簡易檢索 / 詳目顯示

研究生: 李佩珊
Lee, Pei-Shan
論文名稱: 角色智慧財產授權之品牌設計探討
Study on Brand Design in Character Intellectual Property Licensing
指導教授: 伊彬
I, Bin
口試委員: 伊彬
I, Bin
林演慶
Lin, Yen-Ching
周賢彬
Chou, Syan-Bin
口試日期: 2024/06/18
學位類別: 碩士
Master
系所名稱: 設計學系設計創作碩士在職專班
Department of Design_Continuing Education Master's Program of Creative Practice in Design
論文出版年: 2024
畢業學年度: 112
語文別: 中文
論文頁數: 132
中文關鍵詞: IP商標權角色設計商業識別品牌
英文關鍵詞: IP, rademark right, character design, commercial identity, brand
研究方法: 個案研究法深度訪談法
DOI URL: http://doi.org/10.6345/NTNU202401394
論文種類: 學術論文
相關次數: 點閱:73下載:15
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
  • 自2018年起,台灣逐漸重視智慧財產(intellectual property,以下簡稱IP)的經濟產業需求,此經濟範圍涵蓋智慧財產中的著作權交易,涉及文字創作如小說和故事、圖像創作如動漫與卡通,以及跨領域的影視、動畫與遊戲等一切可重複利用的授權與販售內容。賴文智(2021)指出文化創意產業中的IP,主要是指品牌加上內容的整體,並以知名度及愛好者為其授權交易的基礎;本研究目標以角色IP授權為主,因此可說角色IP不僅是圖像創作與設計,亦透過商業授權創造利益,以品牌經營增加知名度,總體目標是創造經濟且延續價值,透過不斷地授權不僅強化角色的喜好度更延續角色的商業生命。在此背景下,本研究的目標為:探討角色IP創作者與經營者在法律授權、角色識別設計與角色品牌三面向上的使用範圍、設計與經營方式;研究透過文獻分析得知角色IP授權的三大面向為法律、設計與品牌,再以文獻分析所得結論作為研究方法設計的架構,透過4個高度識別的國際個案分析與5個角色設計經營者的訪談分析所得:(1)角色IP授權涉及著作權授權後的商業利用與利益分享,以智慧財產權中的商標權保護,且商標權有利於角色生命的延續,另可透過營業秘密跨領域合作,擴大角色影響力;(2)角色設計在外在造型上需要符號識別化與簡化,其內在設定需要明確的世界觀與個性使受眾產生共鳴;(3)角色IP需具品牌獨特性與個性化以提高知名度,經營角色需積極與受眾互動以增加黏著度,才能在商業市場上提高授權能力。本研究提出角色IP可行的設計思考流程、品牌經營的可參考方式、及商標權的使用與維護;以及日後AI新科技影響設計相關領域時,後續可研究的參考資訊。

    Since 2018, Taiwan has gradually placed importance on the economic and industrial demands of intellectual property. This economic scope includes copyright transactions within intellectual property, involving text creations such as novels and stories, graphic creations like anime and cartoons, and cross-disciplinary content in film, animation, and games that can be licensed and sold for repeated use. According to Lai Wenzhi (2021), IP in the cultural and creative industries mainly refers to the integration of brand and content, with licensing transactions based on recognition and fanbase. The goal of this study focuses on character IP licensing, thus character IP is not only about graphic creation and design but also creates profits through commercial licensing, enhances brand recognition, and aims to generate economic value and sustain value. By continuously licensing, it not only strengthens the character’s appeal but also extends its commercial lifespan. Against this backdrop, the objectives of this study are: to explore the usage scope, design, and management methods of character IP creators and operators in three aspects: legal licensing, character identification design, and character branding. Through literature analysis, it is found that the three major aspects of character IP licensing are legal, design, and brand. The conclusions drawn from the literature analysis form the framework for the research methodology. The study includes 4 highly identifiable international case analyses and interviews with 5 character design managers, and the findings are as follows: (1) Character IP licensing involves commercial utilization and profit-sharing after copyright authorization, protected by trademark rights within intellectual property, and trademark rights are beneficial for the extension of character lifespan. Moreover, cross-disciplinary cooperation through trade secrets can expand the character's influence. (2) Character design needs symbolic identification and simplification in external appearance, while the internal setting requires a clear worldview and personality to resonate with the audience. (3) Character IP needs to have brand uniqueness and personalization to increase recognition. Managing characters requires active interaction with the audience to increase engagement, thereby enhancing licensing capabilities in the commercial market. This study proposes feasible design thinking processes for character IP, reference methods for brand management, and the use and maintenance of trademark rights. Additionally, it provides reference information for future research on the impact of new AI technologies on the design-related fields.

