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Introduction:abundance without value
For would-be investors China’s huge population evokes visions of massive demographics yearning for new goods and services.Fortune magazine (October 4,2004) illustrates how yearning is linked to earning – that is,capitalizing on the commercialization of Chinese lifestyles.It euphorically editorializes ‘The remarkable
rise of China is one of the mega-stories of our time’ (16).Impressive testimonials to peaceful evolution towards free market capitalism attract foreign investors and international marketers hoping to feature in the next stage of China’s market reforms.More cautionary stories,however,have appeared in Newsweek,which devoted a special issue (Fall/Winter 2002) to China,entitled ‘The Five Faces of China:Can Beijing
and the World Handle the Country’s Split Personality?’ Tales of unfulfilled expectations are also chronicled in Joe Studwell’s The China Dream (2002).
The business world’s preoccupation with China Unlimited ( Fortune) – and the prominence given to the Chinese Communist Party’s censorship of cultural works (see Kraus 2004) – overshadows China’s unfulfilled efforts to develop global cultural markets.This failure to compete is a problem of scale in two respects.First,the vast size of the Chinese domestic market provides little incentive for domestic producers
to target international high-value markets.Second,the fragmentation of the national market into provincial empires makes value creation (that is,the creation of powerful brands) difficult.A legacy of Communist propaganda organization,fragmentation has also resulted in ineffective distribution networks.Many small media empires do not create incentives to syndicate or trade licenses (rights).To complicate the scenario
for development,a persistence of protectionist policies in media,communications and culture reveals a tendency to emphasize the national character of production and in doing so neglects the nurturing of national champions and targeting of potentially lucrative international markets.
This article examines the financing of creative industries in the People’s Republic of China.Creative industries embrace both traditional and contemporary culture,but exportable industries are primarily content-driven.This focus on export content shifts the development argument away from the provision of infrastructure towards innovation in the global economy.The concern of this paper therefore is on the synergy between financial and creative inputs into production,distribution,and marketing of film and television.The paper also make some concluding observations about the prospects for digital content industries,and points towards a bottom-up model of development applicable across a range of creative and content industries.
Introduction:abundance without value
For would-be investors China’s huge population evokes visions of massive demographics yearning for new goods and services.Fortune magazine (October 4,2004) illustrates how yearning is linked to earning – that is,capitalizing on the commercialization of Chinese lifestyles.It euphorically editorializes ‘The remarkable
rise of China is one of the mega-stories of our time’ (16).Impressive testimonials to peaceful evolution towards free market capitalism attract foreign investors and international marketers hoping to feature in the next stage of China’s market reforms.More cautionary stories,however,have appeared in Newsweek,which devoted a special issue (Fall/Winter 2002) to China,entitled ‘The Five Faces of China:Can Beijing
and the World Handle the Country’s Split Personality?’ Tales of unfulfilled expectations are also chronicled in Joe Studwell’s The China Dream (2002).
The business world’s preoccupation with China Unlimited ( Fortune) – and the prominence given to the Chinese Communist Party’s censorship of cultural works (see Kraus 2004) – overshadows China’s unfulfilled efforts to develop global cultural markets.This failure to compete is a problem of scale in two respects.First,the vast size of the Chinese domestic market provides little incentive for domestic producers
to target international high-value markets.Second,the fragmentation of the national market into provincial empires makes value creation (that is,the creation of powerful brands) difficult.A legacy of Communist propaganda organization,fragmentation has also resulted in ineffective distribution networks.Many small media empires do not create incentives to syndicate or trade licenses (rights).To complicate the scenario
for development,a persistence of protectionist policies in media,communications and culture reveals a tendency to emphasize the national character of production and in doing so neglects the nurturing of national champions and targeting of potentially lucrative international markets.
This article examines the financing of creative industries in the People’s Republic of China.Creative industries embrace both traditional and contemporary culture,but exportable industries are primarily content-driven.This focus on export content shifts the development argument away from the provision of infrastructure towards innovation in the global economy.The concern of this paper therefore is on the synergy between financial and creative inputs into production,distribution,and marketing of film and television.The paper also make some concluding observations about the prospects for digital content industries,and points towards a bottom-up model of development applicable across a range of creative and content industries.
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