董澤平Dong, Tse-Ping林軒如Lin, Hsuan-Ju2022-06-079999-12-312022-06-072021https://etds.lib.ntnu.edu.tw/thesis/detail/ca82e882d245ef0180138d0f49b57a81/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/116339布袋戲是臺灣獨特的文化資產，從傳統的野台表演到電視等數位平台的播放，是臺灣擁有最多面向的表演風格、最具活力的戲劇，不但深入民間社會，也象徵一種文化的傳承，2006年更是榮獲代表台灣意象票選第一名。面對時代的急遽變化，布袋戲始終面臨傳統文化藝術傳承的時代考驗，然而「霹靂布袋戲」將布袋戲文化透過經營策略及嶄新的創意內容，使得布袋戲在面對時代的變化下，依然能屹立不搖的走自己的路，成為臺灣最具代表性的在地原創內容，將布袋戲推向影視發展的高峰，導入智慧財產權的授權經營模式，推動商品、遊戲化、展覽演藝及出版品等拉近粉絲的距離，成為最早培養粉絲後援會概念的傳統文化產業。但時代的洪流並沒有因此而停下，最近十年因網際網路以及手機的使用普及化，大幅影響人們的使用習慣，2016年隨著OTT的興起、硬體設備的簡易化，使得影視產業內容入門門檻降低，世界各國內容可輕易透過串流平台，讓觀眾從被動接受轉變為擁有主導選擇權的新型態商業模式，屬於臺灣意象的原創內容，因為在地化的題材或語言限制，以及主要消費族群的年齡結構改變，將迎來前所未有的新挑戰，積極拓展市場成了迫切需要重視的課題。然而「霹靂布袋戲」於2016年推出與日本合作的全新奇幻武俠布袋戲偶電視劇集作品《Thunderbolt Fantasy 東離劍遊紀》，該作品在國際市場上獲得正向的口碑及許多的商業合作，在觀眾間也累積了相對程度的粉絲人數支持，亦將布袋戲打造成臺灣文創業打開國際市場最大化的新營運模式，再次締造偶與動漫結合的下一個里程碑。本研究透過文化、日本市場、品牌經營、行銷策略思考角度出發，探究《Thunderbolt Fantasy 東離劍遊紀》進入日本市場的關鍵成功因素，期望為臺灣在地原創內容拓產市場、行銷國際尋求成功的行為參考依據，為臺灣原創內容發產永續經營盡一份心力。本研究使用文獻探究進行研究，從品牌營造得出「霹靂布袋戲」創意的口碑延續及企業的誕生，亦探討臺日兩方的文化差異以及目標市場的商業模式，得出《Thunderbolt Fantasy 東離劍遊紀》的目標策略比照日本動漫市場之行銷策略進行推廣。本研究透過質性研究，採用關鍵成功因素法輔以文獻、次級資料的分析作為個案研究結構依據，訂立國際合製、國際行銷兩大構面；製作內容面相以文本、文獻及次級機料分析為主軸，行銷策略面向則以個案研究為分析基礎，進而對相關執行成員進行深度訪談，以獲得較為完整的執行層面實際資訊。 經分析後研究顯示，《Thunderbolt Fantasy 東離劍遊紀》進入日本市場的關鍵成功因素與組織的深度結合有強的關聯性，有別於獨自尋求跨國發行的單一業務型態，因為國際間的組織深度結合，使的風險分散，但責任共擔，能將資源整合極大化。此外，影視內容不可或缺的文本面向經過縝密分析，與目標市場需求結合度高，能降低初入全新市場的目標受眾不安感，協助減少文化差異的不適應。The glove puppetry is a unique cultural asset of Taiwan. Starting out with outdoor stage and evolving into shows broadcast on TV or other digital platforms, it is the dramatic performance form with greatest variety and vitality. Puppet shows have great influence on the society. Though this valuable heritage was voted as the best representation for the Taiwanese culture, it is now facing the test of times; few people are willing to pass down this traditional form of art. In view of this, Pili International Multimedia Co., Ltd. has been promoting puppet show with operational strategies as well as up-to-date and creative content. Pili managed to reach its goal of becoming the most iconic Taiwanese glove puppetry with original local content, greeting its heyday in TV broadcasting. Meanwhile, the company operated the business by application of authorized intellectual right; it has been promoting series of merchandises, games, exhibition, and publications. It became the pioneer as a traditional industry that was accumulating its fanbase. However, Taiwanese puppetry shows have been facing the test of time over the past decade. The prevalence of Internet and an increasing number of smartphone users has significantly changed people’s habits. In 2016, the over-the-top media services arose, and hardware equipment have become more accessible than ever. Various contents around the world can then be transmitted through the streaming platforms. Viewers no longer receive input passively; this new business model allows them to select contents. Under this circumstance, the original Taiwanese content may face great challenges in exploring international markets due to its local themes and language; the majority group using streaming services might not find such shows attractive. This is has become a significant issue for puppet shows to expand its audience.In 2016, Pili released “Thunderbolt Fantasy,” a new fantasy martial art puppetry TV series, in collaboration with Japanese creators. The show has received positive reviews and gained Pili a lot of business opportunities. The large audience ensures a great number of fans to form a new business model. This model can expand international market while reaching a milestone of integrating Taiwanese puppetry with animation. This study analyzes the recent trends from perspectives of culture, Japanese market, and marketing strategies. The aim is to analyze the key factors that made “Thunderbolt Fantasy” a success in Japanese market, which could serve as a model of exploring new market, seeking success in international market, and inspiring sustainable development of this Taiwanese art.This study mainly involves literature review. The branding of “Pili” was based on positive review of the creative contents as well as the establishment of the company. The cultural difference between Taiwan and Japanese and the business model of the target market are also discussed in this study. The analysis shows that the promotion of “Thunderbolt Fantasy” involved the marketing strategy of Japanese animation works. The study also involves qualitative research; the case was analyzed with key factors for success, literature review, subordinate data, aspects of strategic marketing, and individual case studies. The exhibiting members also underwent an in-depth interview so that more practical and comprehensive information can be obtained.The analysis shows that “Thunderbolt Fantasy” could successfully explore the Japanese market due to the unitedness within the organization. This is different from finding a normal dealer for just one international trade project. The close collaboration between the international organizations can dilute the risk, while the shared responsibility can make the full use of the integrated resources. Besides, a more careful review on the text and analysis on the contents can help lower the impact of cultural difference the puppetry shows cater to the demand of the target market and more welcomed by the target audience.布袋戲Thunderbolt Fantasy 東離劍遊紀布袋戲進入日本市場Glove PuppetryThunderbolt FantasyGlove Puppetry Entering the Japanese Market