灾后新北川创意产业的新探索

灾后新北川未来产业发展的方向和前景是文化创意产业.本文对新北川文化创意产业的六大文化资源作了概括性分析,并对文化创意产业的发展规律和基本特征作了探讨,特别是对创意产业的"情趣群体组织"和柔性管理作了探讨.在理论探讨的同时,对北川政府为发展创意产业的生动实践作了新的探索,在构筑创意活动空间与搭建创意产业平台、创意人才培养与政策保障等方面,均从理论与实践结合的角度作了深入分析.     

Include Us Out—Economic Development and Social Policy in the Creative Industries

While Government claims about the UK as a ‘global creative hub’ continue to be made (Purnell, 2005), the contradictions and tensions in New Labour's policy in the creative industries have become more apparent. These include the tensions between a set of policies for global media businesses versus the support for small firms in local economic development (Gilmore, 2004; Hesmondhalgh & Pratt, 2005), and the tension between citizens and consumers in media and cultural policy (Hesmondhalgh, 2005). Equally apparent are the tensions between economic development of these sectors and social inclusion. In the UK, arguably more than other countries, the rhetoric of Creative Industries has been tied into political ideas about the links between economic competitiveness and social inclusion. The stated aims for creative industry development have thus been twofold—to increase jobs and GDP, while simultaneously ameliorating social exclusion and countering long-standing patterns of uneven economic development. Research, however, suggests that supporting the creative industries is, at best, a problematic way of tackling the issues of economic and social exclusion. The effects of gentrification on creative industry working and living space (Evans & Shaw, 2004); the patterns of informal hiring and career progression in these sectors (Leadbeater & Oakley, 2001) and the concentration of much economic activity in London and the South East, all suggest that the development of these sectors might exacerbate rather than address patterns of economic inequality.     

Creative Economy and Cultural Diversity 2010 International Cultural Industries Forum held in Beijing

From November 17 to 18,2010,the 2010 International Forum on Cultural Industries was held in Beijing,as part of the 5th Beijing International Expositionon Cultural and Creative Industries.This annual event is jointly organized by the     

Creative Economy and Cultural Diversity 2010 International Cultural Industries Forum held in 8eijing

<正>From November 17 to 18,2010,the 2010 International Forum on Cultural Industries was held in Beijing,as part of the 5th Beijing International Expositionon Cul...     

A grey literature review of the UK Department for Culture,Media and Sport's Creative Industries Economic Estimates and Creative Economy research programme

This is a review of the DCMS's annual estimates of the size, scope and activities of the UK's creative industries, with a particular focus on the latest publication in January 2009. Running parallel to these estimates is a research programme, latterly codified as the Creative Economy Programme (CEP), which constantly assesses and periodically modifies the methodologies used for collating statistics. This programme is also reviewed, primarily through two 2007 documents: a report commissioned from Frontier Economics and a DCMS overview of all the CEP's work in 2006–2007. The review also draws on primary sources in the form of national and international reports on methodologies for classifying and measuring the creative industries, as well as appropriate academic literature.     

Investment Fever in Cultural Industries

China Cultural Development Report 2014 released statistics that the added value created by cultural businesses in China in 2012 reached up to 1.8 trillion RMB yuan, making up 3.48% of the country＇s total GDP. However; capital＇s impact on culture is a double-edge sword. On one hand, industrialization and merger of cultural industries would be impossible without capital; on the other hand, the profit-pursuing nature of capital would lead bogus boom.     

Shanghai in Foreign

“Shanghai in Foreign Artists' Eyes” is an art exchange event jointly organized by the Information Office and the Foreign Affairs Office of Shanghai Municipal Government. 23 foreign painters from 23 countries and regions, including Australia, Finland, Singapore and the United States, were invited to stay in Shanghai for a while and create artworks that are involved with this rising international metropolis. Their works were then displayed in an exhibition entitled "Shanghai in Foreign Artists' Eyes".     

China-France Creative Design Forum Held in Shenzhen

On May 16, China-France Creative Design Forum, as an event within the framework of the International Conference for the Promotion of Chinese Cultural Products, was held in Shenzhen during the China （Shenzhen） Cultural Industries Fair. The forum was co-hosted by the Bureau for External Cultural Relations of the Ministry of Culture of China and Shenzhen Municipal Bureau of Culture,     

Policy Impact on Cultural Industries in the Next Decade

Cultural industries in China are heavily influenced by policies. With the ever-deepening cultural restructuring, cultural industries in China are embracing fast growth and becoming the country＇s pillar industry with strategic importance.     

Shanghai Museum

Shanghai Museum was founded in 1952 and originally housed in the former horseracing club in Nanjing West Road. In 1996, the museum moved into the current site in People＇s Square in the heart of the city and reopened to public. The unique architectural form of the new building, featuring a round top and a square foundation and symbolizing the traditional Chinese philosophical concept that the square earth is under the round sky, is an outstanding combination of tradition and modernity and presents an extraordinary visual effect.     

上海文化大事记

3日 淮剧表演艺术家、国家级非遗传承人、国家一级演员马秀英在上海市徐汇区中心医院逝世,享年80岁。8日2012公共艺术展在浦东金桥开幕。     

上海文化大事记

2004年1月2日 “血染的丰碑——上饶集中营革命斗争事迹爱国主义教育巡回展”（上海展）在龙华烈士陵园落下帷幕，历时2个多月，观众5万多人次。     

Creative labor as moral and ethical subjects and its limitation: Creative City Yokohama,Japan

This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Yokohama, Japan. To shed light on this workforce’s everyday experiences and labor subjectivity, this investigation draws ideas from recent research trends of “creative labor” from the field of media and cultural studies, sociology of work, and political economy of communication. Based on in-depth interviews and participant observations, this research focuses on how the ethical and moral dimensions of labor subjectivity in creative work are prominently important in explaining Yokohama workers’ everyday living and working experiences as creative labor. Unexpectedly, this study found that these moral and ethical sentiments and actions, which take on the role of retaining their labor motivation, actually limit the development of political subjects who can resist given precarious working conditions and thereby hinder them from building a collective solidarity as “workers.” Thus this investigation concludes that the creative worker’s subjectivity retreats to solely a moral dimension rather than to a political one. Through this finding, this study explores whether the articulation of moral-political and social values in the course of cultural work can evolve from creative workers’ moral and ethical sensitivities and actions.     

唯有门前镜湖水,春风不改旧时波——一个德国人的上海生活回忆

<正>我是汉斯-彼得·科顿(Hans-Peter Cortum),1928年6月30日出生在上海虹口区的维多利亚疗养院。1912年,年轻的父亲到中国汉口经商,1914年他在青岛被日本人抓去做了五年的战俘,     

Cultural Trials Launched in Shanghai Free Trade Zone

Professionals from the sector of cultural industries note that in a short term, open policies for cultural service will bring new opportunities for the performing and entertainment indus- tries of Shanghai Free Trade Zone （SFTZ） and the city of Shanghai as a whole; in a long run, SFTZ＇s practices and experiences will have extensive impacts on the country＇s performing and entertainment industries. What is the scenario of SFTZ~ cultural industries and what trend will they embrace？