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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
    Contributors: 淡江大學中國大陸研究所碩士班
    劉勝驥
    Keywords: 文化;文化創意產業;北京南鑼鼓巷;Culture;Cultural and Creative Industry;Nanluoguxiang Beijing
    Date: 2017
    Issue Date: 2018-08-03 14:33:18 (UTC+8)
    Abstract: 文化對中國大陸來說一直都是階級鬥爭的工具,直到改革開放後才開始思考將文化用於不同於以往的地方。最一開始中國大陸並沒有文化政策,十六大以前只有政治、社會及經濟三個輪子,十六大後開始加入文化政策。鄧小平改革開放後開始注意到文化事業管理體制的效率以及文化市場,奠定了文化藝術在未來具有產業的性質;江澤明時代則更明確提出「文化產業」的概念,和以往的「文化事業」做出區別並且完善許多文化經濟政策;胡錦濤時期培育了中國文化的主體性並大力將中國文化走出國際,孔子學院為一代表;習進平時期建設文化產業為國民經濟的支柱。截至2015年年底,文化產業增加值占GDP比重3.97%創下歷史最高紀錄,可見文化產業在中國大陸愈趨重要。
    文化創意產業是文化產業下的一支,北京市2005年提出將文化創意產業作為發展首都經濟的重要產業後陸續推出許多政策形成目前集聚式發展的特點,2015年北京市文化創意產業占全市GDP比重已達13.8%成為僅次於金融業的第二大支柱產業可知道文化創意產業經過幾年的發展已成為不只國家且為首都發展經濟的重要產業,除此之外也可以看到中共從建政以來對待「文化」的轉變。隨著經濟的發展,以文化創意產業為手段來復興歷史所遺留下來的文化資產則為較常見的方式,本論文以北京市保存最完整且規模最大的八畝院式胡同-南鑼鼓巷為例,藉由對南鑼鼓巷文化創意產業發展的情況,以及針對曾經去過南鑼鼓巷的民眾所做的問卷調查,來了解文化創意產業後的南鑼鼓巷在政策、經濟、以及社會層面的狀況,來看是否有值得獎勵及改進的地方,也藉南鑼鼓巷案例來看中國大陸歷史街區下的文化創意產業的發展,以期中國大陸在文化及文化創意產業的結合可以做到最大效益。
    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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