文化创意产业创新外文翻译文献.docx

1、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)Creative China must find its own PathJustin 0ConnorIt is commonly said that China needs to catch-up with the west or the developed world. This phrase implies a singular path; there may be short cuts and late-comer advantages but the destination一a moder

2、n, developed country一is the same. But just when it seems China is within touching distance, the developed world changes the definition of what it is to be developed and puts more obstacles in the path of those trying to catch-up. In English we call this moving the goal-posts. After manufacturing, se

3、rvices and high-technology seemed to present clear goals for China, the cultural creative industries arrive as the new value-added product and service sector, posing yet more problems for the countrys policy-makers. Many in the West have argued that China will take a long time to catch-up in these a

4、reas and that this provides a new source of competitive advantage to the West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully developed.Much of this can be dismissed as another example of the Wests super

5、iority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries一from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, des

6、ign and architecture一are highly creative and innovative products and services, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective sense of meaning and i

7、dentity. For these reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and expertise. In the second half of the twentieth century this was expanded beyond the arts，一galleries, museums, opera houses, universities, ar

8、ts schools, journals etc. 一to include broadcast media, film, publishing and recorded music. In the last 20 years the emphasis has shifted from building economic infrastructures for reasons of national cultural identity to mobilizing culture and creativity for reasons of economic development.The cult

9、ural creative industries are now strongly linked with the knowledge economy, which emphasizes high levels of research, knowledge transfer and, above all, innovation. In the West artists or cultural producers have long been associated with dynamic, often unpredictable creative innovation. Now the inn

10、ovative capacity of the cultural industries is extended to a new range of creative products and services and is also seen as a catalyst for innovation right across the economy. In China this agenda has also meant moving beyond the idea of a better industrialization or marketisation of existing cultu

11、ral products towards a more systematic approach to the idea of cultural and creative innovation and its wider economic impacts. This demands the ability to anticipate new products and services, finding new audiences, differentiating rather than imitating what already sells. It requires new kinds of

12、soft skills that are hard to acquire as they are oftentacit, demanding experience rather than formal education (though this is also necessary). It demands understanding different models of production, complex value chains and the interaction between cultural, creative and business skills. In the las

13、t few years the central driving force behind cultural and creative industries policies has been the idea of cluster. Starting from a few isolated examples in Beijing, Shanghai and other smaller coastal cities the concept has now become a central policy platform. Cultural and creative clusters exist

14、in the West, though these terms cover extremely diverse developments. There are some good reasons why China would choose this policy platform above others. In many large cities experiencing de-industrialisation there are empty factories that seem ripe for this kind of development. The model of conce

15、ntration to facilitate rapid development also fits well with Chinas history of collectivization and more recently its development of high-tech and other R&D parks. Clusters are also attractive to policy makers because they are highly visible一successful ones give publicity to them and the city. At th

16、e same time they offer clear and concrete steps to support a sector that is very new and not very well understood. However, there are some real problems to be overcome if these clusters are to deliver what is expected of them.Many clusters emerged organically, with artists looking for cheap workspac

17、e; but in China, as in the West, they soon drew attention from property developers. The first big problem faced by clusters is that cultural and creative producers raise the profile of a place and this is very quickly translated into rent rises, typically driving out the first occupants. This is a c

18、omplex problem, but my main point would be that policy cannot be driven by the dynamics of real estate. Some have said that if creative industries are seconomically important we should let the market decide. There is some truth in this; it is very easy to subsidise bad artists and creative producers

19、. However, the dynamics of real estate markets and the creative economy are very different, especially at the early stages. Cultural profile can raise rents much more rapidly than with other kinds of occupancy, often from a low base, and can provide good profit. But these rent rises are often too fa

20、st for a slowly emerging sector, which is not just to be seen as individual companies but as a complex emerging creative ecology. The real estate market measures good or bad creative by their ability to pay the rent, not on their long-term effect on innovation. There are easy measures for real estat

21、e success一higher rent yield一but how are we measuring the innovative capacity of the local economy? In general, local governments should not give tax breaks to real estate companies and then allow them to apply pure market rules to rents. More subtle intelligence and policy instruments are needed if

22、government is find a productive balance in this area.Clusters are often conceived as places for the industrialization of cultural products一that is, mass production and marketing. The need for innovation is forgotten in the process. There are many visual art clusters that are very much like factories

23、, reproducing extremely outdated products for the lowest end of the art market. This might provide jobs in the short term but simply confirms China as the worlds low value producer. Similar things could be said about traditional crafts, which are extremely repetitive and are usually only protected b

24、y inter-provincial tariffs. These products might inflate the statistics一according to one report China is third largest exporter of cultural products一but they are very misleading; most of the products counted do little to enhance the innovation capacity of the cultural creative sector.Better understa

25、nding and governance of clusters is necessary. Clusters deliver benefits for many but not the entire cultural creative sector. Computer games, for example, does not benefit from clusters because more or less everything is produced in-house in great secrecy. They go to clusters because of tax and ren

26、t subsidies, not to be in proximity to others. Visual artists benefit from cheaper rents, the reputation of a cool place and from space to work in quiet; they do not necessarily engage in intensive networking and knowledge transfer. Other project based industries, such as new media, want the network

27、ing possibilities provided by clusters, what economists called untraced interdependencies. There are thus different requirements for the different branches, and both the mix of companies and the quality of the space need to be carefully understood.There is real scope for informed government policy h

28、ere. In general they should look to raise the quality of production as well as developing new audiences and markets. Clusters can have a role in this, but they have to form part of a wider policy strategy. For example, universities are vital to building new human capital一they have to be encouraged t

29、o look to creative skills not just teaching from established models,.Local television stations can be encouraged to pay more for high quality content一at the moment the purchase is a one size fits all approach which often pays the worst and the best exactly the same. The design of urban spaces can be

30、 enhanced to support the city as a creative milieu. More directly, the cultural creative industries need new creative attitudes and mentalities that take some time to come through; they also demand a range of soft skills associated with project management, brand development and marketing which have

31、to be learned on the job. But they find it hard to learn these skills when they are mostly delivering services at the lowest part of the value chain, where innovation effects and intellectual property go abroad. Talent is wasted in servicing when it should be focused on developing original content.

32、Local governments have to realize that though the cultural creative industries have strong economic benefits they are also about quality一high values which demand the long term view not the quick return of the bottom line. This push for high quality and higher levels of innovation is something that demands a more holistic approach to policy; and clusters can play a crucial role in this.Rather than be seen as convenient containers for cultural creative producers they need to become focal points for targeted development. Universities and art schools need to be more involved. As do their cultu