簡易檢索 / 詳目顯示

研究生: 朱育萱
Chu, Yu-Hsuan
論文名稱: 台灣繪本產業之角色故事授權策略發展:以顧客感知價值為視角
Developing the IP Licensing Strategy of Character Story in Picture Book Industry in Taiwan:A Perspective from Customer Perceived Value
指導教授: 楊佳翰
Yang, Chia-Han
學位類別: 碩士
Master
系所名稱: 規劃與設計學院 - 創意產業設計研究所
Institute of Creative Industries Design
論文出版年: 2024
畢業學年度: 112
語文別: 英文
論文頁數: 153
中文關鍵詞: 台灣繪本IP授權策略角色顧客感知價值
外文關鍵詞: Picture book, IP Licensing Strategy, Customer Perceived Value, Character 
相關次數: 點閱:52下載:19
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 台灣的繪本產業向來以進口翻譯書在市場取向方面較為強勢,觀察市面上的暢銷前幾名繪本,有一大部分繪本以角色為主發展系列繪本,並獲得讀者長期的喜愛,進而改編成動畫、電影與周邊產品,例如《彼得兔》、《好餓的毛毛蟲》,都是膾炙人口的知名繪本角色,角色IP授權市場全球不斷成長的授權產業裡佔約四成,是相當大的比例,韓國與日本近十年來也注重發展本地的角色IP,並獲得全球成功,近年來台灣政府也開始注意到角色IP的潛力並有意發展。本研究旨在探討繪本角色 IP 開發的現況與挑戰,探索繪本中不同角色故事的價值,以產生與其價值相對應的合適的授權模式。研究方法包含質化與量化,首先透過問卷調查,分析顧客對於繪本角色的感知價值,強調內容授權在繪本角色IP策略中的重要性。再來深度訪談繪本創作者、團隊之個案,與IP授權領域的專家,檢視價值在角色授權的成功策略上的關係,並歸納出有效的授權策略大綱。
    本研究產生以下結論:(1)良好、吸引人的內容能夠建立長久的讀者連結,尤其在繪本領域,具有教育價值和口碑效應至關重要。(2) 繪本角色的情感價值被視為重要元素,強調「可愛」等療癒效果,以及角色擁有獨特的特色和精神的必要性。但若要成功還需持續經營和更新系列的故事內容,以及確保風格的穩定性。(3)授權策略的在不同的品牌生命階段,不同的價值佔有不同的重要性。在創建階段,情感價值和象徵價值至關重要,需建立引人入勝的品牌故事和獨特的藝術設計吸引目標受眾。成長階段則強調授權和合作的權衡價值,擴大市場份額並拓展產品線。成熟階段注重擴展IP生態系統和品牌擴張,需深入了解市場趨勢和受眾喜好,最後,重塑階段強調品牌回憶和品牌跨域合作,強化情感價值和象徵價值。(4)台灣繪本產業與角色IP 應以長遠眼光和規劃,制定不同階段的品牌策略,並在其中平衡情感價值、象徵價值和權衡價值,確保品牌在市場中持久且成功的生存,以超越品牌生命週期。

    Taiwan's picture book industry has been relatively strong in market orientation with imported translated books. Observing the top best-selling picture books on the market, a large number of picture books have developed series of picture books based on characters and have been loved by readers for a long time and then adapted into animations, movies, and peripheral products, such as "Peter Rabbit" and "The Very Hungry Caterpillar," are all well-known picture book characters. The character IP licensing market accounts for about 40% of the growing global licensing industry, which is quite a large proportion. South Korea and Japan have also focused on developing local character IP in the past ten years and achieved global success. In recent years, the Taiwan government has also begun to pay attention to the character IP  and intends to develop its market. The research objective is to explore the current situation and challenges of the development of picture book character IP, examine the value of different character stories in picture books, and generate a suitable licensing model corresponding to its value.
    The research methodology comprised both qualitative and quantitative approaches. Firstly, a questionnaire survey was conducted to analyze the customers' perceived value of picture book characters. This analysis emphasized the significance of content licensing in picture book character intellectual property (IP) strategies. Subsequently, in-depth interviews were carried out with case studies of picture book creators, teams, and experts in the field of IP licensing. The objective of this study was to examine the relationship between value and successful strategies in character licensing and ultimately summarize effective licensing strategy guidelines.
