Co-evolution of institutions,culture and industrial organization in the film industry: the case of Shanghai in China

Research about the Chinese film industry is far behind the actual development of practice, especially considering its evolution and main influential factors. Furthermore, existing research on the film industry in economic geography is mostly conducted from the perspective of cluster theory, with lesser attention to institutions or culture. In this paper, the theory of co-evolution is used to tackle these two gaps. The role of institutions, culture and industrial organization as three fundamental elements of co-evolution is pointed out and discussed in the theoretical section. The phenomena of co-evolution in the Shanghai film industry as important examples of the Chinese film industry are analysed in the empirical part. We phase the development process in four periods and differentiate identified effects of co-evolution between institutions, culture and industrial organization based on the specific setting in each particular period.     

生态旅游中的导游问题

导游对生态旅游的健康发展负有特殊责任。文章比较了导游在生态旅游与传统旅游中的角色差异,对导游在生态旅游中的角色要求、从业素质、培训内容、管理方式进行了探讨,并提出在我国逐步实行生态旅游导游资格认证制度的设想。     

春秋芮国墓中的人面兽身玉雕为“马腹”考

2005—2006年,陕西省考古工作者在韩城市东北方向7公里黄河西岸的梁带村发掘了一组三座春秋时期的大墓（M19、M26、M27）,并发掘了为其大墓陪葬的一座车马坑。本文选取M27墓室出土的人面兽身玉雕加以考释,通过与商周及汉代同类题材器物的对比研究,推断这件人面兽身玉雕的制作时间在西周中期,应是当时人们信仰崇拜的产物——神兽＂马腹＂。这件玉器的发现丰富了西周合雕玉器的内涵,它将神兽马腹出现的时间,提到了西周中期,为人们研究西周时期神话传说提供了新的实物资料。     

琼守王光祖考辨

明、清两代的琼州方志,均记载宋熙宁年间（1068～1077年）有琼州守臣王光祖,但经过考证,发现实为淳熙年间之守臣,各种方志所记“开神应港,建六瑞堂”均为淳熙末年之事。其致误或始于元末明初《谪宦、诸老儒之家存残篇遗集》,并为王佐《琼台外纪》所采,唐胄正德《琼台志》承《琼台外纪》之误,其后历次修志因之。     

Changing trends in international marriages between Korean men and Southeast Asian women, 1993–2013

Korea witnessed a large increase in the fraction of men marrying spouses from Southeast Asia. In the 1990s, about one per cent of Korean men’s new marriages were to Southeast Asian women but by 2005, this increased to over nine per cent with even higher rates in rural areas. With the use of a logit model and Marriage Register data from 1993–2013, the determinants of international marriages are explored using a more rigorous approach and over a longer period of observation compared to previous studies. Older Korean men with lower socioeconomic status were more likely to marry a woman from Southeast Asia (compared to a fellow Korean). The predictors of international marriage differed depending on the wife’s birth country: if the wife had some college education there was a higher probability of marriage to a Filipino woman, but less likely to a woman from China or Vietnam, compared to marriage to a Korean woman. Finally, over the past two decades the education level, age at marriage, and country of origin of the foreign wives have changed substantially. The data shows fewer women migrating from China (of which about 70% are ethnically Korean), and a rising number from Vietnam. This ‘marriage migration’ has implications for the demographics, ethnicity, and occupational composition of those living in Korea.     

Politics of the ‘creative industries’ discourse and its variants

The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain.