Cultural Industries in Shanghai

Description

This volume gathers articles by Chinese scholars dealing with developments in Shanghai’s cultural industries over the past thirty years. Like many cities in China and elsewhere, Shanghai has explicitly stated that fostering the creative economy is its top economic and political priority over the next decade. This book examines, among other aspects of Shanghai’s approach to culture, the effects of this policy focus on the city’s creative growth in economic terms.

Cultural Industries in Shanghai gathers articles by Chinese scholars that analyse the developments in Shanghai's cultural industries over the past 30 years.



Like many cities in China and elsewhere, Shanghai has explicitly stated that fostering the creative economy is its top economic and political priority over the next decade, and this book examines, among other aspects of Shanghai's approach to culture, the effects of this policy's focus on the city's creative growth in economic terms.



Contents:

Notes on Translation



Preface by the Chinese Editor

Rong, YueMing



Preface by the English Editor

O’Connor, Justin



Part 1: Macro Perspectives



Chapter 1: The One Belt, One Road Initiative and the Masterplan of Shanghai’s Cultural Industry

Hua, Jian



Chapter 2: The ‘Special’ Exhibition Industry in Shanghai: Progress, Opportunity, and Prospects

Jia, Bu



Part 2: Creative Industry Clusters



Chapter 3: Shanghai Cultural and Creative Industry Parks Luan, Feng; He, Ying; Wang, Huai



Chapter 4: Restructuring the Shanghai Textile Creative Industry Park

Chu, JingFeng and Zou, Lin



Part 3: Development of Cultural Industries



Chapter 5: Shanghai Film Industry’s Co-Production Policies

Huang, WangLi



Chapter 6: A Genre and Cultural Analysis of Locally Produced ‘Young Film’ in China (2013–15)

Liu, Chun



Chapter 7: Fine Art and Antiques Sector

Rong, YueMing and Chen, LingYun



Chapter 8: Agglomeration Innovation of Shanghai’s Online Gaming Industry: Industry Trends and Top Priorities

Xie, XueFang



Chapter 9: Innovation in Internet Plus-Based Cultural Finance at the Shanghai Cultural Assets and Equity Exchange: Ideas and Applications

Zhang, RuiNing and Chen, Hao



Chapter 10: Integration of Culture with Science and Technology in Shanghai

Chen, TianChen



Chapter 11: China Shanghai International Arts Festival: A Platform for Innovation and Social Influence

China Shanghai International Arts Festival Centre



Notes on Editors, Contributors and Translators



Notes on Intellect China Library Series

Sujets

• Cultural Policy
• Public Policy
• Industries
• POLITICAL SCIENCE
• Shanghái
• Entertainment
• Economics
• Business
• China
• Shanghai
• Industrie

Informations

• Publié par: Intellect Books
• Date de parution: 15 août 2018
• Nombre de lectures: 0
• EAN13: 9781783208586
• Langue: English