    The study generated the following conclusions: (1) Well-crafted, engaging content can establish long-lasting reader connections, especially in the picture book industry, where educational value and word-of-mouth effects are crucial. (2) The affective value of picture book characters is considered a vital element, highlighting the therapeutic effects of "cuteness," and the necessity for characters to possess unique characteristics and spirits. However, sustained success requires ongoing management and updates to the series' story content, along with ensuring stylistic consistency. (3) The importance of licensing strategies varies at different stages of the brand life cycle. In the creation phase, affective and symbolic values are paramount, requiring the establishment of captivating brand stories and unique artistic designs to attract the target audience. The growth stage emphasizes the value trade-offs of licensing and collaboration, expanding market share, and diversifying product lines. The mature stage focuses on expanding the IP ecosystem and brand extension, requiring an in-depth understanding of market trends and audience preferences. The final stage of reshaping or renewal underscores brand recall and expansion, reinforcing affective and symbolic values. (4) The picture book industry and character IP in Taiwan should adopt a long-term perspective, understanding brand strategies at different stages and balancing affective value, symbolic value, and value trade-offs to ensure the brand's sustained and successful presence in the market, this ensures the brand's enduring and successful presence in the market, surpassing typical brand life cycle.

    Abstract I 中文摘要 III 誌謝 IV Table of Contents V List of Tables VIII List of Figures IX Chapter 1 Introduction 1 1.1.Research Background 1 1.1.1 The Trend of Picture Book Publishing 1 1.1.2 The Rise of the Licensing Market in the Creative Industry 4 1.2 Research Motivation 8 1.2.1 ​​Academic Motivation 8 1.2.2 Industry Motivation 9 1.3 Research Objectives and Research Questions 10 Chapter 2 Literature Review 11 2.1.The Evolving Development of Picture Book Industry 11 2.1.1 Introduction of Global Picture Book Industry 11 2.1.2 Merchandising in Picture Book Industry: Global and Taiwan's Development 15 2.1.3 Challenges in Taiwan Picture Books Industry 20 2.2 Definition and Type of IP Licensing Strategies in Creative Industries 22 2.2.1 Definition and Category of IP in Legal System 22 2.2.2 Copyright as IP in Creative Industries 23 2.2.3. IP Licensing Value Chain and Management in Creative Industries 24 2.3 The Overview of Picture Book Characters and Character Licensing 26 2.3.1 Concept of Brand Characters 26 2.3.2 Factors Affecting Successful Characters 30 2.3.3 Development and Applications of Characters Licensing 33 2.3.4 Development of Character Economy and Its Value Chain 34 2.3.5 IP Licensing Strategy from Character 36 2.4 Concept of Brand Purchase Values 39 2.4.1 Purchase Intention and Perceived Value 39 2.4.2 Theoretical Lens of Customer Perceived Value 39 2.4.3 Type of Brand Purchase Value from Customer Perceived Value 40 Chapter 3 Research Design 45 3.1 Research Framework and Design 45 3.2 Case Introduction 49 3.3.Research Method 55 3.3.1. Literature Analysis 55 3.3.2 Questionnaire Survey 55 3.3.3 Semi-Structured and In-depth Interview 56 3.3.4 Expert Interviews 56 3.3.5 Focus Group 57 3.4. Data Collection 58 3.4.1 Data Source 58 3.4.2 Data analysis 59 Chapter 4 Data Collection and Analysis 61 4.1 Data Analysis of the Literature and Questionnaire 62 4.1.1 Data Collection of picture books series in Taiwan 62 4.1.2 Data Collection and Questionnaire Survey Results 63 4.1.3 Analyze customer perceived value from readers' perspective 68 4.1.4 Focus Group Discussion 69 4.2 Creator's Perspective 71 4.2.1 Individual Creators 71 4.2.2 Team Creators 74 4.3 Experts' Perspective 81 4.3.1 The Vision of Taiwan Character Brand Licensing Association 81 4.3.2 Observations from Licensing Expo 84 4.4 Expert's Suggestions to Taiwan Government 86 4.5 Suggestions for Taiwan picture book character IP from the view of expert 89 4.6 Types of IP licensing strategies in the picture book industry 92 4.6.1 Analysis of Marketing Strategy Model from Case Studies 92 4.6.2 Analyze the Licensing Process 96 4.7 Character Brands Strategy Discussion and Analysis from Experts 100 4.7.1 Strategies for Establishing a Strong Brand in the Early Stage 100 4.7.2 Further Discussion on Brand Story 103 Chapter 5 Discussion and Conclusion 105 5.1 The Evolving Development of the Character Story in Picture Book Industry105 5.2 Analyze Picture Book's Character from the Perspective of Customer Perceived Value 106 5.3 Implication for Theory: Building a Licensing Model 109 5.4 Implication for Practice 113 5.5 Research Limitations and Future Suggestions 122 5.5.1 Research Limitations 122 5.5.2 Future Study 122 5.6 Conclusion 123 References 125 Appendix 132

    Attride-Stirling, J. (2001). Thematic networks: An analytic tool for qualitative research. Qualitative Research, 1(3), 385-405.
