淡江大學覺生紀念圖書館 (TKU Library)

系統識別號 U0002-3007200913543300
中文論文名稱 台灣藝文市場生活型態區隔之研究
英文論文名稱 The Research of the Lifestyle Segmentation of Taiwan's Art and Culture Market
校院名稱 淡江大學
系所名稱(中) 國際貿易學系國際企業學碩士班
系所名稱(英) Department of International Trade
學年度 97
學期 2
出版年 98
研究生中文姓名 敏莉
研究生英文姓名 Jennie Miller
學號 696550630
學位類別 碩士
語文別 英文
口試日期 2009-06-08
論文頁數 130頁
口試委員 指導教授-鮑世亨
中文關鍵字 台灣  藝術  文化  一般生活型態  藝術生活型態 
英文關鍵字 Taiwan  Art  Culture  General lifestyle segments  Art lifestyle segments 
學科別分類 學科別社會科學商學
中文摘要 我們已知大大小小藝文產業的經濟利益是不可小覷的。如果在這市場上增加國際觀,以致於在自由表達能力、文化多樣性與經濟成長上都扮演重要的角色。為了使國際上較無勢力的發展中國家參與藝術文化產業,政府、公司企業、各種組織與每個人都應該共同創造、支持與增進藝文計畫與通路。這不僅幫助振興經濟,並且激勵文化創意的資源。
2. 針對台灣藝文市場, 探討不同藝文生活型態族群之參與頻率是否不同。
3. 針對台灣藝文市場, 探討不同藝文生活型態族群之願付價格是否不同。
英文摘要 Abstract
Creative industries are being realized for their benefits in large and small scale.
Adding an international dimension gives them a role for the future in terms of freedom of expression, cultural diversity and economic development. In order for smaller or growing countries to partake in the advantages of the arts and culture industries, governments, businesses, organizations and individuals alike can cooperate to create, support, and improve projects and channels of distribution. This will not only help to boost the market, but also help to inspire the source of creativity.
In order to better understand this ever-changing and complex industry, different kinds of lifestyles, and consumer preferences and behaviors are needed to analyze the various segments of a population. By knowing what groups of consumers like and what kinds of activities they prefer to participate in, different organizations can create a marketing strategy to attract potential new markets, as well as consumers.
This study has the following objectives:
1. Use the Taiwan art and culture market at an aim, to discuss the significance of different art lifestyle segments on general lifestyle.
2. Use the Taiwan art and culture market at an aim, to discuss the significance of different art lifestyle segments on participation in arts activities.
3. Use the Taiwan art and culture market at an aim, to discuss the significance of different art lifestyle segments on willingness to spend on arts activities.
The findings of this study illustrate the behaviors and segmentations for Taiwan’s creative industry, and the different kinds of consumers to market to. Implications of this research to suggest to the marketers of Taiwan’s creative industry and recommendations for further research are also presented.
論文目次 Table of Contents
Chapter 1 Introduction, Background, Motivation, Objectives 1
1.1 Introduction 1
1.2 Definitions 4
1.3 Background 5
1.3.1 Taiwan’s Creative Industry History 5
1.3.2 The Colonial Era (1895-1945) 6
1.3.3 Marital Law Era (1949-1975) 7
1.3.4 THE FIRST WAVE: Permeation (1960-80) 9
1.3.5 THE SECOND WAVE (1981-90) 11
1.3.6 Arts as a New Wave (1991-present) 14
1.3.7 Other Countries’ Creative Development 17
1.4 Motivation 20
1.4.1 Local and international economic benefits 21
1.4.2 Education 28
1.4.3 Social 34
1.5 Objectives 36
1.6 Explanation of the Research Process Figure 37
Chapter 2 Document Review 40
2.1 Art and Culture Marketing 41
2.2 Consumer attitudes and behavior 43
2.3 Maslow’s Hierarchy of Needs 44
2.4 Activities, Interests, and Opinions (AIO) 46
2.5 Overview of Theories and Consumer Behavior 47
2.5.2 Consumer budget optimization 48
2.5.3 Consumer Values 49
2.5.4 Approaches 50
2.5.5 Audiences 51
2.5.6 Consumer Motivations 54
2.5.7 Different lifestyle segments in the literature 56
Chapter 3 Research Methods 60
3.1 Conceptual Framework 61
3.2 Hypotheses 62
3.3 Supportive references 63
3.4 Data Collection 68
3.5 Questionnaire Design 69
3.6 Data Analysis 71
Chapter 4 Data Analysis 72
4.1 Demographics 72
4.2 KMO and Bartlett-Specific Art lifestyle 75
4.3 Factor Analysis of Specific art lifestyles 76
4.4 Cronbach’s alphas of Specific art lifestyles 78
4.5 MANOVA Cluster Analysis of Art lifestyles 79
4.6 Discriminant Analysis 80
4.7 Descriptive Analysis 81
4.8 ANOVA 83
4.9 KMO and Bartlett-General lifestyle 84
4.10 Factor Analysis of General lifestyles 85
4.11 Cronbach’s alphas of General Lifestyles 87
4.12 MANOVA Art lifestyles 87
4.13 Wilk’s Lambda 88
4.14 Two-way ANOVA 89
4.15 Cluster and Factors’ Significance 90
4.16 Participation 91
4.17 Willingness-to-spend 93
Chapter 5 Conclusions and Implications 95
5.1 Conclusions 95
5.1.1 Research Objectives 96
5.1.2 Hypotheses 99
5.1.3 Art Lifestyle Segmentation 100
5.2 Implications 102
5.3 Limitations and Extensions 110
References 111
English Literature Sources 111
Internet Resources 116
Video Bibliography 118
Appendix A Self-administered Questionnaire (English version) 119
Appendix B Self-administered Questionnaire (Chinese version) 125

