文化创意产业创新外文翻译文献文档格式.docx

文化创意产业创新外文翻译文献文档格式.docx

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Connor

ItiscommonlysaidthatChinaneedsto‘catch-up’with`thewest'

orthe`developedworld'

.Thisphraseimpliesasingularpath;

theremaybeshortcutsand`late-comeradvantages'

butthedestination一amodern,developedcountry一isthesame.ButjustwhenitseemsChinaiswithintouchingdistance,the`developedworld'

changesthedefinitionofwhatitistobe`developed'

andputsmoreobstaclesinthepathofthosetryingtocatch-up.InEnglishwecallthis`movingthegoal-posts'

.Aftermanufacturing,servicesandhigh-technologyseemedtopresentcleargoalsforChina,theculturalcreativeindustriesarriveasthenew`value-added'

productandservicesector,posingyetmoreproblemsforthecountry'

spolicy-makers.ManyintheWesthavearguedthatChinawilltakealongtimetocatch-upintheseareasandthatthisprovidesanewsourceofcompetitiveadvantagetotheWest.Indeed,forsome,theabsenceofacompetitiveculturalcreativeindustriessectorisevidencethatChinaisnot,andmaybecanneverbe,fully`developed'

.

MuchofthiscanbedismissedasanotherexampleoftheWest'

ssuperioritycomplex;

however,therecanbenodoubtthattheculturalcreativeindustriespresentgreatpossibilitiesbutalsogreatchallengesforChina.Theseindustries一fromvisualandperformingarts,torecordedmusic,filmandTV,todigitalanimationandnewmediaservices,throughtofashion,designandarchitecture一arehighlycreativeandinnovativeproductsandservices,relyingoncomplexflowsofknowledgeandintellectualproperty.Theyarealsoculturalorsymbolicproductsthatreflectandinfluenceourpleasuresandambitions,andourindividualandcollectivesenseofmeaningandidentity.Forthesereasonsallnationshavesoughttoprotectanddeveloptheirownnationalcultureandtraditionsbyinvestinginculturalinfrastructureandexpertise.Inthesecondhalfofthetwentiethcenturythiswasexpandedbeyond`thearts，一galleries,museums,operahouses,universities,artsschools,journalsetc.一toincludebroadcastmedia,film,publishingandrecordedmusic.Inthelast20yearstheemphasishasshiftedfrombuildingeconomicinfrastructuresforreasonsofnationalculturalidentitytomobilizingcultureandcreativityforreasonsofeconomicdevelopment.

Theculturalcreativeindustriesarenowstronglylinkedwiththeknowledgeeconomy,whichemphasizeshighlevelsofresearch,knowledgetransferand,aboveall,innovation.IntheWestartistsor`culturalproducers'

havelongbeenassociatedwithdynamic,oftenunpredictablecreativeinnovation.Nowtheinnovativecapacityoftheculturalindustriesisextendedtoanewrangeofcreativeproductsandservicesandisalsoseenasacatalystforinnovationrightacrosstheeconomy.InChinathisagendahasalsomeantmovingbeyondtheideaofabetterindustrializationormarketisationofexistingculturalproductstowardsamoresystematicapproachtotheideaofculturalandcreativeinnovationanditswidereconomicimpacts.Thisdemandstheabilitytoanticipatenewproductsandservices,findingnewaudiences,differentiatingratherthanimitatingwhatalreadysells.Itrequiresnewkindsof`softskills'

thatarehardtoacquireastheyareoften`tacit'

demandingexperienceratherthanformaleducation（thoughthisisalsonecessary）.Itdemandsunderstandingdifferentmodelsofproduction,complexvaluechainsandtheinteractionbetweencultural,creativeandbusinessskills.Inthelastfewyearsthecentraldrivingforcebehindculturalandcreativeindustriespolicieshasbeentheideaof`cluster'

.StartingfromafewisolatedexamplesinBeijing,Shanghaiandothersmallercoastalcitiestheconcepthasnowbecomeacentralpolicyplatform.CulturalandcreativeclustersexistintheWest,thoughthesetermscoverextremelydiversedevelopments.TherearesomegoodreasonswhyChinawouldchoosethispolicyplatformaboveothers.Inmanylargecitiesexperiencingde-industrialisationthereareemptyfactoriesthatseemripeforthiskindofdevelopment.ThemodelofconcentrationtofacilitaterapiddevelopmentalsofitswellwithChina'

shistoryofcollectivizationandmorerecentlyitsdevelopmentofhigh-techandotherR&

Dparks.Clustersarealsoattractivetopolicymakersbecausetheyarehighlyvisible一successfulonesgivepublicitytothemandthecity.Atthesametimetheyofferclearandconcretestepstosupportasectorthatisverynewandnotverywellunderstood.However,therearesomerealproblemstobeovercomeiftheseclustersaretodeliverwhatisexpectedofthem.

