and internationally.