    Bogner, A., Littig, B., & Menz, W. (2009). Introduction: Expert interviews—An introduction to a new methodological debate. In Interviewing experts (pp. 1-13). Palgrave Macmillan.
    Baudrillard, J. (2016). Symbolic exchange and death. Sage.
    Braun, V., & Clarke, V. (2012). Thematic analysis. American Psychological Association.
    Clifford, N., Cope, M., Gillespie, T., & French, S. (Eds.). (2016). Key methods in geography. Sage.
    Chen, C. Y., Huarng, K. H., & González, V. I. (2022). How creative cute characters affect purchase intention. Journal of Business Research, 142, 211-220.
    Dodds, W. B., Monroe, K. B., & Grewal, D. (1991). Effects of price, brand, and store information on buyers’ product evaluations. Journal of Marketing Research, 28(3), 307-319.
    DAM, T. C. (2020). Influence of brand trust, perceived value on brand preference and purchase intention. The Journal of Asian Finance, Economics and Business, 7(10), 939-947.
    Englehardt, T. (1986). The strawberry shortcake strategy. Watching Television, 68-110.
    Ebrahim, R., Ghoneim, A., Irani, Z., & Fan, Y. (2016). A brand preference and repurchase intention model: The role of consumer experience. Journal of Marketing Management, 32(13-14), 1230-1259.
    Fishbein, M., & Ajzen, I. (1975). Belief, attitude, intention and behavior: An introduction to theory and research. Reading, MA: Addison-Wesley Publishing.
    Fink, A. (2005). Conducting research literature reviews: From the Internet to paper (2nd ed.). Thousand Oaks, CA: Sage.
    Fisher, M. J., & Marshall, A. P. (2009). Understanding descriptive statistics. Australian Critical Care, 22(2), 93-97.
    Guion, L. A., Diehl, D. C., & McDonald, D. (2001). Conducting an in-depth interview (pp. 1-3). McCarty Hall, FL: University of Florida Cooperative Extension Service, Institute of Food and Agricultural Sciences, EDIS.
    Giddens, A. (2020). Modernity and self-identity: Self and society in the late modern age. In The new social theory reader (pp. 354-361). Routledge.
    Holbrook, M. B. (1999). Consumer value. A framework for analysis and research.
    Hosany, S., Prayag, G., Martin, D., & Lee, W. Y. (2013). Theory and strategies of anthropomorphic brand characters from Peter Rabbit, Mickey Mouse, and Ronald McDonald, to Hello Kitty. Journal of Marketing Management, 29(1-2), 48-68.
    Hsiang Ling Lin. (2021) Exploring the Creative Collaboration in the Original Picture Books Production in Taiwan - The Case Study of PaPa Culture.
    Johnson, D. (2013). Media franchising: Creative license and collaboration in the culture industries (Vol. 11). NYU Press.
    Kotler, P. (2003). Marketing insights from A to Z: 80 concepts every manager needs to know. John Wiley & Sons.
    Kiefer, B. (2011). What is a picturebook? Across the borders of history. New Review of Children's Literature and Librarianship, 17(2), 86-102.
    Kim, A. J., & Ko, E. (2012). Do social media marketing activities enhance customer equity? An empirical study of luxury fashion brand. Journal of Business Research, 65(10), 1480-1486.
    Klimchuk, M. R., & Krasovec, S. A. (2013). Packaging design: Successful product branding from concept to shelf. John Wiley & Sons.
    Kümmerling-Meibauer, B. (Ed.). (2018). The Routledge Companion to Picturebooks. London; New York: Routledge, 505-512.
    Mackey, M. (2003). The case of Peter Rabbit: Changing conditions of literature for children. Routledge.
    Matulka, D. I. (2008). A picture book primer: Understanding and using picture books. Greenwood Publishing Group.
    Maurer, C. (2015). Character Licensing. The Wiley Blackwell Encyclopedia of Consumption and Consumer Studies, 1-2.