    第一章 緒論 1 第一節 研究背景與動機 1 第二節 研究目的 3 第三節 研究流程與架構 4 第四節 研究範圍與限制 5 第五節 名詞釋義 6 第二章 文獻探討 9 第一節 智慧財產與著作權 9 第二節 角色IP設計之設計思維 18 第三節 角色IP品牌經營與條件 32 第四節 文獻小結 36 第三章 研究方法 39 第四章 研究結果 49 第一節 個案分析研究結果 49 第二節 深度訪談結果 68 第五章 討論 89 第一節 對既有文獻的支持 89 第二節 與既有文獻的不同觀點 93 第六章 結論 95 文獻 101 附錄1. 1984年前歐美日角色清單 107 附錄2. 訪談同意書 111 附錄3. 深度訪談內容與觀點紀錄 112

    文化創意產業發展法(2023)。全國法規資料庫。https://law.moj.gov.tw/LawClass/LawAll.aspx?pcode=H0170075
    手塚治蟲(1978)。漫畫入門(第九版,1999)。台北市:武陵。
    王桂沰(2005)。企業・品牌・識別・形象:符號思維與設計方法(初版)。台北市:全華。
    王孝梅(2022)。商品成本結構與授權金計算。IPCP -圖像IP授權培訓計畫。 https://ipcp.io/blog/2021/06/30/063002/
    石之森章太郎(1997)。漫畫家入門(第二版)。台北市:武陵。
    著作權法(2022)。全國法規資料庫。https://law.moj.gov.tw/LawClass/LawAll.aspx?PCode=J0070017
    伊彬(2008)。插畫與電視廣告之實徵美學:世代間的美感和偏好(初版)。新北市:Airiti Press。
    伊彬、鄧逸平、黃永宏(2004)。從中華兒童叢書(1965-1999)到信誼基金會(1979-2001)出版兒童圖畫書插畫風格之演變及其意義。藝術教育研究,7,23-53。
    朱善傑、鍾世凱(2004)。動畫中漫畫表現形式研究-以漫畫造型與漫畫符號為中心。藝術學報,75,121-142。http://dx.doi.org/10.6793/JNTCA.200412.0121
    呂敦偉(2005)。美國電腦動畫產業之研究(未出版碩士論文)。淡江大學美國研究所。http://doi:10.6846/TKU.2005.00341
    何秀煌(1991)。記號學導論。台北市:水牛。
    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。https://www.openbook.org.tw/article/p-68133
    林信華(1999)。符號與社會。台北市:唐山出版社。
    范麗娟(1994)。深度訪談簡介。戶外遊憩研究,7(2),25-34。http://dx.doi.org/10.6130/JORS.1994.7(2)3
    高國魁(2015)。布希亞的影像藝術:虛擬現實和實境電視。現代美術學報,29,97-126。
    洪珮華,林榮泰(2016)。虛擬角色個性其適配色彩與造型之相關性探究。人因工程學刊,18(1),45-56。http://doi.org/10.6273/JES.2016.18(01).04
    洪珮華,林榮泰(2017)。敘事文本影響小學生角色設計創造力初探。設計學研究,20(1),45 -71。https://0-doi-org.opac.lib.ntnu.edu.tw/10.30105/ JDS.201707_20(1).0003
    洪志祥(2017)。文化創意產業經濟轉型亮點。會計研究月刊,380,52-53。
    莫測、江帆(1989)。漫畫家談漫畫(第一版)。北京市:北京工藝美術。
    商標法(2023)。全國法規資料庫。https://law.moj.gov.tw/LawClass/LawAll.aspx?pcode=J0070001
    張怡、陳敬全、酈全民(2003)。虛擬認識論。上海市:學林。
    陳智凱(2010)智慧財產權保護對授權收支之影響。應用經濟論叢,87,123-140
