文化产业体系构建的回顾与思考

随着文化产业的不断发展,寻求合适的文化产业体系成为政府和学术界共同关注的议题。从文化产业体系的回顾来看,国际上体系制定主要经历了20世纪70至80年代的初步探索阶段,以及90年代以来的发展阶段。当前,文化产业体系的发展日益多样化,体系分类日益细化和明晰化,体系中的功能划分成为一大创意,而体系的发展也促进了产业分类标准的发展。基于以上分析,对我国的文化产业体系进行了积极思考,并试图构建新体系以对现有体系做出补充和完善。     

西方地理学界关于文化产业研究述评

20世纪80年代到90年代中期,属于西方地理学界对文化产业研究的萌芽阶段,其研究只限于少数实证。20世纪90年代中期以来则是其发展阶段,这一阶段的研究主要涉及文化产业就业的地域特征、文化产业对区域与城市的作用、全球化与文化产业发展、文化产业集聚体/集群实证、文化产业的发展机制、信息技术对文化产业的影响、文化产业管治等七个方面。今后还需展开的研究领域,主要包括:文化产业就业的微观属性,文化产业发行、消费环节,产业集聚体/集群多类型的实证,文化产业低效/无效管治的实证等方面。     

Transformation,job creation and subsidies to creative industries: the case of South Africa’s film and television sector

Many governments have tried to stimulate economic growth via policy in the creative industries. South Africa is no different but additionally has an overarching aim of achieving social and labour market ‘transformation’ to move away from the legacy of the apartheid era. The effectiveness of incentives provided to the film and television sector in South Africa are considered in terms of their stated objectives of job creation, skills and knowledge transfer, and the attraction of foreign direct investment. Informed by empirical analysis of incentive scheme data and supplemented by elite interviews with key informants, some specific policy revisions are proposed.     

Three arguments against ‘soft innovation’: towards a richer understanding of cultural innovation

This paper critiques recent research on innovation in the cultural and creative industries. In particular, this paper examines Paul Stoneman’s idea of ‘soft innovation’ as a jumping off point for discussing theories of cultural innovation more broadly. Three critiques are advanced. Firstly, soft innovation is a theoretical perspective that has developed from neoclassical economics, and is therefore vulnerable to criticisms levelled at neoclassical explanations of economic behaviour. Secondly, the theory of soft innovation can be criticised for being contingently inaccurate: the observed reality of cultural industries and marketplaces may not reflect the theory’s premises. Thirdly, because soft innovation defines the significance of an innovation in terms of marketplace success, it implies that only high-selling cultural products are significant, a difficult claim to substantiate. This paper concludes by arguing that our understanding of innovation in the cultural sphere can benefit from a multi-disciplinary approach grounded in the full gamut of human creativity.     

From culture for the people to culture for profit: the PRC’s journey toward a cultural industries approach

This paper seeks to explore the internal driving forces behind the emergence and prosperity of China’s cultural industries. The paper traces the Chinese Communist Party’s radical transformation from stressing the class stand and ideological nature of culture to concluding with the concept of ‘cultural industries’ so as to expand an orthodox Marxist/Leninist/Maoist notion of culture. The Chinese party-state legalizes ‘cultural industries’ by extending the market mechanism into the cultural arena, and acknowledges the triple statuses of culture as a public service provider, a market profit contributor, and an essential builder of the ‘socialist core value system.’ By doing so, the Chinese Party-state is able to take advantage of the economic power of the market while retaining the ideological control function of culture. As such, cultural industries become a mode of governance for the CCP to maintain cultural security and national identity, and a source of soft power to maneuver.     

山东新泰出土同心圆剑首连接技术研究

山东新泰周家庄出土了东周时期大量带有吴国特征的兵器,其中尤以青铜剑最具特色。为探讨东周同心圆剑首与剑茎的连接方式和连接结构,采用X射线探伤机、CT检测了3把同心圆首剑。检测结果显示3把同心圆首剑采用了2种铸造技术,即浑铸技术、铸接技术。其中2把铸接的同心圆首剑分别用2段式和3段式铸接成形。文章首次用CT清晰地展示了2把铸接的同心圆首上设置的榫头形状及分布状况。讨论了古代同心圆剑首连接技术的多样性、灵活性,说明了当时青铜连接技术已经非常娴熟、高超。     

Mapping the arts: industry concentrations,distribution, and change in the US, 1980–2010

This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities.     

区域经济增长的文化产业驱动效应研究——基于省级面板数据的分析

本文采用中国31个省份1996-2013年的面板数据,对中国文化产业与经济发展的内在驱动效应展开研究。研究发现:第一,文化产业投入和产出规模扩张对地区GDP和人均GDP增长具有显著作用,两者间的交互效应会加大其对经济发展的推动力;第二,文化产业有助于带动旅游业和整个第三产业发展,促进地区经济增长;第三,中国文化产业对经济发展的带动效应存在显著的地区差异,西部地区文化产业对经济发展的提升作用最大,中部和东部地区效应相对不足。因此,进一步加大对文化产业发展的政策支持,实现文化产业的合理布局,不仅能够促进整体经济增长,而且可以实现区域平衡发展。     

The Tenco effect. Suicide,San Remo,and the social construction of the canzone d'autore

Abstract

Canzone d'autore is an indigenous expression that has no precise equivalent in other languages. Its social use identifies a genre of popular song that presuppose the existence of an ‘autore’ taken in its most vigorous sense, meaning a ‘creator’, an ‘artist’– but how did this claim to artistry originate? How did it insinuate itself into the world of song, a genre that by definition belongs to the realm of what is traditionally called in Italian ‘musica leggera,’ with unmistakably pejorative connotations? In this essay, I will put forward a sociological interpretation of the genesis of the canzone d'autore, using as a strategic conceptual device the idea of cultural trauma. The traumatic event that I propose to explore, making use of this concept and its analytical machinery, is the suicide of the singer-songwriter Luigi Tenco during the seventeenth San Remo ‘Festival della Canzone’ (‘song festival’) – that is the best-known, most controversial, and most influential single event in the field of Italian ‘musica leggera’, an annual event regularly attended every year – via radio, television, or audience participation – by millions of Italians. Through a reconstruction of that suicide and above all of the public and dramatic events that followed in response to it, the paper examines the social process that transformed an individual tragedy into a collective, social drama, a process that not only produced a new musical classification, but also a new cultural and aesthetic category.