請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/24141
完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 江炯聰 | |
dc.contributor.author | Tse-Ping Dong | en |
dc.contributor.author | 董澤平 | zh_TW |
dc.date.accessioned | 2021-06-08T05:16:53Z | - |
dc.date.copyright | 2006-01-27 | |
dc.date.issued | 2006 | |
dc.date.submitted | 2006-01-23 | |
dc.identifier.citation | 中文文獻
1.中華無形資產鑑價研究發展協會,國際融資擔保機制比較(數位內容產業)研究報告,2003 2.行政院新聞局,中華民國電影年鑑,2002~2004 3.李樸良譯,John Howkins著,創意經濟,典藏雜誌社出版,2003 4.李達義著,好萊塢•電影•夢工廠,揚智文化事業出版,2000 5.仲曉玲、徐子超譯,Richard Caves著,文化創意產業—以契約達成藝術與商業的媒合,典藏出版,2004 6.陳炳勳,李焜耀投資三十二歲小夥子拍電影-明基進軍文化創意產業第一步,商業周刊 879期,2004 7.汪睿祥譯,麥可•沃夫著,娛樂經濟大未來,中國生產力中心出版,2000 8.香港電影工作者總會,振興香港電影工業政策報告,2002 9.黃仁、梁良編著,臥虎藏龍好萊塢:李安與華裔影人菁英,紅螞蟻圖書出版,2002 10.麥可波特,邱如美譯,Competitive Advantage(競爭優勢),天下遠見出版,2000 11.馮建三譯,Toby Miller、Nitin Govil、John Mcmurria、Richard Maxwell著,全球好萊塢,巨流圖書公司出版,2003 12.楊士賢著,台灣電影產業國際競爭力與全球化策略情境規劃—波特鑽石理論之應用,國立中山大學企業管理學系未出版碩士論文,2003 13.游啟璋、吳心儀、馬南芝,國外專案融資制度導入數位內容產業融資之可行性分析報告,理律法律事務所,2004 14.謝彩妙著,尋找青冥劍:從《臥虎藏龍》談華語電影國際化,亞太圖書出版,2004 15.姜家宏著,臺灣資訊電子業融資行為與資本結構之探討,國立中山大學財務管理研究所未出版碩士論文,1995 16.楊蕙蘭著,研究發展投資與財務政策關聯性之實證研究,逢甲大學會計與財稅研究所未出版碩士論文,2003 17.張靚蓓編著,十年一覺電影夢,時報出版,2002初版 18.劉佩修,亞洲最有影響力的億萬製片家,商業周刊第 940 期,2005 英文文獻 1.Barry R. Litman,The Motion Picture Mega-Industry, Pearson Education, 1998 2.Bill Daniels, David Leedy, Steven D.Sills, “Movie Money: Unserstanding Hollywood’s (Creative) Accounting Practices”, Silman-James Press,1998 3.Buljevich, Esteban, C., and Yoon S. Park,Project Financing and the International Financial Markets, Kluwer Academic Publishers,1999 4.Barnea, A., Haugen, R. Q., and Senbet, L.W.,Agency Problems and Financial Contracting, Englewood Cliffs: Prentice-Hall Foundations of Finance Series. 1985 5.Edward Fee, “The costs of outside equity control :Evidence from motion picture financing decision”,The Journal of Business, 2002 6.Brighan Eugene F., Gapenske Louis C. Gapenske and Ehrhardt Michael C., “Financial Management theory and practice ninth edition”, The Dryden Press 1999,pp.75-79 7.C. Foy, Motion Picture industry Overview: Including the History of Independent Film Finance, 2004 8.Chua, J.H. and Wooward, R.S., “The pecking order hypothesis and capital structures of private companies”,Financial Management, 22(1), 1993,18. 9.Coase, R.H., “The nature of the firm”, Economics, 1937 10.Dina Appleton and Daniel Yankelevits, “Hollywood Dealmaking”, Allworth Press, 2002. 11.De Vany, Hollywood Economics: How Extreme Uncertainty Shapes the Film Industry, Routledge , January 1, 2004 12.Dina Appleton,Hollywood Dealmaking : Negotiating Talent Agreements, Allworth, 2002 13.Donaldson, G.,Corporate debt capacity, Division of Research, Graduate School of Business Administration, Harvard University Boston, 1961 14.Edward Jay Epstein,How To Finance a Hollywood Blockbuster-Start with a German tax shelter, The Hollywood Economist,2005 15.Eileen Morley and Andrew Silver, “A Film Director’s Approach to Managing Creativity”, Harvard Business Review, March-April, 1977, pp. 59-68 16.Eisenhardt, K.M., “Agency theory : an Assessment and review”, Academy of Management Review, 1989 17.Gregory Goodell,Independent Feature Film Production : A Complete Guide from Concept Through Distribution, ST. Martin's Griffin, 1998 18.Harris, M. and Raviv, A., “The theory of capital structure”, The Journal of Finance, 1991 19.Harold L. Vogel, “Entertainment Industry Economics”, Cambridge University Press, 2004. 