List of Tables
Table 1.4-1 Creative Industries International Trade by Product Groups (millions of $) 22
Table 1.4-2 Creative Industries International Trade as % of total World 24
Table 1.4-3 Creative Industries International Trade Growth rates % 25
Table 1.4.2-1 Arts Course-taking Patterns and SAT scores 30
Table 4.1-1 Demographics 72
Table 4.2-1 Factor Analysis-KMO & Bartlett 75
Table 4.2-2 Total Variance Explained 75
Table 4.3-1 Specific Lifestyle Factor Loading 76
Table 4.3-2 Specific Lifestyle Factor Loading 76
Table 4.3-3 Specific Lifestyle Factor Loading 77
Table 4.3-4 Factor Lifestyle Factor Loading 77
Table 4.4-1 Art lifestyle Cronbach’s Alpha 78
Table 4.5-1 MANOVA Art lifestyle cluster analysis 79
Table 4.6-1 Discriminant Analysis Case Processing Summary 80
Table 4.7-1 Descriptive Analysis 81
Table 4.8-1 ANOVA-Analysis of Variance 83
Table 4.9-1 Factor Analysis-KMO & Bartlett 84
Table 4.9-2 Total variance explained 84
Table 4.10-1 General Lifestyle Factor Loading 85
Table 4.10-2 General Lifestyle Factor Loading 85
Table 4.10-3 General Lifestyle Factor Loading 86
Table 4.10-4 General Lifestyle Factor Loading 86
Table 4.11-1 General lifestyle Factor-Cronbach’s alphas 87
Table 4.12-1 MANOVA-Art lifestyles 87
Table 4.13-1 Wilk’s Lambda 88
Table 4.14-1 Two-way Analysis of Variance ANOVA 89
Table 4.15-1 Cluster and Factors’ Significance 90
Table 4.16-1 Art Lifestyle Segmentation-Participation 91
Table 4.17-1 Willingness-to-spend 93
Table 14.7-2 Willingness-to-spend Significance 94

List of Figures

Figure 1.1-1 Core Cultural Domains 2
Figure 1.4.2-2 Compendium Summary: The Arts and Academic and Social Outcomes 30
Figure 1.6-1 Research Process 37
Figure 2.3-1 Maslow’s Hierarchy of Needs 44
Figure 2.5.1-1 A Theoretical Model of Culture’s Influence on Behavior 47
Figure 2.5.3-1 Opposing values, tendencies or positions 50
Figure 2.5.5-1 Major Consumer Reference Groups 51
Figure 2.5.6-1 Model of the Motivation Process 54
Figure 2.5.7-1 VALS Framework 56
Figure 3.1-1 Framework Chart 61
Figure 3.3.1 Summary Hypotheses Pertaining to Arts Participation 65
Figure 5.2-1 Liked Activities in Taiwan 103
Figure 5.2-2 Motivational Activities in Taiwan 104
Figure 5.2-3 Activities with an eager audience 106
Figure 5.2-4 Suggested Activities 107

