【摘要】：隨著中國(guó)經(jīng)濟(jì)的迅猛發(fā)展,中國(guó)在國(guó)際上的地位越來(lái)越高,到21世紀(jì)初期中國(guó)加入世界貿(mào)易組織后。國(guó)家的經(jīng)濟(jì)發(fā)展步伐越來(lái)越快,在這種全球經(jīng)濟(jì)發(fā)展的背景下,我國(guó)的影視發(fā)展行業(yè)也得到了前所未有的發(fā)展。我國(guó)在影視行業(yè)的發(fā)展中涌現(xiàn)出大量?jī)?yōu)秀的影視作品。國(guó)家為了促進(jìn)各行業(yè)的發(fā)展尤其是新興的影視業(yè)的發(fā)展給予了民營(yíng)影視行業(yè)發(fā)展很大的發(fā)展空間,創(chuàng)造了很多利于影視行業(yè)發(fā)展的機(jī)會(huì)。在我國(guó)影視行業(yè)的發(fā)展過(guò)程中已經(jīng)形成了國(guó)有媒體為代表的影視行業(yè)的發(fā)展還有民營(yíng)影視媒體為代表的民營(yíng)影視行業(yè)發(fā)展兩種局面。國(guó)有大型影視媒體主要是以傳統(tǒng)的電臺(tái),電視臺(tái)和大型影劇院為主;而民營(yíng)影視企業(yè)作為影視行業(yè)發(fā)展的后起之秀對(duì)國(guó)有影視單位的發(fā)展是一種補(bǔ)充。兩者在我國(guó)文化產(chǎn)業(yè)中重要的影視業(yè)領(lǐng)域的運(yùn)營(yíng)發(fā)展中占據(jù)著重要的地位,也起著重要作用,對(duì)其的全面剖析和對(duì)比研究以及管理模式的探究都有一定的意義。本研究就國(guó)有與民營(yíng)兩類影視企業(yè)的管理模式進(jìn)行研究。從不同的視角對(duì)影視企業(yè)的管理模式進(jìn)行探究,豐富影視企業(yè)管理與企業(yè)管理模式研究成果。通過(guò)歷史文獻(xiàn)查詢法、實(shí)際調(diào)查法、個(gè)案研究法和定性與定量的組合法,結(jié)合來(lái)源于互聯(lián)網(wǎng)、公開(kāi)出版物和書(shū)籍等二手資料和對(duì)若干相關(guān)行業(yè)從業(yè)者的一手訪談資料,在準(zhǔn)公共物品和SWOT分析理論的基礎(chǔ)之上,本文討論了、總結(jié)并對(duì)比了國(guó)有影視與民營(yíng)影視的管理模式。本文主要討論影視企業(yè)的管理模式的三個(gè)方面。首先,是管理模式的前提條件,也就是對(duì)政策的應(yīng)對(duì)措施。其次,是管理模式的核心內(nèi)容,即融資模式等財(cái)務(wù)治理制度體系。最后,則是管理模式的組成部分,即管理模式所內(nèi)含的企業(yè)的人才措施和產(chǎn)品市場(chǎng)政策。結(jié)合著浙江橫店集團(tuán)和上海東方明珠股份有限公司的例子,本文具體地分析和討論了這些管理模式的表現(xiàn)形式與具體內(nèi)容。通過(guò)這些討論,本論文就國(guó)有與民營(yíng)的影視企業(yè)作為研究對(duì)象,探究?jī)烧叩墓芾韮?yōu)化模式,從研究的理論基礎(chǔ)入手,將國(guó)有與民營(yíng)影視企業(yè)的發(fā)展進(jìn)行梳理,進(jìn)行現(xiàn)狀分析,選取國(guó)有與民營(yíng)影視企業(yè)兩類別中有代表性的個(gè)案進(jìn)行案例分析,總結(jié)國(guó)有與民營(yíng)影視企業(yè)管理的發(fā)展途徑,對(duì)未來(lái)的發(fā)展提出展望與建議。以期為影視企業(yè)的管理實(shí)踐提供理論借鑒,促進(jìn)管理模式的優(yōu)化。
[Abstract]:With the rapid development of China's economy, China's position in the world is getting higher and higher, and at the beginning of the 21st century, after China's accession to the World Trade Organization (WTO). Under the background of the global economic development, the film and television development industry of our country has also obtained the unprecedented development. A large number of excellent film and television works have emerged in the development of film and television industry in China. In order to promote the development of various industries, especially the emerging film and television industry, the state has given the private film and television industry a great development space, and created a lot of opportunities for the development of the film and television industry. In the process of the development of film and television industry in China, the development of film and television industry represented by state-owned media and the development of private film and television industry represented by private film and television media have formed two kinds of situations. State-owned large-scale film and television media are mainly based on traditional radio, television and large-scale theaters, while private film and television enterprises as a rising star in the development of the film and television industry is a supplement to the development of state-owned film and television units. Both of them play an important role in the operation and development of the film and television industry in the cultural industry of our country. It is of certain significance to analyze and compare them in an all-round way as well as to probe into the management mode. This study on the state-owned and private two types of film and television enterprise management mode. This paper probes into the management mode of film and television enterprise from different angles, and enriches the research results of film and television enterprise management and business management mode. Through historical literature inquiry, actual investigation, case study and qualitative and quantitative combination, combined with second-hand materials such as the Internet, public publications and books, and first-hand interviews with practitioners in a number of relevant industries, On the basis of quasi-public goods and SWOT analysis theory, this paper discusses, summarizes and compares the management modes of state-owned film and television and private film and television. This paper mainly discusses three aspects of the management mode of film and television enterprises. First of all, it is the precondition of the management model, that is, the response to the policy. Secondly, it is the core content of the management mode, that is, the financial governance system such as the financing model. Finally, it is a part of the management model, that is, the enterprise's talent measures and product market policies contained in the management model. Based on the examples of Zhejiang Hengdian Group and Shanghai Oriental Pearl Co., Ltd., this paper analyzes and discusses the forms and contents of these management modes. Through these discussions, this paper will take the state-owned and private film and television enterprises as the research object, explore the management optimization mode of the two, start with the theoretical basis of the research, comb the development of the state-owned and private film and television enterprises, and carry on the analysis of the present situation. The representative cases of state-owned and private-owned film and television enterprises are selected to analyze the cases, summarize the development ways of the management of state-owned and private-owned film and television enterprises, and put forward the prospects and suggestions for the future development. In order to provide a theoretical reference for the management practice of film and television enterprises, promote the optimization of management mode.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J943

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