20.Janet Kiholm Smith, Richard L. Smith, “Entrepreneurial Finance”, Wiley Press, 2004 21.Jensen, M.C. and Meckling, W.H., “Theory of the firm: Managerial behavior, agency costs and ownership structure”, Journal of Financial Economics, 1976. 22.John J. Lee,The Producer's Business Handbook, Focal Press, 2000 23.John W. Cones,The Feature Film Distribution Deal : a Critical Analysis of the Single Most Important Film Industry Agreement,1997. 24.John W. Cones, “43 Ways to Finance Your Feature Film: A Comprehensive Analysis of Film Finance”, Southern Illinois University Press, 1998. 25.Kester, C., “Capital and ownership structure: A comparison of U.S. and Japanese manufacturing corporations”, Financial Management, 1986 26.Kim, W.S. and Sorensen, E.H., “Evidence on the impact of the agency costs of debt on corporate debt policy”, Journal of Financial and Quantitative Analysis, 1986 27.Linos Trigeorgis, “Real Options- Managerial Flexibility and Strategy in Resource Allocation”, The MIT Press,1999 28.Louise Levison, Filmmakers and Financing: Business Plans for Independents Fourth Edition, Focal Press, 2004 29.Mark Litwak, Dealmaking in the Film and Television Industry From Negotiations Through Final Contracts: 2nd Edition Expanded and Updated, Silman-James Press, 2002 30.Mark Litwak, Risky Business: Financing & Distributing Independent Films, Silman-James Press, 2004 31.Martha Amram, “Showing Value to Wall Street - Film Studios”, Value Sweep: Mapping Growth Opportunities Across Assets, Ch.10, 2004, pp. 225-247 32.Michael E. Porter, Competitive Advantage: Creating and Sustaining Superior Performance, New York: Free Press,1985 33.Michael Wiese,Film and Video Financing, Michael Wiese Productions, 1991 34.Mihir A. Desai, Gabriel J. Leob, Mark F. Veblen, “The Strategy and Sources of Motion Picture Finance”, Harvard Business School Press, 2002 35.MilGrom, Paul, and John Roberts, Economics, Organization, and Management, Englewood Cliffs, NJ: Prentice-Hall, 1992 36.Myers, S.C., “Determinants of corporate borrowing”, Journal of Financial Economics, 1977 37.Myers and Majluf, N.S. “Corporate financing and investment decisions when firms have information that investors do not have.”, Journal of Financial Economics, 13, 1984, pp.187-221 38.Norton, E. Determinants of capital strusture: A survery. Advances in Financial Planning and Forecasting, 3,1989, pp.323-350. 39.Paul A. Baumgarten, Donald C. Farber, “Producing, Financing, and Distributing Film : A Comprehensive Legal and Business Guide”, Amadeus Press, 2004 40.Peter Dally, Angel Durandez, Luis Jimenez, Alberto Pasquale, and Christophe Vidal,The Audiovisual Management Handbook, Media Business School, 2002 41.Peter K. Nevitt, Frank Fabozzi,Project Financing, 6th Ed., p.10, Euromoney Publication PLC, 1995 42.Richard E. Caves, “Creative Industries: Contracts Between Art and Commerce”, Harvard University Express,2002 43.Robert J. DeFillippi and Michael B. Arthur, “Paradox in Project-Based Enterprise: The Case of Film Making”, California Management Review, Vol. 40 , No.2, 1998, pp. 125-139 44.Robert K. Yin, “The Case Study Crisis: Some Answers”, Administrative Science Quarterly, 26, 1981, pp.58-65 45.Robert K. Yin, “Case Study Research: Design and Methods”, 3rd edition, Sage Pubns Press, 2003 46.Ryan Bill, “Making Capital from Culture: The Corporate Form of Capitalist Cultural Production”, Berlin; New York: Walter de Gruyter, 1992. 