The role of cultural and creative industries in optimizing industrial structure under low-carbon emission constraint

In the post-financial crisis era,China is facing dual pressure from reducing carbon emissions and external demand stagnation.The industrial structure changing is in urgent needs.The cultural and creative industries can expand China's markets through creating and stimulating demands,and can reduce carbon emissions at the same time.By producing both demands and supplies,cultural and creative industries may lead the development of other industries.Since innovation plays a quite important role in the value chain,cultural and creative industries can promote the industrial upgrading and the industrial structure optimization by industrial convergence.

New Forms, Trends and Problems of Cultural and Creative Industries in China Today

A creative economy is one of the latest trends in the global cultural economic development, with innovation and creation being the driving force of the global economy and cultural practice. To transform cultural industries into cultural and creative industries, the priority is economic restructuring, and specifically upgrading low-end manufacturing through creation. From the Internet way of thinking to "Internet+," from theories to practice, high technologies represented by the Internet have deeply integrated with culture, thereby opening a new dimension of innovation and creation to enhance the dynamics of creative industries and a creative economy. The fast-growing maker movement is an excellent strategy for China to develop into a great country of originality. Core contents of this movement include facilitating national originality, achieving leaping development of originality of our cultural and creative industries, promoting Internet celebrity economy, VR, AR, and other new experiments and new forms. What should correspond to "Internet+" and "Maker space" is "Culture+". It is vital to notice that culture, esthetics and ethics are in fact missing in the development of our cultural and creative industries.

Development and Protection: Reshaping Cultural Policies——A Study of the UN's Advancement of Cultural and Creative Industry in Developing Countries

Cultural diversity originates from modern cultural industries. The UN's decade–long promotion of cultural diversity coincides with the advancement of China's cultural and creative industries; however, China's situation is different from the creative economy advocated by the UN in terms of developmental logic. The policy of cultural diversity provides a basis for the UN to push forward the development of cultural and creative industries in developing countries. It is derived from the developmental theories of developed countries, which regard creativity(innovation) as a "technique" and overlook its uniqueness. The digital revolution has never given fair play to developing countries which explains why the UN's promotion of cultural diversity has not yet helped developing countries to substantially increase their exports of cultural goods and services in the past ten years. Nevertheless, the development of the in ternet and digital technology may create an opportunity for developing countries to catch up with and surpass their developed neighbors. China's unique approach to cultural and creative development may serve as a model for the international community to pursue sustainable development in the future.

Sustainable development of cultural and creative industry in the internet environment

As a recent-booming field, China's cultural and creative industry has a certain gap compared with developed countries, but there also exists a potential for its market prospect, together with the help of Chinese government policies. What's more, the fast-growing internet has still provided the industry with more possibilities of further development. Analysis suggests that the internet inevitably optimizes China's cultural and creative industry by re-integration of massive resources, promoting its sustainable innovation. Thus the new industrial chain is created, and more profits would flood into the companies in this field in the meantime. In other words, the ecosystem of China's cultural and creative industry is established in this way, which would enjoy a prosperous prospect for sure.

On the Challenge to Traditional Film and Television Cultural ＆ Creative Industry from the Fourth Media

The emergence and development of the "fourth media" will become the focal competition power in the subsequent development of the film and television cultural & creative industry.This paper,on the one hand,will illustrate the characteristics of the "fourth media" in the terms of history;on the other hand,it will emphasize that the economic benefits of the traditional media have been replaced by social contact media.The advantages of the "fourth media" are obvious and it will keep developing.We hope that the "fourth media" market in China could improve constantly with strategic vision and integrate into the world market.

The Enlightenment and Impact of Western Culture in Brand Design on the Cultural and Creative Industry

As one of the important aspects of cultural life,brand has obvious cultural attributes.As an important branch of the cultural and creative industry,brand design is not only the concrete expression of human wisdom,but also a product in the process of continuous cultural development,which can positively interpret human’s innovative spirit and innovative concept.Therefore,a systematic study on the effective use of western culture in brand design and a detailed analysis on the impact as well as enlightenment of the use of western culture in brand design on the cultural and creative industry are carried out,so as to lay a solid foundation for the improvement of the cultural innovation level in the field of brand design and the all-round development of cultural and creative industry in China.

Creative Industrial Cluster： Three- Stage Development and the Case of Beijing＇s 798 Art District

This paper presents a three-stage hypothesis on the development of creative industrial clusters, which includes stages of agglomeration, interfacing, and network development. In the first stage, micro-entities concentrate geographically in a creative industrial cluster in search of resources. The second stage reflects the need for building identity. Finally, the third stage is the outcome of multi-dimensional expansion. As a creative industrial cluster develops, its focus moves from geographic concentration to division of labor and the creation of novel systems. Using this three-stage framework, this paper conducts an empirical study on Beijing＇s 798 District （＂798＂）. Our study finds that the ＂self-destruction ＂phenomenon （which appeared after 798 had reached the stage of network development in a low-level capacity） is essentially the product of a squeezing effect of commercial prosperity on art production. Our study further examines four models of art-commerce integration and explains the ways in which creative industrial clusters are different from conventional industrial clusters： a creative cluster is a platform of integration for culture, commerce, and technology. Its course of development is characterized by novelty, emergence of identity through interfacing, and network cooperation.

Research on the Development Path of Zigong Salt Culture and Creative Industry in the Era of Digital New Media

Salt culture is the main component of traditional culture in Zigong,Sichuan.With centuries of history,it has accumulated rich cultural connotations.At present,Zigong salt culture,as a precious traditional cultural wealth,has taken cultural and creative industries as a new carrier of communication in the rapid development of digital new media technology,giving full play to the resource advantages of its traditional culture.This article focuses on the study of the development path of Zigong salt cultural and creative industry in the new digital media era.Combining digital new media technology with cultural and creative industries,Zigong salt culture actively uses virtual technology to realize the innovative development of cultural and creative industries,promote the cultivation of cultural and creative brands based on digital new media technology.This article aims to give relevant strategies with reference value,so as to make corresponding contributions to the development path of Zigong salt culture in the future.

The Sports Culture Creative Industry in the UK and its Enlightenment on Sports Industry of China

This research is based on creative industry of sports culture of the U.K. Firstly, the literature research method is used to collect relevant authoritative economic data, and clarify and identify concepts of the sports culture creative industry with the ＂rule of thirds＂ of creative industry of the U.K.; secondly, empirical research is conducted to describe an active and drive function of the 3 kinds of expansion effects-forward effect, bystander effect and backward effect on peripheral industries on sports industry and even national economy development by rapid development of the sports culture creative industry in the U.K.; thirdly, this paper figures out that the sports culture creative industry will become new economic growth, ixew development route for the sports industry in the future and new power for industrial structure optimization and upgrading; finally, the research outcome gives reference and guide to scientific development, transformation and upgrading of the sports industry of China in the new round of worlds＇ economic restructuring.

The study of folk culture and creative industry development strategy in Hebei

Hebei province is located in the middle and lower reaches of the Yellow River, it is one of the birthplace of the Chinese nation. Its superior natural conditions gave birth to the rich and colorful folk culture. In the trend of rapid development of modem economy, more and more people are aware of the important position in the cultural construction and huge potential about the folk culture. But as the result of the modem cultural development faster and faster, many folk culture has been neglected, even under the modem culture.

Transformation of Industrial Heritage from the Perspective of Urban Memory:A Case Study of Taoxichuan Creative Square

Urban memory is the soul of a city. With the rapid development of the city, the phenomena of“large-scale demolition and construction” and “a thousand cities having the same pattern” are becoming more and more serious, and the urban characteristics containing rich historical information are gradually lost. As an important witness of the historical development of urban industry, industrial heritage contains precious historical and cultural values. Starting urban memory, and taking Taoxichuan Square as the example,through field research and memory interview, the continuation manner of urban memory in industrial heritage space is studied, and the transformation strategy of industrial heritage is put forward from the perspective of urban memory, making industrial heritage have a unique life cycle and cultural precipitation,inherit the urban context and promote the harmonious development of society.

In the Future,Will There Be Creative Cities in China?

The aim of this paper is to establish the notion of the creative city,show its essential characteristics,and critically evaluate and analyse what elements impact creativity and innovation in cities using real case studies and related literature.Finally,in the essay,the topic of whether or not China will have creative cities in the future is asked,and the feasibility of constructing creative cities in China is discussed,prompting a new way of thinking about China’s future creative city plan.

拔尖创新人才培养的理论基础和实践思路

拔尖创新人才的培养是一个现实而又紧迫的话题,但关于什么是“拔尖创新人才”,如何选拔和培养这类人才,尚缺乏成熟的理论准备和实践引导。本文旨在对创新潜能、发展、成就的理论以及对应的识别、培养、文化支持等社会实践做一个系统概要的阐述。首先,在拔尖创新人才的界定上,本文提出了创新的五种形态和创新人才的两种不同类型。第二,在创新人才的识别问题上,本文提出了基于人才动态发展观并结合“总体筛选”和“个体考察”的人才识别模式。第三,在发展和培养问题上,本文提出兼顾成长阶段和领域具体性同时突出“探索未知”和“开放性”的培养模式。第四,在创新成就的文化支持上,本文探讨了如何在创新实践中营造兼容认知多样性和鼓励自由探索的生态环境。第五,本文进一步针对现有教育体制提出了五个实践策略上的着眼点。最后,关于教育实践的政策导向,本文提出了四个基本原则和四种认知误区。

