在現今多元化競爭與講求效率的環境中，創意、創新與創造力為競爭力的要素已被視為趨勢。突破性的創意是由團隊所激盪出來，換句話說創新的作品是經由多人共同努力合作創造。個人主義的英雄模式已經被團隊合作的方式所取代。而過去的研究多從探討個人所激發的創造力，到團隊所激發之創造力，往往忽略團隊運作過程是影響創造力產生的因素。本研究以影視製作團隊作為研究團隊創造力之對象，因文化創意產業中之影視產業具備高創造力與創意、創新之特性，所組成之製作團隊人員需擁有快速回應社會脈動與解決問題的能力，因此研究者期望藉由此次研究試圖整理、歸納團隊中導演、製作人以及團隊成員間互動如何影響團隊創造力產生之因素。
本研究採用質性研究法中的訪談研究法，以影視製作團隊從業人員作為研究對象，並向富有此團隊工作經驗的業界專業人士，現職為導演、節目製作人與節目執行製作進行訪談。蒐集資料的方法包括文件分析、訪談對象逐字稿整理。藉由探討影視製作團隊運作與特性，了解團隊互動以及導演、製作人如何影響團隊創造力。
研究結論如下：一、高創造力的人聚在一起不一定會有預期之高創造性成果；二、團隊互動過程會反映至作品成果上：（一）良好的溝通有助團隊整體創造能力的提升、（二）適當並在控制範圍下的衝突可以增進團隊創造力、（三）團隊互動的關鍵因素在於導演是否能協調；三、導演作為領導人並管理影視產業製作團隊：（一）信任各組領域的專業並尊重所提出的意見、（二）營造團隊氣氛和諧、（三）導演必須作為團隊領導者，而非只是藝術家；四、導演、製作人或金主為影視產業之守門人；五、專業分工團隊能創造最大效益。以外研究者整理出訪談對象對影視產業建議之參考：一、影視產業專業人才深化；二、尊重與信任專業分工；三、分工專業化。

Today’s environment is characterized by diverse competitions and efficiency-orientation, it has become a consensus that creative ideas, innovation, and creativity are the crucial elements of competitiveness. Groundbreaking creative ideas are often generated through group brainstorming. In other words, most innovative works are the result of cooperation and great efforts of multiple people; teamwork has replaced individual heroism as the most preferred method of working. Past studies mostly discussed the creativity inspired by different creative ideas generated by individuals and teams, without considering that the process of teamwork also serves as a key factor of generating creativity. This study chose production teams in the film and television industry as the research subject. As a cultural and creative industry, the nature of the film and television industry requires abundant creative ideas, high creativity, and high innovation, and the team members must quickly respond to social trends and possess problem-solving skills. Therefore, this study attempted to identify and summarize how the interaction among the director, the producer, and team members can influence the team creativity.
This study adopted the interview method of qualitative research, and the interview subjects were individuals who worked in the film and television production teams. To obtain further information, professionals with rich teamwork, including directors, producers, and executive producers, were also being interviewed. Data collection methods included documentary analysis and verbatim transcription. By investigating the operation modes and characteristics of production teams in the film and television industry, this study hoped to explore how team interaction, the director, and the producer can influence team creativity.
This study has the following conclusions: 1) Gathering a group of people with high creativity does not necessarily generate highly creative works as expected. 2) The interaction process of the team will be reflected on the works as: a) Good communication can help increase the collective creativity of the team; b) Proper conflicts among team members can boost creativity when under control; c) The director’s coordination skills are the key factor that influences team interaction. 3) The director should serve as a team leader and manage the operation of the production team and: a) Trust the expertise of each team and respect their opinions; b) Create a harmonious atmosphere among the team; c) Be a leader, instead of solely an artist. 4) The director, the producer, and investors are the premier gatekeepers in the film and television industry. 5) Specialized division of work and teamwork can create the maximum benefits. According to the results of the study, some suggestions are provided for the film and television industry: 1. Further cultivate professionals in the film and television industry; 2. Respect and trust specialized division of work; 3 Specialize division of work.

謝誌………………………………………………………………………………..…… i
摘要…………………………………………………………………….……………… ii
Abstract…………………………………………………………..…………………….iii
目錄……………………………………………………………………………….….... v
圖次……………………………………………………………………....……………vii
表次……………………………………………………………………....……………vii
第一章 緒論……………………………………………………………....…………1
第一節 研究背景與動機…………………………………………….......……….....1
第二節 研究目的……………………………………………………...………….....4
第三節 研究流程……………………………………………………..…………......5
第二章 文獻探討…………………………………………………………………....7
第一節 影視產業的定義、現況與發展……..………………………...…………...7
第二節 創造力與團隊創造力………………………………………...…………...11
第三節 影視製作團隊特性…………………………………………...…...………22
第四節 團隊創造力與團隊互動…………………………………………………..27
第三章 研究方法………………………………………………………….……….35
第一節 研究設計……………………………………………………......................35
第二節 研究範圍與對象……………………………………………......................36
第三節 資料蒐集……………………………………………………......................37
第四節 資料分析……………………………………………………......................39
第四章 資料整理…………….……………………..……………….......................41
第一節 影視產業環境現況與團隊創造力之關聯………………..........................41
第二節 影視製作團隊之團隊創造力……………..................................................49
第三節 導演在影視製作團隊中扮演之角色……………………………..............53
第四節 影視製作團隊特性與團隊互動…………………………………………..59
第五節 團隊專業分工....................................................................................................69


第五章 結論與建議…………………………………..………………....................73
第一節 結論…………………………………………………………......................73
第二節 建議……….………………………………………………….....................79
第三節 研究限制…………………………………………………………………..81
參考資料…………………………………………………………...............................82
附錄………………………………………………………………………....…………87
附錄一 訪談同意書……………………………………………...............……..….87
附錄二 訪談大綱……………………………………….…….................................88

王志宏（2013）。彈性的藝術—商業矛盾：書封設計的創意勞動與專案團隊。設
計學研究，2，95-116。
毛連塭、郭有遹、陳龍安、林幸台（2000）。創造力研究。台北市：心理出版
社。
文化創意產業發展法（2010年9月9日）。
田又安、禚洪濤（主編）（2013）。2011影視產業趨勢研究調查報告—電視及
電影產業。台北市：新聞局。
杜明城（譯）（1999）。創造力（原作者：M. Csiksentmihalyi）。台北市：時
報文化。（原著出版年：1996）
李乙明、李淑貞（譯）（2005）。創造力Ⅰ．理論（原作者：R. J. Sternberg）。台
北市：五南。（原著出版年：1999）
李茂興（譯）（2001）。組織行為（原作者：S. P. Robbins）。台北市：揚智
文化。（原著出版年：2000）
李天鐸、劉現成（主編）（2009）。電影製片人與創意管理：華語電影製片實
務指南。台北市：新聞局。
李政賢（譯）（2006）。質性研究—設計與計畫撰寫（原作者：C. Marshall
& G. B. Rossman）。台北市：五南。（原著出版年：1999）
李政賢、廖志桓、林靜如（譯）（2007）。質性研究導論（原作者：U. Flick）。
（原著出版年：1995）
邱如美（譯）（2007）。團隊的天才：引爆協同創作的力量（原作者：K. Sawyer）。
台北市：天下雜誌。（原著出版年：2007）
邱皓政、丁興祥、林耀南、陳育瑜、林碧芳、王詩婷、…何潤娥等（譯）（2008）。
創造力：當代議題與理論（原作者：M. A. Runco）。台北市：心理。（原
著出版年：2007）
范麗娟（2004）。深度訪談。載於謝臥龍（主編），質性研究（81-126頁）。台
北市：心理。
胡幼慧（1996）。質性研究：理論、方法及本土女性研究實例。台北市：巨流。
張世彗（2003）。創造力—理論、技術／技法與培育。台北市：張世彗。
張文智、江潤華（2009）。團隊溝通模式與設計團隊創造力關係之探討。設計
學報，2，1-18。
陳龍安（2008）。創造思考教學的理論與實際。台北市：心理。
許秋煌（主編）（2012）。2010影視產業趨勢研究調查報告—電視及電影產業。
台北市：新聞局。
郭有遹（2001）。創造心理學。台北：中正。
創意台灣—文化創意產業發展方案行動計劃98-102。行政院：文化建設委員會
（2009年10月）。
程予誠（2006）。行銷電影。台北市：亞太圖書。
葉玉珠（2000）。「創造力發展的生態系統模式」及其應用於科技與資訊領域之內
涵分析。教育心理學報，1，95-122。
葉如芬、吳凡（2007）。電影○製片。台北市：書林出版有限公司。
潘淑滿（2003）。質性研究：理論與應用。台北市：心理。
禚洪濤、許淑萍（主編）（2014）。2012影視產業趨勢研究調查報告—影視及
廣播產業。台北市：文化部影視及流行音樂產業局。
二、英文部分
Amabile, T. M. (1988). A model of creativity and innovation in organization.
Research in Organizational Behavior, 10(1), 123-167.
Amabile, T. M. (1996). Creativity in context. Boulder, Colorado: Westview Press.
Amrit, T., & Ephraim, R. M. (2005). Expertise integration and creativity in
information systems development. Journal of Management Information Systems,
22(1), 13-43.
Barrick, M. R., Stewart, G. L., Neubert, M. J., & Mount, M. K. (1998). Relating
member ability and personality to work-team effectiveness. Journal of Applied
Psychology, 83(3), 377-391.
Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and
invention. New York: Harper Collins.
Compion, M. A., Medsker, G. J., & Higgs, A. C. (2006). Relations between work
group characteristics and effectiveness: Implications for designing effective
work group. Personnel Psychology, 46(4), 823-847.
Constantine, L. L. (1993). Work organization: paradigms for project management and
organization. Communication of the ACM, 36(10), 35-43.
Daniels, T. D., & Spiker, B. K. (1991). Communication process as target and tool for
consultancy intervention: Rethinking a hackneyed theme. Journal of
Educational and Psychological Consultation, 2(4), 302-322.
Gardner, H. (1993). Creating minds. New York: Basic Books.
Guilford, J. P. (1967). The nature of human intelligence. New York: McGraw-Hill.
Gross, S. E. (1995). Compensation for team: how to design and implement
team-based reward programs. New York: AMACOM.
George, J. M., & Jones, G. R. (1999). Understanding and Managing Organizational
Behavior. Addison-Wesley.
Hackman, J. R. (1987). The design of work team. In J. W. Lorsh (Ed.), Handbook of
Organizational Behavior (pp. 315-342). Englewood Cliffs, NJ: Prentice-Hall.
Isaksen, S. G., & Lauer, K. J. (2002). The climate for creativity and change in teams.
Creativity and Innovation Management, 11(1), 74-85.
Jewell, L. N., & Reitz, H. J. (1981). Group effectiveness in organizations. Illinois:
Foresman and Company.
Jessup, H. R. (1992). The road to results for teams. Training and Development
Journal, 46(9), 65-68.
Leonard, D. A. & Swap, W. C. (1999). When sparks fly. Boston: Harvard Business
School Press.
Jehn, K. A. (1995). A Qualitative Analysis of Conflict Types and Dimensions in
Organizational Groups. Administrative Science Quarterly, 42(3), 530-557.
Katz, D., & Kahn, R. L. (1978). The psychology of organization. New York: John
Wiley & Sons.
Kolb, D. M., & Glidden, P. A. (1986). Getting to know your conflict options: Using
conflict as a creative force. Personnel Administrator, 31(6), 77-90.
Katzenbach, J. R., & Smith, D. K. (1993). The Wisdom of Teams: Creating the
High-Performance Organization. New York: Happer Collins.
Mathieu, J. E., Heffner, T. S., Goodwin, G. F., Salas, E., & Cannon-Bowers, J. A.
(2000). The influence of shared mental models on team process and
performance. Journal of Applied Psychology, 85(2), 273-283.
Osborn, A. F. (1963). Applied imagination. New York: Scribner.
Pirola-Merlo, A., & Mann, L. (2004). The relationship between individual creativity
and team creativity: Aggregating across people and time. Journal of
Organizational Behavior, 25(2), 235-257.
Peter, G. D., Richard, R. R. & Jack, W. M. (1997). The effects of peer feedback on
Team Member Behavior. Group and Organization Management, 22(4), 508-520.
Quick, T. L. (1992). Successful Team Building. New York: American management
Association.
Robbins, S. P. (2001). Organizational Behavior. NJ: Prentice-Hall.
Salas, E., Dickinson, T. L., Converse, S. A., & Tannenbaum, S. I. (1992). Toward an
understanding of team performance and training. In R. W. Swezey, & E. Salas
(Eds.), Team: Their Training and Performance (pp. 3-29). NJ: Ablex.
Sarmiento, J. W., & Stahl, G. (2008). Group creativity in interaction: Collaborative
referencing, remembering, and bridging. International Journal of
Human-Computer Interaction, 24(5), 492-504.
Stewart, G. L., & Barrick, M. R. (2000). Team structure and performance: Assessing
the mediating role of intrateam process and the moderating role of task type.
Journal of Management, 43(2), 135-148.
Sternberg, R. J., & Lubart, T. I. (1996). Investing in creativity. American
Psychologist, 51(7), 677-688.
Sternberg, R. J., & Lubart, T. I. (1999). The concept of creativity: Prospects and
paradigm. In Sternberg, R. J. (Ed.), Handbook of Creativity (pp. 3-15). NY:
Cambridge.
Shonk, J. H. (1982). Working In Teams: A practical manual for improving work
group. New York: AMACOM.
West, S. S. (1990). Student perceptions of teaching effectiveness. Texas: Texas A &
M University.
三、網站部分
張瓊方（2011年10月）。不信偶像喚不回—台灣戲劇保衛戰。台灣光華，10。
取自：http://www.taiwan-panorama.com/tw/show_issue.php?id=20111000100
44C.TXT&table=0&cur_page=1&distype=text
莊芳（2011年8月）。深入現場 解構韓國文創力。今周刊，764。取自：
http://mag.nownews.com/article.php?mag=1-31-7174