Transformation and job creation in the cultural and creative industries in South Africa

The cultural and creative industries (CCIs) have been hailed as offering great potential to create jobs and to be socially inclusive. Since artistic success is defined by individual talent, or merit, the CCIs should be one sector that is especially open to, and appreciative of, social diversity in terms of race, class, cultural group and gender. However, as expected, recent studies in both the UK and the US have revealed that employment in the CCIs is heavily dominated by the middle classes, and is not as diverse in terms of other characteristics. Since the advent of democracy in South Africa in 1994, transformation of firm ownership, previously dominated by white people, to include more black, coloured and Indian/Asian-origin South Africans, has been an important part of achieving greater economic equality and social cohesion, as well as being more representative of the cultures of the majority of the population. Using data from a survey of 2400 CCIs firms in South Africa, this paper examines the extent to which the CCIs in South Africa have transformed in terms of ownership and employment. Comparisons are also made across the six UNESCO [(2009). Framework for cultural statistics. UNESCO Institute for Statistics. Retrieved from http://www.uis.unesco.org/culture/Pages/framework-cultural-statistics.aspx] “Cultural Domains” in terms of ownership, average monthly turnover and the number of full-time, part-time and contract employees. Results show some diversity in the industry, but significant differences between the Domains. Statistical analysis demonstrates that CCI funding policy in South Africa is sensitive to advancing the transformation agenda in that more transformed firms were shown to be more likely to have received some form of government grant as part of their income.     

Rajnikant in Japan: Indian “superstardom” and low value markets

This paper draws attention to some questions thrown up by the increased circulation of mass-produced cultural commodities sourced from Asia in the relatively new markets of the region. Juxtaposing the short-lived success of the Indian star Rajnikant in Japan in the late 1990s and the unsuccessful attempt to promote Korean films in the Indian theatrical circuits a decade later, the paper argues that in spite of their considerable differences both instances foreground the difficulties cultural industries of Asia have in generating revenues in the region's markets. The paper goes on to elaborate on a model of stardom, exemplified by Rajnikant, which has evolved as a direct response to the challenges posed by low value markets.     

Regional creative industries policy-making under New Labour

This article analyses creative industries policy in the English regions under New Labour (1997–2010). It examines the ideas behind regional creative industries policies (RCIPs) and their implementation. Focusing on the activities of the English regional development agencies, the primary bodies responsible for the implementation of creative industries policy in the British regions, the article places regional cultural policy during the New Labour period within its broader political, social and economic contexts. It explains and evaluates New Labour's RCIPs, arguing that creative industries policy at the regional level changed over the course of New Labour's three terms of office, becoming increasingly economistic at the expense of a more social democratic vision of regional equality and democracy. We identify three issues that were problematic for New Labour's RCIP: a reliance on the idea of “clusters”, commercialisation and shifting regional governance.     

哲学诠释学语言观中“他者”的制约及其意义

伽达默尔认为世界经验的语言性先于一切，因为理解的过程实际上是理解者和理解对象达成一致、取得一种共同语言的过程，在这个取得一致性的过程中，理解者在拥有充分自由空间的同时也会受到各种制约，这些异于理解者自身的“他者”的制约会牵引着理解者走向一个更好更完善的过程。基于这一思路，反思当今社会科技泛滥所引发的种种问题，我们可以从这些“他者”的制约性中找到启发。     

现金流量表准则中若干问题分析

《企业会计准则——现金流量表》发布实施已有三年时间,执行过程中发现在现金及现金等价物的界定、现金流量的分类、现金流量表的编制方法的具体理解和操作上存在一些问题,需加以改进和完善。     

发展文化产业的同时必须弥补文化公益事业发展的缺失

文化事业和文化产业,是进行社会主义文化建设的两个主要的支点,也是文化发展战略的基本内容和主攻方向。本文提出了在大力提倡发展文化产业的同时必须要关注对文化公益事业事业发展的关注和投入,探讨了寻求文化事业和文化产业协调发展的路子。     

后发国家战略性新兴产业技术创新及其挑战研究

针对我国这样的后发国家引进发展的战略性新兴产业,充分考虑产业的全球化分工和国际竞争,讨论战略性新兴产业的概念及其发展模式。从国际竞争的视角研究战略性新兴产业技术创新的新分类,将其分为互补性技术创新、扩展性技术创新、替代性技术创新和超越性技术创新等类型,重点剖析开展替代性技术创新攻克产业核心技术面临的技术创新能力、用户接受、先发国家竞争、先发国家的先动优势等诸多挑战及其特点。最后讨论研究结果带来的启示并提出相关建议。     

基于生态位测度的文化创意产业发展研究

基于2009-2012年上海文化创意产业企业层面的经济活动数据,运用生态位理论和相应的测度方法对文化创意产业九个子产业的生态位宽度、重叠度以及“态”和“势”进行计算和分析。根据“态”和“势”的组合,将上海文化创意产业划分为四个象限,并根据“态”和“势”分布情况计算了它们的综合生态位。最后,根据对“态”和“势”的诊断,提出上海文化创意产业发展的相关对策建议。     

高技术产业与传统产业R&D溢出的比较研究——基于经济权重矩阵视角

采用我国29个省、市、自治区高技术产业与传统产业2001~2010年的R&D投入与产出数据,基于空间权重矩阵,利用空间计量分析方法,考察了空间权重矩阵下我国高技术产业与传统产业的省际R&D溢出效应。实证结果表明:在不同空间计量模型下,高技术产业与传统产业省际溢出效应均很明显,尽管我国高技术产业的R&D活动较活跃,但高技术产业在R&D溢出方面低于传统产业;高技术产业研发资本投入对R&D产出的贡献要高于研发人员投入,而传统产业恰恰相反;在不同产业的溢出中,经济距离因素都扮演着重要角色。     

新兴和成熟产业中企业对学研方行为的演化博弈仿真分析

产学研合作对构建国家创新体系和实现向创新驱动型经济体转变具有重要的作用,而大力发展新兴产业是我国产业结构升级的必由之路。针对基于产业背景的产学研合作研究的不足,运用演化博弈理论比较分析两类产业中企业间随机两两配对与学研方开展合作RD的博弈过程,并采用Netlogo仿真软件对理论命题赋予相应的参数数值逐一进行验证。研究结果表明,无论何种产业,产学研合作的形成是一个逐渐演化的过程,并与合作成本呈负相关而与市场风险因子、合作收益呈正相关关系,在两类产业技术水平一定、合作创新收益相当的情况下,成熟产业中的企业更容易与学研机构开展合作。最后提出了改进新兴产业产学研合作现状的进一步思考。