数字经济与文化产业发展的政策梳理及其演进特征分析

技术进步是驱动文化产业发展的内生增长引擎,数字经济为我国文化产业的高质量发展提供了新的增长活力。本文以习近平文化思想为统领,梳理中国数字经济、文化产业、数字经济促进文化产业发展的政策脉络,把握数字经济、文化产业、数字赋能文化产业发展的主要特征及其演变规律,研究发现,数字经济促进文化产业发展呈现以下趋势:一是新兴数字文化业态的不断涌现将促进新消费热点的形成;二是数字文化治理体系的加速构建将为数字文化产业的持续健康发展提供有力保障;三是数字赋能文化产业的全链条发展将大幅提升文化产业的全要素生产率。管窥数字经济与文化产业发展的相关政策与演进特征,对于探析我国数字文化产业快速发展的动因,推动文化产业高质量发展,建设社会主义文化强国具有重要的理论和现实意义。

数字赋能文化创意产业的机理、现实及实现路径

数字技术具有较强的赋能作用,对文化创意产业的转型升级作用越来越明显。数字技术全面赋能文化创意产业生产、流通、消费领域。文化创意产业数字化进程加速,但发展依然存在不平衡的问题。未来,要依托“数字中国”战略,推动文化创意产业数字化转型;发展相关核心技术,提升文化创意产业的技术水平;加强内容创新,优化数字文化创意产品供给;加强数字文化治理,推进文化创意产业健康发展。

“互联网+”背景下贵州非遗文创产业发展路径研究

非物质文化遗产是人类历史长河和在人们日常生活中凝聚而成的文化精粹,非遗文化的艺术价值、工艺价值、文化价值以及商业价值等都将在文创设计时焕发新机,而形成产业将会激发出最大的发展潜能。目前,随着信息技术和互联网的飞速发展,贵州非遗的保护、传承以及发展迎来了新契机,而非遗文创产业是对其传承与保护的重要途径,也是推动经济增长的有效方式。本文在“互联网+”背景下分析贵州非遗基本现状及存在的问题,并为贵州非遗文创产业提出发展路径建议,以期促进贵州非遗产业的可持续发展,进而助力贵州经济发展。

创造与创新的融合:新基建对文化创意产业的涌现作用

新基建为文化创意产业的蓬勃发展创造了扎实的物质平台,而文化创意产业同样以其新颖的思维创新反哺前者成长。然而,除却浮于表面的直接干预,隐匿于新基建和文化创意产业系统内部的作用规律才是促进其二者可持续发展的源动力。基于此,本研究以系统动力学技术为依托,以理清创造与创新辩证逻辑关系为引领,通过数值仿真模拟论证了新基建对文化创意产业之显著涌现作用的存在。在理论启示层面,提出了存在于新基建与文化创意产业间以涌现作用与闭环反馈为基础的增效发展规律。在实践启示层面,研究认为文化创意产业发展须稳抓新基建平台跳板,发挥涌现作用的促动价值,充分释放全要素生产率,以系统观念指导产业高质量发展。

“体验”视角下红色文创产品设计

在红色旅游市场趋于“年轻化”的时代背景下,富有创意的文创产品正受到年轻人的追捧,让游客从“旁观者”转变为“体验者”,在体验中与红色文化深入对话交流。文章从“体验”的视角出发,提出红色旅游“文创+”的新策略模式,将“个性化”“数字化”“沉浸式”三者融入到文创产品设计中,以期为产品设计研究提供新的思路,也在潜移默化中强化新时代红色教育,传承红色精神。

欠发达地区布局建设未来产业的实践探索

前瞻布局建设未来产业,因地制宜发展新质生产力,是中国式现代化的必然选择。“十四五”规划正式提出布局未来产业以来,受前瞻性、颠覆性技术制约,欠发达地区对其鲜有布局。贵州“村超”以文化创意和数字商业模式为驱动,融合体育、文化、美食、表演等众多业态,探索了乡村振兴未来产业实践路径。欠发达地区发展未来产业,关键在于挖掘文化和生态旅游资源,推动欠发达地区数字化、绿色化和创意化“三化转型”,培育创意、电子商务和公共服务“三个生态系统”,激发创意活力,以价值共创助推优秀传统文化和生态旅游资源创造性转化,以东西部协作和对口支援进行人才和技术赋能,为欠发达地区注入未来产业新动能。