本研究從探究凋敝社區活化的開創歷程，思考文化創意產業聚落如何促動凋敝社區重新活化。本研究以「行動者網絡理論」作為分析視角，同時納入人與非人等多重行動體的觀察，分別探討台南市安平地區發展劍獅文化產業，以及高雄市駁二藝術特區打造文化創意園區的經驗，從而發現凋敝社區能夠發展文化創意產業群聚的原因，在於「擁有一群認同文化經濟觀念的主要行動者」、「在地文化資產歷經多次轉譯」、「公部門行動者作為文化創意產業群聚網絡的發言人」、「所有行動者在網絡內綿密互動，並透過協商、試誤確認發展特定的文化創意產業群聚模式後，再分工合作吸引更多商家及觀光客，以擴大群聚效應。」等4大要件。至於凋敝社區如何發展文化創意產業？則是透過：一、「先由某個主要行動者設置活化凋敝社區的入渡要律，吸引在地公私部門行動者參與的興趣」；二、「各個行動者透過協商初步達成於凋敝社區發展文化創意產業的共識，並穩定彼此的利益」；三、「擴大召募其他行動者於凋敝社區嘗試發展文化創意產業群聚的各種可能模式」；四、「由公部門擔任共同發言人，各個行動者朝向確認的文化意產業群聚模式分工合作逐步推動，藉此擴大吸引觀光客及相關商家進駐」等4大階段的開創歷程，才得以產生產業群聚效應，進而活化凋敝社區。

This study investigated the entrepreneuring process of the activation of depleted communities, exploring how the formation of cultural and creative industry clusters could promote such a process. The researcher adopted the actor-network theory to analyze the experiences of developing Sword Lion cultural and creative industry clusters in the An-Ping area in Tainan and Pier 2 warehouses surrounding the area’s art and culture park in Kaohsiung in order to include the multiple actants, both human and non-human.

Based on the research results, several conclusions could be drawn. Depleted communities can develop cultural and creative industry clusters because 1) major actors agreed with the cultural economy; 2) the local cultural assets have been translated many times; 3) the government actor was regarded as a spokesman for the cultural and creative industries’ cluster network; and 4) all the actors closely interacted within the network and, through negotiation, trial, and error, confirm the development of a particular cultural and creative industries’ cluster mode, then divided the labor to attract more tourists and businesses to expand the cluster effect. The depleted communities developed cultural and creative industries via specific processes. First, one of the major actors set an obligatory point of passage (OPP) to activate the depleted communities, catching the interest of both the public and private departments. Second, through negotiations, actors found a common ground for organizing cultural and creative industries in depleted communities, then stabilized each other’s profits. Third, by enrolling more actors, it is possible to identify more possibilities in organizing cultural and creative industries in depleted communities.
IV
Finally, following the government’s lead, actors followed their own division of work, attracting tourists and related industries to join the community and then reach the goal of activating depleted communities. In conclusion, the success of the activation of a depleted community was determined by whether the composition of a macro-actor network can complete through the collective translation of all actors.

目 錄
論文審定書 ……………………………………………………………………………………………….. i
誌謝 …………………………………………………………………………………………………………… ii
中文摘要 …………………………………………………………………………………………………… iii
英文摘要 ………………………………………………………………………………………………….. iv
目錄 ……………………………………………………………………………………………………………. vi
圖次 ……………………………………………………………………………………………………………. ix
表次 ………………………………………………………………………………………………………….. x
第一章、緒論 …………………………………………………………………………………………… 1
第一節、研究背景與動機 ………………………………………………………………… 1
第二節、研究問題與目的 ………………………………………………………………… 3
第三節、研究場域的選擇 ………………………………………………………………… 7
第四節、研究策略與架構 ………………………………………………………………… 12
第二章、文獻整理 …………………………………………………………………………………… 16
第一節、文化創意產業在台灣的發展脈絡 …………………………………. 16
第二節、產業群聚研究 ……………………………………………………………………. 25
第三節、文化創意產業的群聚研究 ………………………………………………… 29
VII
第四節、創業與開創研究 ………………………………………………………………… 31
第五節、凋敝社區活化的相關案例 ………………………………………………… 37
第三章、研究觀點與方法 ………………………………………………………………………… 45
第一節、ANT 是什麼？ ....................................................................... 45
第二章、轉譯的分析方法與批判 …………………………………………………….. 48
第三章、資料蒐集與研究流程 ……………………………………………………….. 53
第四章、安平劍獅文化創意產業的在地轉譯 …………………..……………………. 56
第一節、故事：安平地區如何發展劍獅文化創意產業群聚？ ………… 56
第二節、分析：安平劍獅文化創意產業群聚的開創歷程 ……………… 64
第三節、轉譯分析的發現 ……………………………………………………………….. 72
第五章、馭二藝術特區的在地轉譯 ……………………………………………………….. 76
第一節、故事：高雄駁二倉庫群如何發展成為創意文化園區？ …… 76
第二節、分析：駁二藝術特區發展文化創意產業的開創歷程 ……… 88
第三節、轉譯分析的發展 ……………………………………………………………….. 96
第六章、結論與建議 ……………………………………………………………………………… 100
第一節、文化創意產業群聚活化凋敝社區的4 大要件 ………………… 102
第二節、文化創意產業群聚活化凋敝社區的4 大階段 …………………… 109
第三節、研究貢獻 ………………………………………………………………………… 117
第四節、研究限制與建議 ……………………………………………………………….. 121
參考文獻 …………………………………………………………………………………………………. 125
VIII
中文部分 ……………………………………………………………………………………….. 125
英文部分 ……………………………………………………………………………………….. 130

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