    陳超明(2016)。創意產業只能談文化?-從英國「創意產業」發展。English Career,57。https://www.englishcareer.com.tw/english-career/57/
    陳豐年(2011)。專利權之歷史溯源與利弊初探。智慧財產權月刊,156,63。
    陳俊玄(2021)。臺灣之光的符號消費與擬像世界:一條布希亞(Jean Baudrillard)學說的分析徑路。運動研究,30(1),1-25。
    陳佑寰(2021)。角色經濟、經濟與法律。會計研究月刊,424,100-105。
    財團法人國家文化藝術基金會(2007)。藝術授權手冊規劃計畫。https://www.ncafroc.org.tw/files/official/藝術授權手冊規劃計畫.pdf
    張維珊(2010)。國中生對於人物設計頭身比與立體度偏好探討(未出版碩士論文)。國立師範大學設計系,台北市。
    著作權法(2022)。全國法規資料庫。https://law.moj.gov.tw/LawClass/LawAll.
     aspx?PCode=J0070017
    張淑芬(2013)。手繪解決電繪學習之科技框架探究。南港高工學報,31,29-37。
    馮潤華(2004)。手繪插畫配合電腦繪圖製作的應用與研究以童話故事繪本為例(未出版碩士論文)。國立臺灣師範大學,台北市。
    經濟部智慧財產局組織法(2023)。全國法規資料庫。https://law.moj.gov.tw/LawClass/LawAll.aspx?pcode=J0000096
    經濟部智慧財產局(2014)。發明專利、新型專利、設計專利有何不同。專利主題網。https://topic.tipo.gov.tw/patents-tw/cp-783-872063-15a31-101.html
    經濟部智慧財產局(2017)。專屬授權相關問題。https://topic.tipo.gov.tw/trademarks-tw/cp-515-860216-e4ef1-201.html
    樊晉源、楊翔莉、張書豪(2014)。智財戰略佈局初探:科技政策觀點。http://doi:10.6916/STPIRP.2014-09-12.0002
    蔡長穎(2003)。虛擬、超真實的布希亞。網路社會學通訊期刊,31。http:// mail.nhu.edu.tw/~society/e-j/31/31-29.htm
    賴文智(2021)。當文創遇上法律,智慧財產的運用。台北市:典藏藝術家庭。
    戴孟宗、廖信、楊宜瑄(2010)。色彩形容詞與感知強度指標之研究。中華印刷科技年報,230-246。http://dx.doi.org/10.30153/JCAGST.201003.0017
    勵忠發(2007)。設計信息學-視覺信息的設計傳送(初版)。四川市:四川美術。
    蘇世賢(1999)。我國著作權政策的發展與變遷,我國著作權政策的發展與變遷。智慧財產權月刊,10。 https://www.tipo.gov.tw/tw/lp-182-1-89-40.html
    蘇文清、嚴貞、李傳房(2007)。符號學與認知心理學基礎理論於視覺設計之運用研究。人文暨社會科學期刊,1(3),95-104。
    Aaker, J. L. (1997). Dimensions of brand personality. Journal of Marketing Research, 343(3), 347-356。https://doi.org/10.2307/3151897
    Aaron, M. (2007). Defining Comics? The Journal of Aesthetics and Art Criticism,65(4), 369-379。https://www.jstor.org/stable/4622260
    American Marketing Association (1960). Marketing definitions: A glossary of marketing terms. Chicago, IL: American Marketing Association.
