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|Title: ||中國大陸文化創意產業政策研究 : 以北京南鑼鼓巷為例|
|Other Titles: ||The study of China cultural creative industry policy : the case of Nanluoguxiang Beijing|
|Authors: ||陳邵煜;Chen, Shao-Yu|
|Keywords: ||文化;文化創意產業;北京南鑼鼓巷;Culture;Cultural and Creative Industry;Nanluoguxiang Beijing|
|Issue Date: ||2018-08-03 14:33:18 (UTC+8)|
Culture has always been a means of class struggle in mainland China. However, mainland China began to reconsider using culture in different ways following the reform and openness policies. At the very beginning, only politic, economic, and social policies existed in mainland China. The cultural policy emerged after the 16th National Congress of the Communist Party of China. Deng Xiaoping began focusing on the efficiency of the management system for cultural undertakings and the cultural market following the reform and openness policies, thereby setting up a base for culture and arts. Jiang Zeming differentiated “cultural industries” from “cultural undertakings” and refined many cultural and economic policies. Hu Jintao refined the subjectivity of Chinese culture and vigorously promoted Chinese culture worldwide, and the Confucius Institute was one of the representatives for this promotion. Cultural industry has become the pillar of the national economy during the Xi Jin Ping period. At the end of 2015, the share of value added of the cultural industry was 3.97 percent of Beijing’s GDP, which reached a record high. This indicates that the cultural industry has become increasingly important in mainland China.
Cultural and creative industries are part of the cultural industry. After Beijing proposed to develop cultural and creative industries as an important industry of the capital economy in 2005, Beijing’s cultural and creative industries have formulated numerous policies and form the current characteristics of cluster development. In 2015, the share of value added of the cultural and creative industries was 13.8 percent of Beijing’s GDP, which became the second largest pillar industry only to financial industry. This indicates that cultural and creative industries have become an important industry in the capital as well as in the country for economic development. Furthermore, we can see the changes in the attitude of Chinese government toward “culture.” With economic development, using cultural and creative industries to revitalize the legacy of cultural assets is common. This thesis considers Beijing’s most well-conserved and the largest 8-mu yard hutong—Nanluoguxiang as an example. Considering the example of Nanluoguxiang and through the questionnaire survey administered to the people who have been here, we can understand Nanluoguxiang’s cultural and creative industry situation, including the social and economic aspects. Furthermore, we can identify if there have been any improvements in the situation. In addition, we can examine the development of cultural and creative industries under the history of China’s blocks and look forward to achieving the greatest benefits between culture and cultural and creative industries.
|Appears in Collections:||[Graduate Institute of China Studies] Thesis|
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