1990年代後期，文化產業發展論述指出文化產業應該具備創意、 企業與彈性導向，融合地方與全球特性，朝向知識和學習、網絡和族群、創新氛圍建構等方向發展。「布袋戲產業」不僅具備創新特質，亦屬於具地方資源特點之文化產業。其發展從創作、生產，結合上游布偶、劇本供應者與主要創作勞動力及生產力，到包裝、通路行銷、甚至到衍生性的商品網絡等，形成一個以傳統布袋戲產業為核心的產業互動網絡關係;布袋戲文化經濟效益和符號消費現象已經是臺灣最兼具傳統文化内涵與創新發展的文化產業代表之一。本研究以深度訪談和問卷調査方式，嘗試解析產業網絡關係和區域現象。研究結果發 現，野臺布袋戲產業網絡，植基在社會依賴的關係基礎上，具明顯的地方性依賴與空間群聚特質，以雲林和嘉義為核心；影視布袋戲關聯產業，彼此間專業分工與合作，與下游行銷與配送產業具有相對較強的經濟依賴網絡關係，為影視布袋戲產業發展帶來相對可觀的經濟效益。

Since 1990s, cultural industry discourses to highlight the development of the cultural industry towards innovation, entrepreneurship and flexibility, glocality, knowledge learning, networks, clusters, and innovative milieus. Taiwanese hand-puppet show is a typical industry with innovation and locality in Taiwan. It has already developed an observed industrial network with a core of the hand-puppet show from the producing stage including artistic works, productions, and scripts, to the market including packaging, marketing routes, and related products. Apparently, the hand-puppet show not only develops a significant cultural economy, but also becomes one of the most representative cultural industries with tradition and innovation in Taiwan. This study tried to explore the network and development of the hand-puppet industry by interviews and questionnaires. The results show that the outdoor hand-puppet show, based on dependence of social relationships, presents obviously local dependence and spatial clustering with the main core in Yunlin and Chiayi. On the other hand, films of the media hand-puppet industry exist mutual specialization and cooperation relationship, and have a relatively strong relationship and economic dependence network with downstream marketing and distribution industry, which definitely brought considerable economic benefits for the media hand-puppet industry.