This book is a novel and inspiring research work on creative industry clusters in China. Seldom has literature on CCIPs dealt with the detailed economic logic and operational methods of a CCIP. The author not only does a detailed comparison of two business models of Cultural-Creative Industries Parks (CCIPs) using classic qualitative methodology through two case studies, Shenzhen OCT-LOFT as a “Culture Highland” model and Guangzhou 289 Art Park as a “Modular System” model, but also proposes a practical 4C model as the business framework for CCIPs. This book will be of interest to urbanists, scholars of the culture economy, creative industries and China scholars.

This insightful book reappraises how traditional high culture attractions have been supplemented by popular culture events, contemporary creativity and everyday life through inventive styles of tourism. Greg Richards draws on over three decades of research to provide a new approach to the topic, combining practice and interaction ritual theories and developing a model of cultural tourism as a social practice.

Recognising that creativity is a major driving force in the post-industrial economy, the Chinese government has recently established a range of "creative clusters" – industrial parks devoted to media industries, and arts districts – in order to promote the development of the creative industries. This book examines these new creative clusters, outlining their nature and purpose, and assessing their effectiveness. Drawing on case studies of a range of cluster models, and comparing them with international examples, the book demonstrates that creativity, both in China and internationally, is in fact a process of fitting new ideas to existing patterns, models and formats. It shows how large and exceptionally impressive creative clusters have been successfully established, but raises the important questions of whether profit or culture is the driving force, and of whether the bringing together of independent-minded, creative people, entrepreneurial businessmen, preferential policies and foreign investment may in time lead to unintended changes in social and political attitudes in China, including a weakening of state bureaucratic power. An important contribution to the existing literature on the subject, this book will be of great interest to scholars of urban studies, cultural geography, cultural economics and Asian studies.

This book examines the rising global prominence of China’s art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld.

China is at the crux of reforming, professionalising, and internationalising its cultural and creative industries. These industries are at the forefront of China's move towards the status of a developed country. In this comprehensive Handbook, international experts including leading Mainland scholars examine the background to China's cultural and creative industries as well as the challenges ahead. The chapters represent the cutting-edge of scholarship, setting out the future directions of culture, creativity and innovation in China. Combining interdisciplinary approaches with contemporary social and economic theory, the contributors examine developments in art, cultural tourism, urbanism, digital media, e-commerce, fashion and architectural design, publishing, film, television, animation, documentary, music and festivals. Students of Chinese culture and society will find this Handbook to be an invaluable resource. Scholars working on topics related to China's emergence and its cultural aspirations will also find the themes discussed in this book to be of interest. Contributors:R. Bai, M. Cheung, Y. Chu, P. Chung, J. Dai, J. De Kloet, A.Y.H. Fung, L. Gorfinkel, M. Guo, E.C. Hendriks, C.M. Herr, V. Ho, Y. Huang, M. Keane, W. Lei, H. Li, W. Li, Y. Li, W. Lei, B. Liboriussen, T. Lindgren, R. Ma, L. Montgomery, E. Priest, Z. Qiu, X. Ren, F. Schneider, W. Sun, M.A. Ulfstjerne, J. Wang, Q. Wang, C. Hing-Yuk Wong, H. Wu, B. Yecies, L. Yi, N. Yi, X. Zhang, E.J. Zhao, J. Zheng

Cultural borrowing is exploding across the world. Creative ideas are transferred and modified in ever increasing number and complexity making new products ranging from TV shows to architectural style in new cities. But what do we really know about the spread of creative ideas? This intriguing, engrossing, and comprehensive collection looks at the cultural and commercial dimensions of creative borrowing world wide with an international cast of contributors and case studies from India to Ireland, Canada to China. Cultural Adaptation explores how creative ideas are packaged and nationalised to meet local taste, maps the cultural economy of adaptation in entertainment media ranging from motion pictures to mobile phones, and even probes the role of cultural recipes and formats in mutating participatory experiences of theme parks and sporting spectacles. Written in a lively and accessible manner, the book also provides insight into remaking in lifestyle and consumption cultures including fashion, food, drink, and gambling. Essential for communication, cultural, media, leisure and consumption studies scholars and students alike, this book opens up important new perspectives on how we understand global creativity. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.

Creative industries in China provides a fresh account of China’s emerging commercial cultural sector. The author shows how developments in Chinese art, design and media industries are reflected in policy, in market activity, and grassroots participation. Never has the attraction of being a media producer, an artist, or a designer in China been so enticing. National and regional governments offer financial incentives; consumption of cultural goods and services have increased; creative workers from Europe, North America and Asia are moving to Chinese cities; culture is increasingly positioned as a pillar industry. But what does this mean for our understanding of Chinese society? Can culture be industrialised following the low-cost model of China’s manufacturing economy. Is the national government really committed to social liberalisation? This engaging book is a valuable resource for students and scholars interested in social change in China. It draws on leading Chinese scholarship together with insights from global media studies, economic geography and cultural studies.

This volume addresses the rapid growth of China’s cultural industry and its significant cultural and economic impact on the country. It considers what exactly constitutes the cultural industry, defining the basis for discussions on issues as the internal tensions constraining China’s cultural industry development. It examines the place of culture and cultural industry in relation to China’s overall development, and what kinds of strategies, policies and concrete measures are most effective in promoting the industry’s growth, exploring the role of Government in Cultural Industrial Development.

The paradoxical relationship between Chinese creative workers and the state Chinese Creator Economies dives into the paradoxical lives lived by creative professionals in emerging economies across China. Jian Lin contextualizes the socioeconomic conditions in which cultural production takes place and pushes back against the dominant understanding of Chinese media as a centralized, state-controlled apparatus by looking at how individual creative workers grapple with governance and precarity in the Chinese cultural industries and develop their bilateral subjectivities within the politico-economic system of Chinese media. Drawing on intensive empirical research conducted on creative labor practices across television, journalism, design, and social media, Chinese Creative Economies looks at both Chinese and foreign-born content creators, exploring the tensions between Beijing’s limits on individual creativity, and its aspirations to become a global hub for cultural production. Lin maintains that it is the production of bilateral creatives that generates and maintains hope for the future of those who live and work within the cultural economies of China.

The management of design has emerged as central to the operational and strategic options of any successful organization. The Handbook of Design Management presents a state-of-the-art overview of the subject - its methodologies, current debates, history and future. The Handbook covers the breadth of principles, methods and practices that shape design management across the different design disciplines. These theories and practices extend from the operational to the strategic, from the product to the organization. Bringing together leading international scholars, the Handbook provides a guide to the latest research in the field. It also documents the shifts that have been taking place both in management and in design which have highlighted the value of design thinking and design education to organizations. Presenting the first systematic overview of the subject - and offering a wide range of examples, insights and analysis - the Handbook is an invaluable resource for researchers and students in design and management, as well as for design practitioners and professional managers.