    Bainbridge, W.S. (1989). Survey research: A computer-assistant introduction. Belmont, CA: Wadsworth Pub. Co.
    Baudrillard, J.(2018)。物體系(林志明譯),台北市:麥田。(原著出版1968)。
    Biek, A. L. (1992). How brand image drives brand equity. Journal of Advertising Research, Nov./Dec., 6-12.
    Björn, K., & Claas, L. (2013). Models as icons: Modeling models in the semiotic framework of Peirce’s theory of signs. Synthese, 190(16), 3397-3420.
    Brylawski, E. F. (1974). Protection of characters: Sam Spade revisited, Bull. Copyright. Soc'y, 22, 77-78.
    Brooks, P. (1992). Reading for the plot: Design and intention in narrative. Cambridge, MA: Harvard University Press.
    Cassirer, E. (1962). An essay on man: An introduction to a philosophy of  human culture. New Haven, CT: Yale University Press.
    Carla, H. (2002). The rise of intellectual property, 700 B.C.- A.D 2002: An  idea in balance. Daedalus, The MIT Press on behalf of American Academy of Arts & Sciences, 131(2), 26-45.
    Christine R. Y. (2009). Wink on pink: Interpreting Japanese cute as it grabs  the global headlines. The Journal of Asian Studies, 68, (3), 681-688. https://www.jstor.org/stable/20619791
    Coates, D. (2003). Watches tell more than time. New York, NY: McGraw-Hill.
    Copyright (2010). In Merriam-Webster’s All-In-One Dictionary. Springfield,  MA: Merriam-Webster.
    David, C.(2016)。看得見的符號,154個設計藝術案例,理解符號學基本知識 (羅亞琪譯)。台北市:城邦文化。(原著出版2003)
    David K. (1973). The early comic strip: Narrative strip and picture stories  in the European broad sheet from 1450 to 1825. Oakland, CA: University of California Press.
    Grainge, P. (2008). Brand Hollywood: Selling entertainment in a global media age. Abington, OXS: London: Routledge.
    Gustave, L.B.(2016)。烏合之眾:大眾心理研究(吳松林譯)。台北市:華志。(原著出版1895)
    Henderson, K. A. (1991). Dimensions of choice: A qualitative approach to recreation, parks, and leisure research. Stage College, PA: Venture.
    Henry, D. (1984). Symbol sourcebook. An authoritative guide to international graphic symbols. New York, NY: John Wiley & Sons.
    Hosany, S., Prayag, G., Martin, D., & Lee, W. (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. https://doi.org/10.1080/0267257X.2013.764346
    Josk̆o, B., Bernd H. S., & Lia Z. (2009). Brand experience: What Is It? How is it measured? Does it affect loyalty? Journal of Marketing, 73(3), 52-68.
    John, F., & John, H. (2003). Reading television with a new foreword (2nd Edition). Abington, OXS: London: Routledge.
    Jenkins, H., Sam, F. & Joshua, G. (2013). Spreadable media: Creating value and meaning in a networked Culture. New York, NY: NYU Press.
    Katz, D., Scotland, E. (1959). A preliminary of a theory of attitude structure & change. In S. Koch (Ed.), Psychology: A study of a Science(3), New York, NY: McGraw-Hill.
    Jan, K., Kristopher, H.,Ian, P.M., & Bruno, S. (2011). Social media? Get serious! Understanding the functional building blocks of social media. Business Horizons, 54(3), 241 -251. https://doi:10.1016/j.bushor.2011.01.005.
    Kubey, R., Larson, R. (1990). The use and experience of the new video media among children and young adolescents. Communication Research, 17(1), 107-130. https://doi.org/10.1177/009365090017001006.
