文化创意产业创新外文翻译文献.docx

文化创意产业创新外文翻译文献.docx

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文化创意产业创新外文翻译文献

文化创意产业创新外文翻译文献

（文档含中英文对照即英文原文和中文翻译）

CreativeChinamustfinditsownPath

Justin0'Connor

ItiscommonlysaidthatChinaneedsto‘catch-up’with`thewest'orthe`developedworld'.Thisphraseimpliesasingularpath;theremaybeshortcutsand`late-comeradvantages'butthedestination一amodern,developedcountry一isthesame.ButjustwhenitseemsChinaiswithintouchingdistance,the`developedworld'changesthedefinitionofwhatitistobe`developed'andputsmoreobstaclesinthepathofthosetryingtocatch-up.InEnglishwecallthis`movingthegoal-posts'.Aftermanufacturing,servicesandhigh-technologyseemedtopresentcleargoalsforChina,theculturalcreativeindustriesarriveasthenew`value-added'productandservicesector,posingyetmoreproblemsforthecountry'spolicy-makers.ManyintheWesthavearguedthatChinawilltakealongtimetocatch-upintheseareasandthatthisprovidesanewsourceofcompetitiveadvantagetotheWest.Indeed,forsome,theabsenceofacompetitiveculturalcreativeindustriessectorisevidencethatChinaisnot,andmaybecanneverbe,fully`developed'.

MuchofthiscanbedismissedasanotherexampleoftheWest'ssuperioritycomplex;however,therecanbenodoubtthattheculturalcreativeindustriespresentgreatpossibilitiesbutalsogreatchallengesforChina.Theseindustries一fromvisualandperformingarts,torecordedmusic,filmandTV,todigitalanimationandnewmediaservices,throughtofashion,designandarchitecture一arehighlycreativeandinnovativeproductsandservices,relyingoncomplexflowsofknowledgeandintellectualproperty.Theyarealsoculturalorsymbolicproductsthatreflectandinfluenceourpleasuresandambitions,andourindividualandcollectivesenseofmeaningandidentity.Forthesereasonsallnationshavesoughttoprotectanddeveloptheirownnationalcultureandtraditionsbyinvestinginculturalinfrastructureandexpertise.Inthesecondhalfofthetwentiethcenturythiswasexpandedbeyond`thearts，一galleries,museums,operahouses,universities,artsschools,journalsetc.一toincludebroadcastmedia,film,publishingandrecordedmusic.Inthelast20yearstheemphasishasshiftedfrombuildingeconomicinfrastructuresforreasonsofnationalculturalidentitytomobilizingcultureandcreativityforreasonsofeconomicdevelopment.

Theculturalcreativeindustriesarenowstronglylinkedwiththeknowledgeeconomy,whichemphasizeshighlevelsofresearch,knowledgetransferand,aboveall,innovation.IntheWestartistsor`culturalproducers'havelongbeenassociatedwithdynamic,oftenunpredictablecreativeinnovation.Nowtheinnovativecapacityoftheculturalindustriesisextendedtoanewrangeofcreativeproductsandservicesandisalsoseenasacatalystforinnovationrightacrosstheeconomy.InChinathisagendahasalsomeantmovingbeyondtheideaofabetterindustrializationormarketisationofexistingculturalproductstowardsamoresystematicapproachtotheideaofculturalandcreativeinnovationanditswidereconomicimpacts.Thisdemandstheabilitytoanticipatenewproductsandservices,findingnewaudiences,differentiatingratherthanimitatingwhatalreadysells.Itrequiresnewkindsof`softskills'thatarehardtoacquireastheyareoften`tacit',demandingexperienceratherthanformaleducation（thoughthisisalsonecessary）.Itdemandsunderstandingdifferentmodelsofproduction,complexvaluechainsandtheinteractionbetweencultural,creativeandbusinessskills.Inthelastfewyearsthecentraldrivingforcebehindculturalandcreativeindustriespolicieshasbeentheideaof`cluster'.StartingfromafewisolatedexamplesinBeijing,Shanghaiandothersmallercoastalcitiestheconcepthasnowbecomeacentralpolicyplatform.CulturalandcreativeclustersexistintheWest,thoughthesetermscoverextremelydiversedevelopments.TherearesomegoodreasonswhyChinawouldchoosethispolicyplatformaboveothers.Inmanylargecitiesexperiencingde-industrialisationthereareemptyfactoriesthatseemripeforthiskindofdevelopment.ThemodelofconcentrationtofacilitaterapiddevelopmentalsofitswellwithChina'shistoryofcollectivizationandmorerecentlyitsdevelopmentofhigh-techandotherR&Dparks.Clustersarealsoattractivetopolicymakersbecausetheyarehighlyvisible一successfulonesgivepublicitytothemandthecity.Atthesametimetheyofferclearandconcretestepstosupportasectorthatisverynewandnotverywellunderstood.However,therearesomerealproblemstobeovercomeiftheseclustersaretodeliverwhatisexpectedofthem.