    Nodelman, P. (1988). Words about pictures: The narrative art of children's picture books. University of Georgia Press.
    Onwuegbuzie, A. J., Leech, N. L., & Collins, K. M. (2012). Qualitative analysis techniques for the review of the literature. Qualitative Report, 17, 56.
    Padgett, D., & Allen, D. (1997). Communicating experiences: A narrative approach to creating service brand image. Journal of Advertising, 26(4), 49-62.
    Pratt, A. C. (2008). Creative cities: The cultural industries and the creative class. Geografiska Annaler: Series B, Human Geography, 90(2), 107-117.
    Paul, A. W. (2018). Writing picture books revised and expanded edition: A hands-on guide from story creation to publication. Penguin.
    Richardson CA & Rabiee F (2001) ‘A Question of Access’ – an exploration of the factors influencing the health of young males aged 15–19 living in Corby and their use of health care services. Health Education Journal, 60, 3–6.
    Rabiee, F. (2004). Focus-group interview and data analysis. Proceedings of the Nutrition Society, 63(4), 655-660.
    Sheth, J. N., Newman, B. I., & Gross, B. L. (1991). Why we buy what we buy: A theory of consumption values. Journal of Business Research, 22, 159–170.
    Thomas L, MacMillan J, McColl E, Hale C & Bond S(1995) Comparison of focus group and individual interview methodology
    Winnicott, D. W. (1953). Transitional objects and transitional phenomena—a study of the first not-me possession. International Journal of Psycho-Analysis, 34, 89-97.
    Wong, S. (2017). Yuru-kyara and Mascot Characters: Cute Aesthetics and the Empathic Effect of Kawaii in Japanese Commercials.
    Wasko, J. (2020). Understanding Disney: The manufacture of fantasy. John Wiley & Sons.
    Wang, L., & Zhai, Y. (2021, September). Research on Brand IP Shaping in the Era of Brand Personification—Taking Disney’s Cultural Industry as an Example. In 2nd International Conference on Management, Economy and Law (ICMEL 2021) (pp. 326-332). Atlantis Press.
    Zauner, A., Koller, M., & Hatak, I. (2015). Customer perceived value—Conceptualization and avenues for future research. Cogent Psychology, 2(1), 1061782.
    Zhang, X. B., & Kim, K. (2017). A Comparative Analysis of Cognitive Thinking Process for Character Design Between Korea and China. The Journal of the Korea Contents Association, 17(9), 672-680.
    王乾任. (2018). 搞懂IP:提高知識變現力,壯大文化與知識產業必備工具. 臺灣出版與閱讀, 2, 56–62.
    毛毛蟲文創. (2020). 你好,我是文創經紀人!喵~:台灣文創經紀工作的12堂必修課. 遠流.
    李世暉. (2013). 文化經濟與日本內容產業-日本動畫、漫畫與遊戲的煉金術. 智勝文化事業有限公司.
    伊彬, & 劉瑋婷. (2004). 台灣兒童圖畫書出版產業之困境與願景:從插畫創作者之角度檢視. 教育資料與圖書館學, 44(3), 327—356.
    有賀忍. (2021). Super Kawaii萌設計:超可愛的IP之路. 風和文創.
    黃育蓮. (2005). 繪本產製之授權與經紀之研究.
    幾米. (2021). 繪本的夢想與實際:幾米分享創作心得. 大塊文化.
    賴嘉綾. (2020). 神奇的32頁:探訪世界繪本名家創作祕辛. 聯經出版公司.
    賴文智. (2021). 當文創遇上法律/智慧財產的運用. 典藏藝術家庭.
    賴文智. (2023). 當文創遇上法律/讀懂IP授權合約. 典藏藝術家庭.
    蔡明原. (2018). 臺灣兒童文學IP 化的幾點思考: 從賴馬與張友漁談起. 臺灣出版與閱讀, 2, 47–49.