47.Schramm, W., “Notes on Case Studies of Instructional Media Projects”, Working Paper, the Academy for Educational Development, Washington, DC., 1971 48.Schuyler M. Moore, “The Biz: The Basic Business, Legal, and Financial Aspects of the Film Industry”, Silman-James Press, 2002 49.Smith, C. and Warner, J., “On Financial Contructing”, Journal of Financial Economics, 1979 50.Titman, S., “The effect of capital structure on a firm’s liquidation decision”, Journal of Financial Economics, 1984 51.Wyatt, J. , “High Concept: Movies and the marketing in Hollywood”, University of Texas Press, 1994, pp.2-3 52.Zuckerman, E. W. and Kim, T. Y., “ The Critical Trade-off: Identify Assignment and Box-office Success in the Feature Film Industry”, Industry and Corporate Change, 12-1, 2003, pp.26-27 53.Florian Haase, “German Funds in the U.S. Film Industry: Tax-Motivated Investments”, Tax Planning Int’l, pp.2-5, 2005 網站 國內 http://movie.cca.gov.tw http://www.taiwancinema.com/ http://www.cci.org.tw http://www.ctfa.org.tw/ 國外 http://www.adamsmediaresearch.com/ http://www.cfoyesq.com/Overview%20&%20History.htm http://www.fso-tela.gov.hk/chi/abt/index.cfm http://www.imdb.com http://www.nzfilm.co.nz/ http://www.ukfilmcouncil.org.uk/filmingUK/ http://www.variety.com/ http://www.imdb.com | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/24141 | - |
dc.description.abstract | 本研究透過電影財務與創業財務相關理論和實證研究探討中,歸納出一獨立製片人在有關創業財務策略決策制定之整體性分析架構,並藉此觀念架構進行實證性探討,實際分析電影創業家在創業籌資過程中之風險評估控管與制定相關決策之過程,做為獨立製片人創業財務策略制定之參考。
本研究之重要發現如下: 1.電影產業特特性,引發許多資本市場的金融創新,包括售後租回模式(sale and leaseback model)、專案融資(project finance)、開發公司(development company)與專案公司(project company)價值鍊專業分工,以及階段融資、實質選擇權與分帳制度等金融創新模式。 2.電影專案融資已經成功整合智慧財產權抵押融資之關鍵機制,如著作權鑑價、完工履約保險與權利質權設定等,並能有效控制完工風險、績效風險與財務風險,使電影著作權得以設定權利質權之方式做為向資金供給者融資之擔保。 3.電影產業是世界各國高度保護與重點發展產業,在先進國家或開發中國家皆將電影產業為列為重要文化資產與重點發展產業,並制定相當優惠之獎勵政策如高比例租稅減免、高額度融資補助與大型電影基金等。 4.由於各國政府與金融市場的積極爭取和開發下,電影創製價值鍊中如創意來源、電影產業人力聘僱、資金調度以及電影專案公司登記屬地與電影著作權之歸屬國籍和後製、發行、映演等產業分工活動,均出現國境疆界模糊(international boundary of ambiguity)與跨越國境之現象。 5.獨立製片人的信譽、劇本創意與卡司陣容是電影創作能否於早期開發階段即能取得外部融資的關鍵因素,而影片的行銷策略則影響資金來源的多樣性與融資金額的大小。 6.電影專案的投資決策與融資決策具有不可分離性;投資決策不僅影響獨立製片人融資決策之制定更是對外融資成功的關鍵,而外部融資人對於電影專案製作具有積極參與投資決策與監督管理專案進行之特性。 | zh_TW |
dc.description.abstract | This thesis aims at combining theory and research on film finance and entrepreneurial finance to generalize an integrated analytical framework for independent producer’s entrepreneurial financial strategy in film project financing, by which to proceed an empirical research to investigate the process and impact of entrepreneur’s decision making and risk control in film project’s fund raising, in order to offer a paradigm for independent producer’s entrepreneurial financial decision making.
The main findings of this study are summarized as follows: 1.The characteristics of film industry result in many financial innovations, including “sale and leaseback”, “project financing”, “division of labor by development Company and project company”, “staging financing”, “real options” , “profit sharing”, et cetera. 2. Project financing has successfully integrated the key mechanism of financing by mortgaging on intellectual property, such as valuation of the copy rights, completion bond, intellectual property and mortgage banker, and et cetera. 3. Many courtiers have highly protected and developed film industry for its unique and replaceable role in culture, related policy including investment tax credit, subvention, mega film fund, and cetera. 4. Film vale chain have become international labor of division mainly by co- production and co- funding. 5. The key successful factor of fund raising in early stage for film project making are producer’s credit, script, cast, and budget. 6. Film project’s investment decisions and financing decisions are inseparable: investment package is essential to success of financing, and eternal financiers always actively participate in development, decision making and monitoring the film project. Finally, the study presents some suggestions to our government, as well as to film industry, financial market and future research. | en |
dc.description.provenance | Made available in DSpace on 2021-06-08T05:16:53Z (GMT). No. of bitstreams: 1 ntu-95-D89741005-1.pdf: 765634 bytes, checksum: a5dc7429473e4b57c70d6479cbeb4c90 (MD5) Previous issue date: 2006 | en |
dc.description.tableofcontents | 第一章 緖論
1.1研究背景-----------------------------------------------1 1.2研究動機-----------------------------------------------5 1.3問題定義-----------------------------------------------8 1.4研究目的-----------------------------------------------8 1.5研究範圍-----------------------------------------------9 1.6研究貢獻-----------------------------------------------9 1.7研究方法----------------------------------------------10 1.8論文結構----------------------------------------------10 第二章 文獻探討 2.1融資決策理論------------------------------------------11 2.1.1代理理論 11 2.1.2 融資順位理論(Pecking Order Theory) 14 2.1.3影響企業融資決策之因素 15 2.1.4實證研究 17 2.2創業融資----------------------------------------------17 2.2.1創業融資特性 17 2.2.2融資策略 19 2.2.3融資契約設計 21 2.2.4資訊問題與誘因問題之解決 23 2.2.5實質選擇權 24 2.3專案融資----------------------------------------------26 2.3.1專案融資之定義 26 2.3.2專案融資與傳統負債融資之差異 26 2.3.3專案融資之特性 27 2.3.4專案融資之風險 28 2.3.5專案融資融資架構 29 2.4電影融資----------------------------------------------30 2.4.1獨立製片人之定義 30 2.4.2融資實體 31 2.4.3融資模式 32 2.4.4完工履約保證(Completion Bond) 36 2.4.5融資契約 38 2.4.6著作權融資 42 第三章 電影產業價值鍊與融資管道分析 3.1價值鍊分析--------------------------------------------44 3.1.1產業特性 44 3.1.2產業價值鍊 48 3.1.3風險分析 52 3.1.4價值鍊與風險變化 55 3.2融資管道分析------------------------------------------56 3.2.1我國政府 56 3.2.2傳統製片公司 60 3.2.3科技產業 60 3.2.4金融業 61 3.2.5國際資金 62 3.2.6未來融資管道評估 62 第四章 研究設計 4.1研究方法----------------------------------------------66 4.1.1個案研究法 66 4.2 觀念架構---------------------------------------------67 4.3 