Manyclustersemergedorganically,withartistslookingforcheapworkspace;butinChina,asintheWest,theysoondrewattentionfrompropertydevelopers.Thefirstbigproblemfacedbyclustersisthatculturalandcreativeproducersraisetheprofileofaplaceandthisisveryquicklytranslatedintorentrises,typicallydrivingoutthefirstoccupants.Thisisacomplexproblem,butmymainpointwouldbethatpolicycannotbedrivenbythedynamicsofrealestate.Somehavesaidthatifcreativeindustriesareseconomicallyimportantweshouldletthemarketdecide.Thereissometruthinthis;itisveryeasytosubsidisebadartistsandcreativeproducers.However,thedynamicsofrealestatemarketsandthecreativeeconomyareverydifferent,especiallyattheearlystages.Culturalprofilecanraiserentsmuchmorerapidlythanwithotherkindsofoccupancy,oftenfromalowbase,andcanprovidegoodprofit.Buttheserentrisesareoftentoofastforaslowlyemergingsector,whichisnotjusttobeseenasindividualcompaniesbutasacomplexemerging`creativeecology'.Therealestatemarketmeasures`good'or`bad'creativebytheirabilitytopaytherent,notontheirlong-termeffectoninnovation.Thereareeasymeasuresforrealestatesuccess一higherrentyield一buthowarewemeasuringtheinnovativecapacityofthelocaleconomy?

Ingeneral,localgovernmentsshouldnotgivetaxbreakstorealestatecompaniesandthenallowthemtoapplypuremarketrulestorents.Moresubtleintelligenceandpolicyinstrumentsareneededifgovernmentisfindaproductivebalanceinthisarea.

Clustersareoftenconceivedasplacesforthe`industrialization'ofculturalproducts一thatis,massproductionandmarketing.Theneedforinnovationisforgottenintheprocess.Therearemanyvisualartclustersthatareverymuchlikefactories,reproducingextremelyoutdatedproductsforthelowestendoftheartmarket.ThismightprovidejobsintheshorttermbutsimplyconfirmsChinaastheworld'slowvalueproducer.Similarthingscouldbesaidabouttraditionalcrafts,whichareextremelyrepetitiveandareusuallyonlyprotectedbyinter-provincialtariffs.Theseproductsmightinflatethestatistics一accordingtoonereportChinaisthirdlargestexporterofculturalproducts一buttheyareverymisleading;mostoftheproductscounteddolittletoenhancetheinnovationcapacityoftheculturalcreativesector.

Betterunderstandingandgovernanceofclustersisnecessary.Clustersdeliverbenefitsformanybutnottheentireculturalcreativesector.Computergames,forexample,doesnotbenefitfromclustersbecausemoreorlesseverythingisproducedin-houseingreatsecrecy.Theygotoclustersbecauseoftaxandrentsubsidies,nottobeinproximitytoothers.Visualartistsbenefitfromcheaperrents,thereputationofa`cool'placeandfromspacetoworkinquiet;theydonotnecessarilyengageinintensivenetworkingandknowledgetransfer.Otherprojectbasedindustries,suchasnewmedia,wantthenetworkingpossibilitiesprovidedbyclusters,whateconomistscalled`untracedinterdependencies'.Therearethusdifferentrequirementsforthedifferentbranches,andboththemixofcompaniesandthequalityofthespaceneedtobecarefullyunderstood.

Thereisrealscopeforinformedgovernmentpolicyhere.Ingeneraltheyshouldlooktoraisethequalityofproductionaswellasdevelopingnewaudiencesandmarkets.Clusterscanhavearoleinthis,buttheyhavetoformpartofawiderpolicystrategy.Forexample,universitiesarevitaltobuildingnewhumancapital一theyhavetobeencouragedtolooktocreativeskillsnotjustteachingfromestablishedmodels,.Localtelevisionstationscanbeencouragedtopaymoreforhighqualitycontent一atthemomentthepurchaseisaonesizefitsallapproachwhichoftenpaystheworstandthebestexactlythesame.Thedesignofurbanspacescanbeenhancedtosupportthecityasa`creativemilieu'.Moredirectly,theculturalcreativeindustriesneednewcreativeattitudesandmentalitiesthattakesometimetocomethrough;theyalsodemandarangeof`softskills'associatedwithprojectmanagement,branddevelopmentandmarketingwhichhavetobelearned`onthejob'.Buttheyfindithardtolearntheseskillswhentheyaremostlydeliveringservicesatthelowestpartofthevaluechain,whereinnovationeffectsandintellectualpropertygoabroad.Talentiswastedinservicingwhenitshouldbefocusedondevelopingoriginalcontent.Localgovernmentshavetorealizethatthoughtheculturalcreativeindustrieshavestrongeconomicbenefitstheyarealsoaboutquality一highvalueswhichdemandthelongtermviewnotthequickreturnofthe`bottomline'.Thispushforhighqualityandhigherlevelsofinnovationissomethingthatdemandsamoreholisticapproachtopolicy;andclusterscanplayacrucialroleinthis.

Ratherthanbeseenasconvenientcontainersforculturalcreativeproducerstheyneedtobecomefocalpointsfortargeteddevelopment.Universitiesandartschoolsneedtobemoreinvolved.Asdotheircultu