Manyclustersemergedorganically,withartistslookingforcheapworkspace;

butinChina,asintheWest,theysoondrewattentionfrompropertydevelopers.Thefirstbigproblemfacedbyclustersisthatculturalandcreativeproducersraisetheprofileofaplaceandthisisveryquicklytranslatedintorentrises,typicallydrivingoutthefirstoccupants.Thisisacomplexproblem,butmymainpointwouldbethatpolicycannotbedrivenbythedynamicsofrealestate.Somehavesaidthatifcreativeindustriesareseconomicallyimportantweshouldletthemarketdecide.Thereissometruthinthis;

itisveryeasytosubsidisebadartistsandcreativeproducers.However,thedynamicsofrealestatemarketsandthecreativeeconomyareverydifferent,especiallyattheearlystages.Culturalprofilecanraiserentsmuchmorerapidlythanwithotherkindsofoccupancy,oftenfromalowbase,andcanprovidegoodprofit.Buttheserentrisesareoftentoofastforaslowlyemergingsector,whichisnotjusttobeseenasindividualcompaniesbutasacomplexemerging`creativeecology'

.Therealestatemarketmeasures`good'

or`bad'

creativebytheirabilitytopaytherent,notontheirlong-termeffectoninnovation.Thereareeasymeasuresforrealestatesuccess一higherrentyield一buthowarewemeasuringtheinnovativecapacityofthelocaleconomy?

Ingeneral,localgovernmentsshouldnotgivetaxbreakstorealestatecompaniesandthenallowthemtoapplypuremarketrulestorents.Moresubtleintelligenceandpolicyinstrumentsareneededifgovernmentisfindaproductivebalanceinthisarea.

Clustersareoftenconceivedasplacesforthe`industrialization'

ofculturalproducts一thatis,massproductionandmarketing.Theneedforinnovationisforgottenintheprocess.Therearemanyvisualartclustersthatareverymuchlikefactories,reproducingextremelyoutdatedproductsforthelowestendoftheartmarket.ThismightprovidejobsintheshorttermbutsimplyconfirmsChinaastheworld'

slowvalueproducer.Similarthingscouldbesaidabouttraditionalcrafts,whichareextremelyrepetitiveandareusuallyonlyprotectedbyinter-provincialtariffs.Theseproductsmightinflatethestatistics一accordingtoonereportChinaisthirdlargestexporterofculturalproducts一buttheyareverymisleading;

mostoftheproductscounteddolittletoenhancetheinnovationcapacityoftheculturalcreativesector.

Betterunderstandingandgovernanceofclustersisnecessary.Clustersdeliverbenefitsformanybutnottheentireculturalcreativesector.Computergames,forexample,doesnotbenefitfromclustersbecausemoreorlesseverythingisproducedin-houseingreatsecrecy.Theygotoclustersbecauseoftaxandrentsubsidies,nottobeinproximitytoothers.Visualartistsbenefitfromcheaperrents,thereputationofa`cool'

placeandfromspacetoworkinquiet;

theydonotnecessarilyengageinintensivenetworkingandknowledgetransfer.Otherprojectbasedindustries,suchasnewmedia,wantthenetworkingpossibilitiesprovidedbyclusters,whateconomistscalled`untracedinterdependencies'

.Therearethusdifferentrequirementsforthedifferentbranches,andboththemixofcompaniesandthequalityofthespaceneedtobecarefullyunderstood.

Thereisrealscopeforinformedgovernmentpolicyhere.Ingeneraltheyshouldlooktoraisethequalityofproductionaswellasdevelopingnewaudiencesandmarkets.Clusterscanhavearoleinthis,buttheyhavetoformpartofawiderpolicystrategy.Forexample,universitiesarevitaltobuildingnewhumancapital一theyhavetobeencouragedtolooktocreativeskillsnotjustteachingfromestablishedmodels,.Localtelevisionstationscanbeencouragedtopaymoreforhighqualitycontent一atthemomentthepurchaseisaonesizefitsallapproachwhichoftenpaystheworstandthebestexactlythesame.Thedesignofurbanspacescanbeenhancedtosupportthecityasa`creativemilieu'

.Moredirectly,theculturalcreativeindustriesneednewcreativeattitudesandmentalitiesthattakesometimetocomethrough;

theyalsodemandarangeof`softskills'

associatedwithprojectmanagement,branddevelopmentandmarketingwhichhavetobelearned`onthejob'

.Buttheyfindithardtolearntheseskillswhentheyaremostlydeliveringservicesatthelowestpartofthevaluechain,whereinnovationeffectsandintellectualpropertygoabroad.Talentiswastedinservicingwhenitshouldbefocusedondevelopingoriginalcontent.Localgovernmentshavetorealizethatthoughtheculturalcreativeindustrieshavestrongeconomicbenefitstheyarealsoaboutquality一highvalueswhichdemandthelongtermviewnotthequickreturnofthe`bottomline'

.Thispushforhighqualityandhigherlevelsofinnovationissomethingthatdemandsamoreholisticapproachtopolicy;

andclusterscanplayacrucialroleinthis.

Ratherthanbeseenasconvenientcontainersforculturalcreativeproducerstheyneedtobecomefocalpointsfortargeteddevelopment.Universitiesandartschoolsneedtobemoreinvolved.Asdotheircultu