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The experience of Hong Kong’s innovative and creative industries and the challenges they face serves as an important case study for other Chinese and Asian cities that are actively developing their innovative and creative industries in the era of globalization. The return of sovereignty over Hong Kong back to China in 1997 has led to both collaboration and competition between the two places in innovative and creative sectors for the Greater China and Asian Regions. Hong Kong has remained unique in spite of the integration, but she has to strike a delicate balance between being simultaneously a Chinese and an international city. This book looks at different innovative and creative industries, such as international art and culture exhibition, innovative technology, digital entertainment, TV and movies, as well as government policy for innovative and creative industries, particularly the changing competitive landscape brought about by the latest Great Bay Area development. Drawing insights from cultural history, innovation economics, cultural policy studies, and cultural geography, this book explores the opportunities and challenges of Hong Kong's innovative and creative industries, in particular after the change of sovereignty in 1997. It demonstrates that the city’s legacy, and heavy government input in capital, do not guarantee their sustainable development. This is a book not only for policymakers or academics interested in innovative and creative industries but also to students contemplating a career in these areas in Hong Kong, the Greater China and the Asian Region.
This book focuses on the theoretical, policy and practice linkages and disjunctures between tourism and the creative industries. There are clear and strong intersections between the sectors, for example in the development and application of new and emerging media in tourism; festivals and cultural events showcasing the creative identity of place; tours and place identities associated with film, TV, music and arts tourism; as well as particular destinations being promoted on the basis of their ‘creative’ endowments such as theatre breaks, art exhibitions and fashion shows. Tourism and the Creative Industries explores a variety of relationships in one volume and offers innovative and critical insights into how creative industries and tourism together contribute to place identity, tourist experience, destination marketing and management. The book is aligned with the sectors that have been demarcated by the UK Government Department of Culture, Media and Sport as comprising the creative industries: advertising and marketing; architecture; design and designer fashion; film, TV, video, radio and photography; IT, software and computer services; publishing and music; performing and visual arts. The title of this volume demonstrates how the exclusion of tourism from the creative industries is arguably perverse, given that much of the work by destination managers and of private sector tourism is characterised by creativity and innovation. Interdisciplinary research and international context bring a broader perspective on how the creative industries operate in varying cultural and policy contexts in relation to tourism. This book brings together the parallel and disparate inter-disciplinary fields of tourism and the creative industries and will be of interest to students, academics and researchers interested in tourism, creative industries, marketing and management.
′In the globalization ′game′ there are no absolute winners and losers. Neither homogenisation nor diversity can capture its contradictory movement and character. The essays and papers collected here offer, from a variety of perspectives, a rich exploration of creativity and innovation, cultural expressions and globalization. This volume of essays, in all their diversity of contents and theoretical perspectives, demonstrates the rich value of this paradoxical, oxymoronic approach′ - Stuart Hall, Emeritus Professor of Sociology at the Open University Volume 3 of the Cultures & Globalization series, Creativity and Innovations, explores the interactions between globalization and the forms of cultural expression that are their basic resource. Bringing together over 25 high-profile authors from around the world, this volume addresses such questions as: What impacts does globalization have on cultural creativity and innovation? How is the evolving world ′map′ of creativity related to the drivers and patterns of globalization? What are the relationships between creative acts, clusters, genres or institutions and cultural diversity? The volume is an indispensable reference tool for all scholars and students of contemporary arts and culture.
Laikwan Pang offers a complex critical analysis of creativity, creative industries, and the impact of Western copyright laws on creativity in China.
China's Creative Industries explores the role of new technologies, globalization and higher levels of connectivity in re-defining relationships between producers and consumers in 21st century China. The evolution of new business models, the impact of state regulation, the rise of entrepreneurial consumers and the role of intellectual property rights are traced through China's film, music and fashion industries. The book argues that social network markets, consumer entrepreneurship and business model evolution are driving forces in the production and commercialization of cultural commodities. In doing so it raises important questions about copyright's role in the business of culture, particularly in a digital age. This insightful book will appeal to post-graduate students and academic researchers in China and Asian studies, intellectual property, cultural studies, film, music and fashion studies, cultural economics and innovation management. People working in the creative industries with an interest in devising strategies for expansion into the Chinese market, as well as people working in the creative industries outside China with an interest in developing successful digital strategies, will also find much to interest them in this book.