研究變項---------------------------------------------69 4.3.1產業變數 69 4.3.2區位變數 70 4.3.3企業專屬變數 70 4.3.4策略變數 71 4.3.5融資策略 72 4.4研究流程----------------------------------------------76 第五章 個案探討 5.1個案一:《臥虎藏龍》----------------------------------77 5.1.1融資歷程 77 5.1.2《臥虎藏龍》製片菁英團隊 78 5.1.3成功經驗之建議 80 5.2個案二:得藝國際媒體----------------------------------82 5.2.1公司簡介 82 5.2.2個案二之1、之2:《Mail Order Wife》、《Sledge》 84 5.3個案二之3:《Minotaur》-------------------------------86 5.4個案二之4:《Dark Reign》-----------------------------89 第六章 命題發展 6.1產業因素----------------------------------------------93 6.1.1命題1 93 6.1.2命題2 94 命題2-1 94 命題2-2 95 6.1.3命題3 96 6.2區位因素----------------------------------------------96 6.2.1命題4 96 6.2.2命題5 97 6.2.3命題6 98 6.3企業專屬變數因素-------------------------------------98 6.3.1命題7 98 6.3.2命題8 99 6.3.3命題9 100 6.3.4命題10 100 6.4策略變數因素----------------------------------------101 6.4.1命題11 101 命題11-1 101 命題11-2 101 6.4.2命題12 102 命題12-1 102 命題12-2 102 6.4.3命題13 103 第七章 結論與建議 7.1 研究結論--------------------------------------------104 7.1.1研究命題 104 7.1.2研究結論 105 7.2相關建議---------------------------------------------106 7.2.1對政府之建議 106 7.2.2對電影製片人之建議 107 7.2.3對金融業之建議 107 7.2.4對學術界後續研究之建議 108 表次 表2.1代理理論簡要說明------------------------------------12 表2.2新創風險事業的融資來源 19 表2.3實質選擇權分類 25 表2.4融資實體之比較 32 表2.5 PFD契約各財務選擇權抵換關係 38 表2.6基本影片融資矩陣 39 表3.1價值鍊各階段風險變化--------------------------------55 表3.2歷年政府電影輔導金總額及輔導片數統計 57 表3.3電影輔導金辦法審查重點比較 58 表3.4 輔導金影片數量及比例 59 表4.1個案研究的基本設計類型------------------------------67 表4.2電影融資模式 73 表4.3契約設計模式 74 表4.4電影投資實質選擇權 75 表5.1《臥虎藏龍》發行情況--------------------------------78 表5.2《臥虎藏龍》融資說明 78 表5.3《臥虎藏龍》融資整理 81 表5.4《Mail Order Wife》、《sledge》融資整理 84 表5.5《Minotaur》融資情況 87 表5.6《Minotaur》融資整理--------------------------------88 表5.7《Dark Reign》融資策略 90 表5.8《Dark Reign》waterfall 90 表5.9《Dark Reign》發行情況 91 表5.10 《Dark Reign》 融資整理 91 圖目錄 圖2.1新創風險事業發展階段--------------------------------18 圖2.2新創風險事業策略交互作用 20 圖2.3創業家以模擬法設計與評估融資契約之過程 22 圖3.1電影產業價值鍊--------------------------------------48 圖3.2價值鍊階段與風險變化 56 圖3.3 電影業專案融資架構 63 圖4.1研究觀念架構----------------------------------------68 圖4.2研究流程 76 圖6.1得藝國際媒體電影開發與製作財務運作機制--------------95 圖6.2影片行銷策略與融資策略矩陣 102 附錄 附錄一:論文訪談名單------------------------------------114 附錄二:《臥虎藏龍》各項紀錄----------------------------115 | |
dc.language.iso | zh-TW | |
dc.title | 新創風險事業創業財務策略之研究—以獨立製片人電影專案籌資為例 | zh_TW |
dc.title | The Study of Entrepreneurial Financial Strategy in New Venture Initiating: A Case of Independent Producer in Film Project Fundraising | en |
dc.type | Thesis | |
dc.date.schoolyear | 94-1 | |
dc.description.degree | 博士 | |
dc.contributor.oralexamcommittee | 林筠,林博文,蔡明誠,蔡揚宗 | |
dc.subject.keyword | 電影專案,創業財務,財務策略,獨立製片人, | zh_TW |
dc.subject.keyword | film project,entrepreneurial finance,financial strategy,independent producer, | en |
dc.relation.page | 116 | |
dc.rights.note | 未授權 | |
dc.date.accepted | 2006-01-24 | |
dc.contributor.author-college | 管理學院 | zh_TW |
dc.contributor.author-dept | 商學研究所 | zh_TW |
顯示於系所單位: | 商學研究所 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
ntu-95-1.pdf 目前未授權公開取用 | 747.69 kB | Adobe PDF |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。