    Web Reference
    Cockcroft, M. (2021, June 17). Already Famous: Making the Case for Licensed Content Books. School Library Journal. Retrieved from https://www.slj.com/story/already-famous-making-the-case-for-licensed-content-books
    Friedman, J. (2022, January 10). What’s Selling in Children’s Books + What’s Ahead for 2022. Jane Friedman. Retrieved from https://www.janefriedman.com/whats-selling-in-childrens-books-whats-ahead-for-2022/
    Global Licensing Study. (2022). Licensing International. Retrieved from https://licensinginternational.org/get-survey/
    Iqbal, M. (2022). Pokémon Go Revenue and Usage Statistics (2022). Business of App. Retrieved from https://www.businessofapps.com/data/pokemon-go-statistics/
    Intellectual Property Office. (2022). Retrieved from https://www.tipo.gov.tw/en/mp-2.html
    Kopp, C. M. (2020, November 30). Perceived Value Explained: What It Is, Why It’s Important. Investopedia. Retrieved from https://www.investopedia.com/terms/p/perceived-value.asp
    Mimi the Dou House. (2022). 米米. Retrieved from https://www.mimifamily.com/tw/index.php?m=Index&a=index
    Newson, K. (2021, September). Peter Rabbit: The Design Evolution of a Blue-Jacketed Icon. Retrieved from https://www.penguin.co.uk/articles/2021/09/peter-rabbit-brand-evolution
    Parker, C. (2021). When Should I Use an IP Licence Agreement? LEGALVISION. Retrieved from https://legalvision.com.au/use-ip-licence-agreement/
    Vincent, A. (2021). ‘This book saved my life’: How The Boy, The Mole, The Fox and The Horse became a publishing phenomenon. Retrieved from https://www.penguin.co.uk/articles/2021/10/the-boy-the-mole-the-fox-and-the-horse-saved-my-life
    小黑啤. (2022). Taiwan Bar. Retrieved from https://taiwanbar.cc/brand/beeru-kids/
    日本授權展台灣館開幕 臺日兩國代表共同出席 與文策院並肩推動台灣 14 個原創角色進軍日本. (2021). Taiwan Content Island. Retrieved from https://taiwancharacter.taicca.tw/News/News.aspx?id=4
    林欣誼. (2023). IP角色授權.業界專訪》把我們的世界觀帶到海外!搶佔日韓角色市場的台灣原創IP代表:MeiMei、幾米、茶葉少女. Openbook. Retrieved from https://www.openbook.org.tw/article/p-68082
    芒狗狗MangoPup. Retrieved from https://mangopup.com/
    李小孟. (2023). IP角色授權.台灣》2023日韓授權展IP經營策略,文策院和台灣角協怎麼看? Openbook. Retrieved from https://www.openbook.org.tw/article/p-68133
    吳致良. (2022). Openbook. 原創角色IP國際授權.現況》中小型角色IP的成功之道:破除3大誤解,茁壯台灣圖像IP. Retrieved from https://www.openbook.org.tw/article/p-67024
    周文凱. (2020). 台灣角色IP大爆發 辨識度、故事性不足是隱憂. 鏡週刊. Retrieved from https://www.mirrormedia.mg/story/20200925insight005/
    原孝典. (2016). 深夜アニメの製作資金は約3億円…儲ける仕組みや製作委員会の構造とは 今こそ知っておきたいアニメビジネスの特徴を取材. Gamebiz. Retrieved from https://gamebiz.jp/news/163467
    陳盈螢. (2020). 年度好書你看了幾本?這10本童書進誠品、博客來百大暢銷. 親子天下. Retrieved from https://www.parenting.com.tw/article/5088167
    曾香慈. (2020). ContentTokyo 2020上》走入日本最大內容產業展會,聚焦角色經濟 Ft.台灣代表隊. Openbook. Retrieved from https://www.openbook.org.tw/article/p-64278
    曾香慈. (2020). 日本IP跨域經營術2》圈粉成功就是「課金」的開始,以角色為核心的IP經濟. Openbook. Retrieved from https://www.openbook.org.tw/article/p-63546
    熊君君. (2023). 童書IP如何經營與變現?原來全部都是冒險!. 親子天下閱讀頻道. Retrieved from https://www.parenting.com.tw/article/5095435
    臺灣角色IP崛起打造全球性角色IP的關鍵策略 圖文IP與品牌聯名跨海會碰到哪些的困境與機遇? (2023). The News Lens. Retrieved from https://www.thenewslens.com/feature/creative-expo2023/192831
    國家圖書館國際標準書號中心. (2021). 110年臺灣圖書出版現況及趨勢報告. 國家圖書館. Retrieved from https://www.ncl.edu.tw/periodicaldetail_305_1072.html
    國家圖書館國際標準書號中心. (2022). 110年臺灣圖書出版現況及趨勢報告. 國家圖書館. Retrieved from https://www.ncl.edu.tw/periodicaldetail_305_1101.html

    下載圖示 校內:立即公開
    校外:立即公開
    QR CODE