    Leder, H., Belke B., Oeberst A., & Augustin D. (2004). A model of aesthetic appreciation and aesthetic judgement. British Journal of Psychology, 95(4), 489-508.
    Nicola-Lisa, W. (1991). The cult of Peter Rabbit: A Barthesian analysis. The Lion and the Unicorn. Johns Hopkins University Press,15(2), 61-66.
    LEGO (2022). LEGO History. https://www.lego.com/en-us/history/
    Marilyn E.M.(1969). Charlie Brown goes to school. The English Journal The English Journal, 58(8), 1183-1185. https://doi.org/10.2307/811531
    Matthew F. (2017). A world of Disney: Building a transmedia story world f-or Mickey and his friends. Amsterdam, NL: Amsterdam University Press. https://doi.org/10.1017/9789048525317.006
    McLuhan, M. (1964). Understanding media: The extensions of man. New York, NY: A Signet Book.
    Michael T. H. (1992). When Mickey Mouse is as strong as superman: The convergence of intellectual property laws to protect fictional literary and pictorial characters. Stanford Law Review, 44 (3), 623-674
    Razecki, D. W. (1982). Attitude theme and advances, Sunderland, MA: Sinauer.
    Reeves, B. R. (1991). "Being there". Television as symbolic versus natural  experience (unpublished manuscript). Stamford, CA: Stanford University, Institute for Communication Research.
    Richard, H., Andrew, R. & Victoria L, C. (2011). We’re all connected: The  power of the social media ecosystem. Business horizons, 54(3), 265-273.
    Richins M.L. (1997). Measuring emotions in the consumption experience, Journal of Consumer Research, 24(2), 127-146
    Robert J. S. (2017). Narrative Economics. The American Economic Review, 107(4), 967-1004。
    Robert M. (1990). The official overstreet comic book price guide, overstreet access, 1990-1991. New York, NY: Ballantine Books.
    Ruth, M. K. (1986). Why this is still 1893: The tale of Peter Rabbit and Beatrix Potter’s manipulations of time into timelessness. Children's Literature Association Quarterly, Johns Hopkins University Press,10(4), 185-187.
    Scott, M. (1993). Understanding comics – The invisible art. New York, NY: William Morrow & Company.
    Scott, J. (2009). The character-orientated franchise: Promotion and exploitation of pre-sold characters in American film, 1913-1950. Journal of film an  television Studies, 24, 34-55。
    Susan, F. (1998). Consumers and their brands: Developing relationship theory in consumer research, Journal of Consumer Research 24(4), 343-73. https://doi.org/10.1086/209515
    Trademark. (2010). Merriam-Webster’s All-In-One Dictionary. Springfield, MA:Merriam-Webster.
    UNESCO (2003). Understanding creative industries, cultural statistics for public-policy making. https://www.americansforthearts.org/sites/default/files/pdf/2015/international/UNESCO_Understanding_Creative_Industries.pdf
    Wasko, J. (2001). Understanding Disney: The manufacture of fantasy. Cambridge, UK/Medford: Polity.
    William L., Kristina H., & Jill B. (2011). 設計的法則 [Universal principles of design](呂亨英、吳莉君譯)。台北市:大雁文化。(原著出版2010)
    WIPO (1994). Character merchandising. https://www.wipo.int/export/sites/www/copyright/en/docs/wo_inf_108.pdf
    WIPO (2004). WIPO intellectual property handbook. https://bae2008.wordpress.com/wp-content/uploads/2015/02/wipo_pub_489.pdf
    WIPO (2020). WIPO IP facts and figures 2020. https://www. wipo.int/edocs/pubdocs/en/wipo_pub_943_2020.pdf
    Wood, N. (2004). Peter Rabbit: Still kicking at 100. Children's literature, Johns Hopkins University Press, 32, 231-234.

    下載圖示
    QR CODE