China is at the crux of reforming, professionalising, and internationalising its cultural and creative industries. These industries are at the forefront of China's move towards the status of a developed country. In this comprehensive Handbook, international experts including leading Mainland scholars examine the background to China's cultural and creative industries as well as the challenges ahead. The chapters represent the cutting-edge of scholarship, setting out the future directions of culture, creativity and innovation in China. Combining interdisciplinary approaches with contemporary social and economic theory, the contributors examine developments in art, cultural tourism, urbanism, digital media, e-commerce, fashion and architectural design, publishing, film, television, animation, documentary, music and festivals. Students of Chinese culture and society will find this Handbook to be an invaluable resource. Scholars working on topics related to China's emergence and its cultural aspirations will also find the themes discussed in this book to be of interest. Contributors:R. Bai, M. Cheung, Y. Chu, P. Chung, J. Dai, J. De Kloet, A.Y.H. Fung, L. Gorfinkel, M. Guo, E.C. Hendriks, C.M. Herr, V. Ho, Y. Huang, M. Keane, W. Lei, H. Li, W. Li, Y. Li, W. Lei, B. Liboriussen, T. Lindgren, R. Ma, L. Montgomery, E. Priest, Z. Qiu, X. Ren, F. Schneider, W. Sun, M.A. Ulfstjerne, J. Wang, Q. Wang, C. Hing-Yuk Wong, H. Wu, B. Yecies, L. Yi, N. Yi, X. Zhang, E.J. Zhao, J. Zheng
The Routledge Handbook of Soft Power is the first volume to offer a comprehensive and detailed picture of soft power and associated forms of public diplomacy. The terms soft power and public diplomacy have enormous currency in media and policy discourse, yet despite all the attention the terms remain conceptually ambiguous for analysts of international influence. The consequence is that the terms have survived as powerful, yet criticized, frames for influence. Divided into two main parts, Part I outlines theoretical problems, methodological questions, the cultural imperative and the technological turn within the study of soft power and Part II focuses on bringing the theory into practice through detailed discussion of key case studies from across the Americas, Europe, the Middle East, Africa and Asia. This innovative handbook provides a definitive resource for students and scholars seeking to familiarize themselves with cutting-edge debates and future research on soft power and will be of interest to those studying and researching in areas such as international relations, public diplomacy and international communication.
The study of Chinese media is a field that is growing and evolving at an exponential rate. Not only are the Chinese media a fascinating subject for analysis in their own right, but they also offer scholars and students a window to observe multi-directional flows of information, culture and communications within the contexts of globalization and regionalization. Moreover, the study of Chinese media provides an invaluable opportunity to test and refine the variety of communications theories that researchers have used to describe, analyse, compare and contrast systems of communications. The Routledge Handbook of Chinese Media is a prestigious reference work providing an overview of the study of Chinese media. Gary and Ming-Yeh Rawnsley bring together an interdisciplinary perspective with contributions by an international team of renowned scholars on subjects such as television, journalism and the internet and social media. Locating Chinese media within a regional setting by focusing on ‘Greater China’, the People’s Republic of China, Taiwan, Hong Kong, Macau and overseas Chinese communities; the chapters highlight the convergence of media and platforms in the region; and emphasise the multi-directional and trans-national character of media/information flows in East Asia. Contributing to the growing de-westernization of media and communications studies; this handbook is an essential and comprehensive reference work for students of all levels and scholars in the fields of Chinese Studies and Media Studies.
This book examines China’s creative economy—and how television, animation, advertising, design, publishing and digital games are reshaping traditional understanding of culture. Since the 1950s China has endeavoured to catch-up with advanced Western economies. ‘Made in China’ is one approach to global competitiveness. But a focus on manufacturing and productivity is impeding innovation. China imports creativity and worries about its ‘cultural exports deficit’. In the cultural sector Chinese audiences are attracted to Korean, Taiwanese, and Japanese culture, as well as Hollywood cinema. This book provides a fresh look looks at China’s move up the global value chain. It argues that while government and (most) citizens would prefer to associate with the nationalistic, but unrealized ‘created in China’ brand, widespread structural reforms are necessary to release creative potential. Innovation policy in China has recently acknowledged these problems. It considers how new ways of managing cultural assets can renovate largely non-competitive Chinese cultural industries. Together with a history of cultural commerce in China, the book details developments in new creative industries and provides the international context for creative cluster policy in Beijing and Shanghai.
“Unsettles contemporary art’s unspoken hierarchies and topples modernist and postmodernist assumptions about originality, authenticity, and authorship.” —caa Reviews In a metropolis in south China lies Dafen, an urban village that houses thousands of workers who paint van Goghs, Da Vincis, Warhols, and other Western masterpieces for the world market, producing an astonishing five million paintings a year. Winnie Wong infiltrated this world, first investigating the work of conceptual artists; then working as a dealer; apprenticing as a painter; surveying wholesalers and retailers in Europe, East Asia and North America; establishing relationships with local leaders; and organizing a conceptual art exhibition for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about a little-known aspect of the global art world—one that sheds surprising light on the workings of art, artists, and individual genius. Wong describes an art world in which migrant workers, propaganda makers, dealers, and international artists make up a global supply chain of art. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, styling himself into a Dafen boss. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about the role of Chinese workers in redefining global art. “[A] fantastically detailed exploration of a topic which touches the heart of many of the issues surrounding China's economic rise.” —South China Morning Post