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ID:
159317
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| Summary/Abstract |
This article examines the development of the Chinese film industry in this century and its socioeconomic context. The rising popularity, attendance and number of movie theaters in China have been accompanied by bigger investments in the foreign film industry, as well as improvements in the production and distribution of films in the country. In addition growing Chinese influence in the world film industry is a component of China's soft power strategy.
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| 2 |
ID:
128475
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2014.
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| Summary/Abstract |
This special section is to explore several key issues related to the development in three of the biggest East Asian cultural industries, namely in China, Japan, and South Korea. It addresses a few important dimensions of change that merit analysis-the emergence of East Asian cultural industries in terms of growths in scale and exports; the transnationalization of production and distribution; the relaxation of foreign ownership restraints; and changing relations between the cultural industries and the state. The attempt is to conceptualize the relations between the cultural industries and cultural policy; draw insights from critical media studies and cultural policy studies; and explore what it means for policy-makers when culture and creativity move from the margins to the center of economic activity.
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| 3 |
ID:
128477
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2014.
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This paper investigates the changing role of the nation-state in the context of the broader social structure of society amid neoliberal globalization with a focus on the politics of the Korean Wave. It analyzes the ways in which the Korean government has developed its unique cultural policy and how it has contributed to the growth in Korean cultural production and export. The paper argues that neoliberal ideologies have not completely altered the role of the nation-state in the Korean Wave in spite of the dominance of neoliberal ideology in Korea's economic conduct.
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| 4 |
ID:
179207
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| Summary/Abstract |
The current rapid development of some Asian economies and the projected economic dominance of Asia in the 21st century are reasons enough to call it “the Asian century.” But will Asia’s economic growth entail an increase in political power and cultural influence? In this article the author looks at the topic through the lens of the film industry, a field of activity with a plethora of intertwined economic, political, and cultural factors. Cinema is studied here as an industry that produces “meanings” and is coupled with the concept of “strategic narratives.” According to some statistics, Asian cinema is becoming increasingly important in terms of the size of national film markets, but for a variety of reasons the U.S. remains the world’s most important exporter of motion pictures. The position of Asian countries in world cinematography is undermined by such global institutions as award ceremonies and film festivals that are held in the U.S. and Europe and tend to favor Western filmmakers. This article emphasizes the dramatic influence of digital transformation on modern cinematography and the opportunities it opens up for Asian film producers in creating a new, global streaming services market. Finally, the paper discusses development prospects for the film industries in four Asian leaders in this field—China, Japan, South Korea, and India. Japan and South Korea are likely to increase their cooperation with the U.S. in cinematography. There are great opportunities for cooperation between the film industries of India and China, but they are heavily dependent on political relations between the two nations. China’s film industry is expected to continue to develop rapidly.
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| 5 |
ID:
108911
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2011.
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During the 1970s and 1980s the "cultural sector" became one of the primary motors for wealth creation in the European Community. At the European and national scales, a group of actors helped transform Europe's vast array of practices and services (tourism, heritage, books, audio-visual products, etc.) into "cultural industries" and pushed the EC to develop a common cultural policy to support these industries. Documenting these changes at the European scale, I argue that the perceived impact of cultural policy for particular national economic competitiveness was also significant. Italian MEPs and members of Italy's national government were especially important, as they fought to protect the country's historical heritage and promote tourism. France pushed the strongest and I show how that country's efforts were primarily intended to protect its audio-visual and publishing industries from the EC internal market's liberalisation policies, which were vocally supported by Britain because they would have served that county's national economic interests.
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