全球价值链下的文化产业升级:以大芬村为例

全球金融危机以后,大芬村实现了从生产行画的城中村到结合复制与创意的综合性油画生产基地的产业成功转型。本文分析了此案例在全球化背景下,产业链动力机制的演变对产业链与产业结构、雇佣关系与劳动者身份、进而对整个产业转型升级的推动与影响。本文指出,正是这种介于普通手工业与文化创意产业之间身份认同的焦虑,其中所蕴含的劳动者自我价值的认同,终而成为顺应市场需求变动中的实现产业升级的内在动力。最后讨论了大芬村文化产业升级案例之于发展中国家产业发展与转型的意义,以及地方性在此发挥的重要作用。

THE UPGRADING OF CULTURAL INDUSTRY IN GLOBAL VALUE CHAIN: A CASE STUDY ON DAFEN VILLAGE

This article is concerned with the driving force in the industrial upgrading of developing countries. In the case study of the commercial painting industry in Dafen village, Shenzhen, a perfect incarnation of Walter Benjamin's art work in the age of mechanical reproduction, however, we pay special attention to its cultural and creative aspects, considering the copy of masterpiece no longer dominates the market, and the upgrading path of Dafen is intrinsically humanity-oriented. Based on participant observation and field interviews, this paper analyses the upgrading process of the oil painting industry in Dafen after the financial crisis of 2008. Analogous to the principle of organization of the assembly line, the replication process of a certain masterpiece was divided into several standardized procedures, enabling migrant rural workers without any professional education or training to repeat several formalized gestures. The market was severely influenced by the global economic downturn and European debt crisis, which resulted in the decrease of oversea orders from global retail and wholesale markets. The most apparent change in Dafen, after the financial crisis, was the replica painting, that had once dominated the Dafen market, was gradually replaced by the original work. Also, painters began to copy various paintings other than Mona Lisa or Van Gogh's Sunflowers. Substantive changes have taken place in the industry chain, the employment relationship and the production network. The order- oriented and profit- driven production pattern of former commercial painting mode have never been fully accepted by the painters, and were later challenged bottom-up by grass-root painters after the financial crisis. Fully aware of the bottom-up approach from the grassroots painter who refused to be alienated from his labor and made efforts to write names in their own ways on these anonymous works, this paper points out that the impetus for transformation shall originate from the self-identification and self-awareness of labor.