本研究主要是從國家與社會（state-society relationship）關係探討過去三十年來，我國文化創意產業政策（以下簡稱文創產業政策）的制訂是究竟呈現出何種國家機關與公民社會的複雜關係？本文將文創產業政策的制定過程歸納出三個階段： (一) 文創產業政策的萌芽（1981-2000）：國家機關絕對優勢主導，以中華文化為中心的文化政策時期。 (二) 文創產業政策的形成與調適（2000-2010）：國家機關相對強勢，在地公民社會逐漸崛起，在地臺灣文化為中心的文創產業發展時期。 (三) 文創產業政策的法制化（2010-2015）：國家機關與公民社會相互抗衡、融合中華文化、臺灣在地文化與西方文化於一爐的多元文化主義時期。 本文發現臺灣的文創產業政策在形成及發展的過程中，從國家機關與公民社會的研究視角，不能忽略來自於公民社會的「本土化意識」抬頭，以及多元族群文化之融合，對於文化行政機關的政策取向產生一定的影響。

This study focuses on Taiwan’s cultural-creative industrial development over the past 30 years from the perspective of state-society relationship. Research problems of this paper are: How the stages of cultural-creative industrial development are characterized during past three decades? How each stage was influenced by forces grounded in state or civil society? The paper adopts literature survey and theoretical base is that of “state theory.” Three stages of cultural-creative industrial development in Taiwan are briefly summarized as follows: I. The budding period of cultural-creative industrial development (1981-2000): A period that state-centered and Zhōnghuá Wénhuà-dominated, which originated from mainland China. II. The formation and adjustment of cultural-creative industrial development (2000-2010): A period that relatively strong state and emerging civil society, i.e. instead of “Zhōnghuá,” “Táiwān” wénhuà became the mainstream of cultural pattern in this phase. III. The legalization of cultural-creative industrial policy (2010-2015)：A period that state and civil society almost keeps balance, although cultural department has played an important role in this phase. In the core element of cultural pattern, Taiwan becomes a multiculturalism society that Zhōnghuá, Táiwān, and western wénhuà all assimilate to a melting cultural pot.