The Research Starter of TFI Film Digital Archives Business Model
財團法人國家電影中心於2007 年起進行電影數位典藏與數位修復計畫，完成影片相繼在國內、外影展上映，在落實典藏電影資產與推廣電影文化使命的同時，亦發展出不同的加值應用與數位典藏商業模式。為探究與其他商業模式的差異，本研究提出「產品特性」、「商品屬性」、「組織體質」、「機制複製」等數位修復典藏與商業模式間關聯性問題之假設，以5 部商業型態的修復影片為例，採用商業模式九宮格分析其策略與成效，解構電影數位修復典藏商業模式。對照上述假設歸納此商業模式具：(1)以有形價值帶出無形價值、創造與擴散文物對社會的價值；(2)擁有龐大數量的片庫、釐清其著作權歸屬是重要關鍵；(3)授權狀況左右影片修復決策、加值應用策略擬定和金流收入；(4)採用在國外影展建立口碑、俾利加值應用模式推展的行銷策略；(5)影迷社群是達成價值認同、修復標的選擇與資金來源的主要對象等五項特點，與典型電影商業模式進行區分。此外，針對數位修復典藏事業的活化，提出：(1)數位修復應包含積極保存與豐富文本內容等多重意義；(2)以授權、特許經營來強化收益流；(3)以創新授權加值，逐步改善財務結構與創造價值；(4)提升數位修復人力與技術，積極建立國際與國內關鍵合作夥伴關係；(5)以專案管理模式由專案經理人統籌修復專案等五項建議，以為推動數位修復典藏事業的參考。
The Taiwan Film Institute (TFI) has been conducting film archives and restoration projects since 2007, using digital technology to restore the original appearance of the film. Completed films have been released at domestic and international film festivals. Utilizing the archives collection of these films while simultaneously promoting a film culture mission, while developing various value-added applications, has gradually established a business model for the TFI digital archives. To explore the differences of this business model from others, this study proposes 4 relevance questions and hypothesis between digital restoration archives and business model: between “product characteristics” and the selection and restoration of films, and between the status of copyright ownership of “product attributes” and the impact of public organization “organizational constitution” on fund aggregation and market initiatives. It also posits that the application of “mechanism replication” can promote the value-added business of the archives. Taking the five commercial-type restored films as an example, the BusinessModel Canvas analyzes its strategy and effectiveness, deconstructs the film digital collection’s business model while controlling for the afore mentioned assumptions, and concludes that this business model has: (1) used tangible value to bring intangible value by creating and propagating socially valuable cultural artifacts; (2) possession of a large number of libraries, thus making the clarification of copyright ownership critical; (3) authorization status surrounding film repair decisions, value-added application strategy, and income flow; (4) utilizing wordof- mouth and value-added model strategies at foreign film festivals; (5) the film fan community is the main target for achieving value recognition, selecting targets for future restore, developing funding sources, etc., which distinguishes it from the typical film business model. In addition, in response to activating the digital restoration archives, it is proposed that: (1) the digital restoration should include multiple meanings such as positive preservation and rich text context; (2) enhanced income flow via franchising; (3) innovation authorization and a value-added financial structure; (4) enhanced restore technology, and active establishment of key partnerships at home and abroad; (5) coordinate projects with the project manager in project management model, and these five suggestions will be forwarded to promote the digital archives business.
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