Extrait

First published in the UK in 2018 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2018 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2018 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Copy-editor: MPS Technologies
Cover designer: Aleksandra Szumlas
Production manager: Naomi Curston
Typesetting: John Teehan
This is part of the Intellect China Library series.
ISSN: 2059-1985
Series editor: Hiu M. Chan
ISBN 978-1-78320-857-9
ePDF ISBN 978-1-78320-859-3
ePUB ISBN 978-1-78320-858-6
Printed and bound in Great Britain by Bell and Bain Ltd, Glasgow
Contents
Notes on Translation
Preface by the Chinese Editor
Rong, YueMing
Preface by the English Editor
O’Connor, Justin
Part 1: Macro Perspectives
Chapter   1: The One Belt, One Road Initiative and the Masterplan of Shanghai’s Cultural Industry
Hua, Jian
Chapter   2: The ‘Special’ Exhibition Industry in Shanghai: Progress, Opportunity, and Prospects
Jia, Bu
Part 2: Creative Industry Clusters
Chapter   3: Shanghai Cultural and Creative Industry Parks
Luan, Feng; He, Ying; Wang, Huai
Chapter   4: Restructuring the Shanghai Textile Creative Industry Park
Chu, JingFeng and Zou, Lin
Part 3: Development of Cultural Industries
Chapter   5: Shanghai Film Industry’s Co-Production Policies
Huang, WangLi
Chapter   6: A Genre and Cultural Analysis of Locally Produced ‘Young Film’ in China (2013–15)
Liu, Chun
Chapter   7: Fine Art and Antiques Sector
Rong, YueMing and Chen, LingYun
Chapter   8: Agglomeration Innovation of Shanghai’s Online Gaming Industry: Industry Trends and Top Priorities
Xie, XueFang
Chapter   9: Innovation in Internet Plus-Based Cultural Finance at the Shanghai Cultural Assets and Equity Exchange: Ideas and Applications
Zhang, RuiNing and Chen, Hao
Chapter 10: Integration of Culture with Science and Technology in Shanghai
Chen, TianChen
Chapter 11: China Shanghai International Arts Festival: A Platform for Innovation and Social Influence
China Shanghai International Arts Festival Centre
Notes on Editors, Contributors and Translators
Notes on Intellect China Library Series
Notes on Translation
The practice of delivering clear and accurate Romanization of Chinese names has always been a challenge in translation. Many different attempts have been made, and an agreed format has yet to be established. The Intellect China Library series has also been experimenting with different methods of translation since its inception, in order to determine the clearest representation to our readership, both with or without knowledge of the Chinese language.
Throughout this volume, several new methods have been applied in order to distinguish surnames and given names. Instead of having the surname in capital letters like in the series’ first publication, surnames of authors cited in the references will be highlighted with an underline for a name’s first appearance, for the purposes of tracing reference sources. Furthermore, in order to distinguish the different characters in a Chinese given name to show an appreciation for its original literal poetics, an additional capital letter will be used for emphasis. For example, in the name Wu YueQing, ‘Wu’ is the surname, while the given name is composed of the characters ‘Yue’ (‘Moon’) and ‘Qing’ (‘transparency’). That said, for overseas Chinese scholars who have been presenting their own names in a western manner publicly, such as Rey Chow, no specific emphasis will be added in this case. This is only an experiment in terms of representing Chinese names in a Romanized form; we would like to hear your feedback and suggestions to improve our future practices. Most English representations of Chinese characters in this volume are based on their Mandarin pronunciation ( pinyin ), with occasional alternatives from Hong Kong and Taiwan, where they have a different system in Romanization. An endnote with the original characters will be included at the end of each article, if necessary, for the clarification of specificities.
Preface by the Chinese Editor
Rong, YueMing
Shanghai Academy of Social Sciences
I n September 2014, my colleagues and I had a discussion on the possibility of publishing a collection of articles that would reflect the current cultural development of Shanghai. Having received enthusiastic responses from everyone, we reached a consensus to start the process of choosing and editing the articles and have them translated into English for a wider readership, in order to generate a better understanding of Shanghai’s current cultural industry. The selection was based on two annual reports, namely, The Annual Report on Cultural Development of Shanghai and The Annual Report on Literature Development of Shanghai , which are also known as ‘The Blue Books’.
Based on the general classification of arts, we divided urban culture into the following categories: literature, theatre, visual arts, dance, music and film. However, urban culture is not only manifested in the various artistic forms and styles, it is also a complex synthesis. Since Shanghai opened itself to foreign trade, the city has gone through a long development process that had its share of instability, diversity and vibrancy. Throughout a long period of cultural development, Shanghai has formed its own unique features and styles, as well as a variety of tangible cultural heritage. Today’s Shanghai presents a cultural landscape that is modern yet traditional, local yet international, diversified yet unique, and that attracts attention from all over the world.
Most overseas readers receive their information about Shanghai by either visiting the city or by reading books on the historical and literary works of Shanghai. These experiences can then serve as a foundation for building a holistic picture of Shanghai culture. This book contains twelve reports and is divided into four sections that encompass urban culture and the One Belt, One Road initiative, the industrial integration of urban culture, technology and finance, the clustering of cultural industries and the development of the film industry.
Although this book can only give a glimpse of Shanghai’s diversified and ever-changing creative culture, it provides a unique experience for readers who are interested in learning about contemporary Shanghai. The author/s of each report are cultural studies scholars and experts in a specific discipline pertaining to Shanghai culture. They are currently affiliated with Shanghai universities or academic institutions.
Originally, the twelve reports only catered to a Chinese readership, and thus this project has provoked many challenges for the translators. This is also the reason why this book has taken almost two years to be published. The translators of this book are Chad Austin Meyers and Ivan Ruviditch, and several other professors from the Graduate Institute of Interpretation and Translation at Shanghai International Studies University. They are specially acknowledged for their contribution to the publication of this book.
My sincerest thanks also goes to Qiang Zhou, the information office director of Shanghai Municipality, for his generous assistance in supporting this book to be published outside of China. I would also like to thank Mr. Paul Owens, the co-founder and director of BOP Consulting and an expert on culture and creative economy in the United Kingdom (UK). He approached Intellect and recommended the book for publication. I am grateful to Mr James Campbell, international marketing manager at Intellect, who is responsible for the communications of this project, and Hiu M. Chan, editor of the Intellect China Library series, who oversees the general editing process of this book . The publisher Intellect has dedicated great attention to our book by providing professional, dedicated, comprehensive and rigorous editing work.
In addition, my heartfelt gratitude goes to Professor Justin O’Connor and his academic team. Various problems arose in the process of translating this book, which constantly bothered me. I was finally relieved when I learned that Intellect had invited Professor O’Connor to commence the book’s final review.
Professor O’Connor’s cutting-edge research and outstanding contributions have attracted international attention in the fields of cultural criticism, cultural economy and cultural and creative industries. Professor O’Connor is also one of the few international scholars who has intensively studied the development of Chinese contemporary culture and cultural and creative industries. In recent years, professor O’Connor has visited China frequently to conduct a series of cooperation programmes and academic exchanges with numerous universities and scholars in China. Recently professor O’Connor and I, along with colleagues from Shanghai Jiaotong University, co-organized a seminar here at Shanghai Academy of Social Sciences, when we had a chance to deepen our conversations. I am truly delighted that we also share many similar insights on some academic issues.
Cross-cultural communication in academic research has always been a complicated and challenging task. This book aims to create a better understanding of China during the period of its rapid development. My colleagues and I share the responsibility of disseminating our research results to the rest of the world. In order to achieve this effectively, we need to go through the translation intermediaries. We also require the support from international academia and publishers by establishing mutual trust, sincere friendship and successful collaborations with th