The neoliberalised plan of creative industries has eroded the public value of culture and media policies and changed the cultural landscape. Neoliberal rhetoric has become pivotal to the successful ‘common-sense’ of recent decades (Harvey 2005, pp. 39-42; Hall 2011). It has not only infiltrated society but also penetrated the field of cultural policies. The British conception of creative industries, for example, was grafted onto a new cultural and creative industries project in Taiwan. The localisation of British policy discourses and the process of public acceptance-this common-sense that ‘culture is a good business’ of the same underlying neoliberal agenda-has occurred not only in Britain but also in the Taiwanese context.