參考文獻 References
English Literature Sources
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(2) Andreason, Alan, R. and Belk, Russell W. (1980), “The Predictors of Attendance at the Performing Arts,” Journal of Consumer Research Vol. 3, pp. 112-120.
(3) Arnold, Mark J., and Tapp, Shelley R. (2003), “Direct marketing in Non-Profit Services: Investigating the Case of the Arts Industry,” Journal of Services Marketing Vol. 17 No. 2, pp. 141-160.
(4) Arnold, Mark J., and Tapp, Shelley R. (2001), “The Effects of Direct Marketing Techniques on Performance: An Application to Arts Organizations,” Journal of Interactive Marketing Vol. 15, No. 3, pp. 41-52.
(5) Barrett, Hilton, Balloun, Joseph L., and Weinstein, Art. (2005), “The Impact of Creativity on Performance in Non-Profits,” International Journal of Nonprofit and Voluntary Sector Marketing Vol. 10, pp. 213-223.
(6) Barrowclough, Diana and Kozul-Wright, Zeljka. (2008), Creative Industries and Developing Countries, London: Routledge.
(7) Bauum, Julian. (1992) “Locals Preferred: Taiwan Enters International Art Market,” Far Eastern Economic Review Vol. 155, No. 13, pp. 76.
(8) Beck, Andrew. (2003), Understanding the Cultural Industries, London: Routledge.
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(10) Bouder-Pailler, Danielle. (2008) “Personal Time and Social Time: Their Role in Live Performance Attendance,” International Journal of Arts Management Vol. 10, No. 3, pp. 38-48.
(11) Buehler, Daniel, and Trapp, Erin. (2001) “The Economic Impact of Oregon’s Nonprofit Arts Sector,” WESTAF, pp. 2-49.
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(21) Gnuschke, John E. and Smith, Stephen. (2005), “Arts and Economic Development,” Business Perspectives Vol. 17, No. 3, pp. 2-3.
(22) Heilbrun, James and Gray, Charles M. (2001), The Economics of Art and Culture (2nd Edition) Cambridge: Cambridge University Press.
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Internet Resources
Ambassador’s Fund for Cultural Preservation http://exchanges.state.gov/afcp/index.html
Art and Culture-Policy Points for Vision Green http://www.greenparty.ca/en
Art for Refugees in Transition http://www.artforrefugees.org
Arts, Culture, and Entrepreneurship: The Benefits for Local Economies http://www.arc.gov
Council of Cultural Affairs www.english.cca.gov.tw
Arts and Economic Prosperity III www.AmericansForTheArts.org/EconomicImpact
Arts Education Partnership www.aep-arts.org
Australia Council for the Arts www.australiacouncil.gov.au/grants
Choose Art http://www.chooseart.com/arteducation.asp
Culture.tw http://www.culture.tw
Department of Infrastructure, Transport, Regional Development and Local Government www.regionalaustralia.gov.au/Info.aspx?NodelD=53
European Commission www.ec.europa.eu
How Art Economically Benefits Cities http://www.pps.org
Leisure and Culture http://www.chorley.gov.uk
National Endowment for the Arts www.arts.gov
National Taiwan Museum of Fine Arts http://www.ntmofa.gov.tw
NWBCA http://www.nwbca.org/
One Town One Product http://otop.tw
OzArts www.ozarts.com
Regional Art and Culture Council http://www.racc.org
Taipei Economic and Cultural Office in New York http://www.taiwanembassy.org/US/NYC
Taiwan’s Arts Administration Training http://artsmanagement.net
Taiwan’s Culture and Art http://www.asianinfo.org/asianinfo/taiwan/pro-art.htm
The Greater Philadelphia Cultural Alliance www.philaculture.org
The National Assembly of State Arts Agencies www.nasaa-arts.org
The New England Council http://www.newenglandcouncil.com/creativeEconomy.php
UNCATAD www.unctad.org
UNESCO http://portal.unesco.org/culture/en
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