文化创意产业创新外文翻译文献

文化创意产业创新外文翻译文献（文档含中英文对照即英文原文和中文翻译）CreativeChinamustfinditsownPathJustin0'ConnorItiscommonlysaidthatChinaneedsto'catchup’with'thewest'orthe'developedworld'.Thisphraseimpliesasingularpath;theremaybeshortcutsand'late-comeradvantages'butthedestination一amodern,developedcountry一isthesame.ButjustwhenitseemsChinaiswithintouchingdistance,the'developedworld'changesthedefinitionofwhatitistobe'developed'andputsmoreobstaclesinthepathofthosetryingtocatch-up.InEnglishwecallthis'movingthegoal-posts'.Aftermanufacturing,servicesandhigh-technologyseemedtopresentcleargoalsforChina,theculturalcreativeindustriesarriveasthenew'value-added'productandservicesector,posingyetmoreproblemsforthecountry'spolicy-makers.ManyintheWesthavearguedthatChinawilltakealongtimetocatch-upintheseareasandthatthisprovidesanewsourceofcompetitiveadvantagetotheWest.Indeed,forsome,theabsenceofacompetitiveculturalcreativeindustriessectorisevidencethatChinaisnot,andmaybecanneverbe,fully'developed'.MuchofthiscanbedismissedasanotherexampleoftheWest'ssuperioritycomplex;however,therecanbenodoubtthattheculturalcreativeindustriespresentgreatpossibilitiesbutalsogreatchallengesforChina.Theseindustries一fromvisualandperformingarts,torecordedmusic,filmandTV,todigitalanimationandnewmediaservices,throughtofashion,designandarchitecture一arehighlycreativeandinnovativeproductsandservices,relyingoncomplexflowsofknowledgeandintellectualproperty.Theyarealsoculturalorsymbolicproductsthatreflectandinfluenceourpleasuresandambitions,andourindividualandcollectivesenseofmeaningandidentity.Forthesereasonsallnationshavesoughttoprotectanddeveloptheirownnationalcultureandtraditionsbyinvestinginculturalinfrastructureandexpertise.Inthesecondhalfofthetwentiethcenturythiswasexpandedbeyond'thearts,—galleries,museums,operahouses,universities,artsschools,journalsetc.一toincludebroadcastmedia,film,publishingandrecordedmusic.Inthelast20yearstheemphasishasshiftedfrombuildingeconomicinfrastructuresforreasonsofnationalculturalidentitytomobilizingcultureandcreativityforreasonsofeconomicdevelopment.Theculturalcreativeindustriesarenowstronglylinkedwiththeknowledgeeconomy,whichemphasizeshighlevelsofresearch,knowledgetransferand,aboveall,innovation.IntheWestartistsor'culturalproducers'havelongbeenassociatedwithdynamic,oftenunpredictablecreativeinnovation.Nowtheinnovativecapacityoftheculturalindustriesisextendedtoanewrangeofcreativeproductsandservicesandisalsoseenasacatalystforinnovationrightacrosstheeconomy.InChinathisagendahasalsomeantmovingbeyondtheideaofabetterindustrializationormarketisationofexistingculturalproductstowardsamoresystematicapproachtotheideaofculturalandcreativeinnovationanditswidereconomicimpacts.Thisdemandstheabilitytoanticipatenewproductsandservices,findingnewaudiences,differentiatingratherthanimitatingwhatalreadysells.Itrequiresnewkindsof'softskills'thatarehardtoacquireastheyareoften'tacit',demandingexperienceratherthanformaleducation(thoughthisisalsonecessary).Itdemandsunderstandingdifferentmodelsofproduction,complexvaluechainsandtheinteractionbetweencultural,creativeandbusinessskills.Inthelastfewyearsthecentraldrivingforcebehindculturalandcreativeindustriespolicieshasbeentheideaof'cluster'.StartingfromafewisolatedexamplesinBeijing,Shanghaiandothersmallercoastalcitiestheconcepthasnowbecomeacentralpolicyplatform.CulturalandcreativeclustersexistintheWest,thoughthesetermscoverextremelydiversedevelopments.TherearesomegoodreasonswhyChinawouldchoosethispolicyplatformaboveothers.Inmanylargecitiesexperiencingde-industrialisationthereareemptyfactoriesthatseemripeforthiskindofdevelopment.ThemodelofconcentrationtofacilitaterapiddevelopmentalsofitswellwithChina'shistoryofcollectivizationandmorerecentlyitsdevelopmentofhigh-techandotherR&Dparks.Clustersarealsoattractivetopolicymakersbecausetheyarehighlyvisible一successfulonesgivepublicitytothemandthecity.Atthesametimetheyofferclearandconcretestepstosupportasectorthatisverynewandnotverywellunderstood.However,therearesomerealproblemstobeovercomeiftheseclustersaretodeliverwhatisexpectedofthem.Manyclustersemergedorganically,withartistslookingforcheapworkspace;butinChina,asintheWest,theysoondrewattentionfrompropertydevelopers.Thefirstbigproblemfacedbyclustersisthatculturalandcreativeproducersraisetheprofileofaplaceandthisisveryquicklytranslatedintorentrises,typicallydrivingoutthefirstoccupants.Thisisacomplexproblem,butmymainpointwouldbethatpolicycannotbedrivenbythedynamicsofrealestate.Somehavesaidthatifcreativeindustriesareseconomicallyimportantweshouldletthemarketdecide.Thereissometruthinthis;itisveryeasytosubsidisebadartistsandcreativeproducers.However,thedynamicsofrealestatemarketsandthecreativeeconomyareverydifferent,especiallyattheearlystages.Culturalprofilecanraiserentsmuchmorerapidlythanwithotherkindsofoccupancy,oftenfromalowbase,andcanprovidegoodprofit.Buttheserentrisesareoftentoofastforaslowlyemergingsector,whichisnotjusttobeseenasindividualcompaniesbutasacomplexemerging'creativeecology'.Therealestatemarketmeasures'good'or'bad'creativebytheirabilitytopaytherent,notontheirlong-termeffectoninnovation.Thereareeasymeasuresforrealestatesuccess一higherrentyield一buthowarewemeasuringtheinnovativecapacityofthelocaleconomy?Ingeneral,localgovernmentsshouldnotgivetaxbreakstorealestatecompaniesandthenallowthemtoapplypuremarketrulestorents.Moresubtleintelligenceandpolicyinstrumentsareneededifgovernmentisfindaproductivebalanceinthisarea.Clustersareoftenconceivedasplacesforthe'industrialization'ofculturalproduct一thatis,massproductionandmarketing.Theneedforinnovationisforgottenintheprocess.Therearemanyvisualartclustersthatareverymuchlikefactories,reproducingextremelyoutdatedproductsforthelowestendoftheartmarket.ThismightprovidejobsintheshorttermbutsimplyconfirmsChinaastheworld'slowvalueproducer.Similarthingscouldbesaidabouttraditionalcrafts,whichareextremelyrepetitiveandareusuallyonlyprotectedbyinter-provincialtariffs.Theseproductsmightinflatethestatistic一accordingtoonereportChinaisthirdlargestexporterofculturalproducts一buttheyareverymisleading;mostoftheproductscounteddolittletoenhancetheinnovationcapacityoftheculturalcreativesector.Betterunderstandingandgovernanceofclustersisnecessary.Clustersdeliverbenefitsformanybutnottheentireculturalcreativesector.Computergames,forexample,doesnotbenefitfromclustersbecausemoreorlesseverythingisproducedin-houseingreatsecrecy.Theygotoclustersbecauseoftaxandrentsubsidies,nottobeinproximitytoothers.Visualartistsbenefitfromcheaperrents,thereputationofa'cool'placeandfromspacetoworkinquiet;theydonotnecessarilyengageinintensivenetworkingandknowledgetransfer.Otherprojectbasedindustries,suchasnewmedia,wantthenetworkingpossibilitiesprovidedbyclusters,whateconomistscalled'untracedinterdependencies'.Therearethusdifferentrequirementsforthedifferentbranches,andboththemixofcompaniesandthequalityofthespaceneedtobecarefullyunderstood.Thereisrealscopeforinformedgovernmentpolicyhere.Ingeneraltheyshouldlooktoraisethequalityofproductionaswellasdevelopingnewaudiencesandmarkets.Clusterscanhavearoleinthis,buttheyhavetoformpartofawiderpolicystrategy.Forexample,universitiesarevitaltobuildingnewhumancapital——theyhavetobeencouragedtolooktocreativeskillsnotjustteachingfromestablishedmodels,.Localtelevisionstationscanbeencouragedtopaymoreforhighqualitycontent一atthemomentthepurchaseisaonesizefitsallapproachwhichoftenpaystheworstandthebestexactlythesame.Thedesignofurbanspacescanbeenhancedtosupportthecityasa'creativemilieu'.Moredirectly,theculturalcreativeindustriesneednewcreativeattitudesandmentalitiesthattakesometimetocomethrough;theyalsodemandarangeof'softskills'associatedwithprojectmanagement,branddevelopmentandmarketingwhichhavetobelearned'onthejob'.Buttheyfindithardtolearntheseskillswhentheyaremostlydeliveringservicesatthelowestpartofthevaluechain,whereinnovationeffectsandintellectualpropertygoabroad.Talentiswastedinservicingwhenitshouldbefocusedondevelopingoriginalcontent.Localgovernmentshavetorealizethatthoughtheculturalcreativeindustrieshavestrongeconomicbenefitstheyarealsoaboutquality-highvalueswhichdemandthelongtermviewnotthequickreturnofthe'bottomline'.Thispushforhighqualityandhigherlevelsofinnovationissomethingthatdemandsamoreholisticapproachtopolicy;andclusterscanplayacrucialroleinthis.Ratherthanbeseenasconvenientcontainersforculturalcreativeproducerstheyneedtobecomefocalpointsfortargeteddevelopment.Universitiesandartschoolsneedtobemoreinvolved.Asdotheirculturalcreativeindustryresearchcentres.Realknowledgetransfercanbeencouragedandfacilitatedbyintelligentclustermanagers.Theskillstorunaclusterarejustemergingandtherearesomegoodexemplar一butmuchofitisjustrealestatemanagementasinanyothersectorandthisisawastedopportunity.Networkingevents,jointmarketing,seminarswithforeigncompanies,spacesandoccasionsforexperimentation,acarefullymanagedprogrammeforthegeneralpublic(toomuchtourismcandestroyacluster,asinTianzifanginShanghai),intelligentlinkstootherclustersandlargercreativecompanies——allthesedemandspecificskillstodeliver.Theseskillsalsoshouldbedisseminatedandimprovedacrossbetweentheclusters.Chinadoesneedtolooktoforeignexpertsandmodels;butithasalsoshowntimeandagainthatitcanalsofinditsownway,andinwaysthathaveastonishedoutsiders.Itcandothiswiththeculturalcreativeindustriesbutithastolooklongterm,beyondimmediateeconomicgain(includingrentincreases)tothelong-termcreativeandinnovativecapacityofthecountry.Ithastorecognizethatitiscatchingupatatimewhenwesterncreativeindustrycorporationsaremoreglobalthanever,lookingtopenetratelocalChinesemarketsjustwhenthecountryistryingtodevelopitsowncreativesector.Thispresentsarealchallenge,butIwouldsaythatratherthantryandusepolicytoolsderivedfromtheWest,Chinashouldlooktoitsowntraditionsandstrengths.Idonotjustmeanitstraditionalcultureintermsofcalligraphyoroperaorinkpainting;Imeanitsresourcesforsocialandeconomicdevelopmentthatuses,butisnotsubservientto,the'free'market.InfacttheUK,closelyassociatedwiththecreativeindustriesagenda,hasverylittlecapacitytodeliverindustrysupport,relyingondemandsthatpeoplebemore'entrepreneurial'ratherthandeliversystematicandintelligentsectoralstrategy.Thisiswhyithasleta250-year-oldworldfamousceramicscompany一Wedgewood一gobankrupt.ChinahassomethingstolearnfromtheUK,butitsdeepresourcesofintelligentandpragmaticpolicywillbeultimatelydecisive.Mostimportant,policymakersshouldnotloosesightoftheimportanceofcultureforcollectivemeaningandidentity.Thisismuchmorediverse,fluidandopentonewinfluences,andtheChinesegovernmenthasincreasinglystoodbackfromdirectintervention.Inthesearchfortheneweconomicbenefitsoftheculturalcreativeindustriestheirdeeperculturalcontextsshouldnotbeneglected.贾斯丁奥•康纳人们总是说中国需要赶超西方或发达国家，这似乎意味着是唯一的道路。这条路上也许会有捷径，也许会是后来者居上，但目标是相同的，即成为一个现代化的发达国家。然而在中国不断缩短与这些发达国家之间的差距时，他们也在改变着“发达”的定义，并且为其设置了种种障碍。在英语中我们称之为“不停地移动球门柱”。在继制造业，服务业，高新技术成为中国明确的目标之后，作为具有新“附加值”产品和服务的文化创意产业成了中国政府的又一个难题。很多西方国家认为中国需要很长时间才可以在这个领域迎头赶上，这对西方国家来说过无疑又是一项新的竞争优势。确实如此，从某种程度上说这也是个也很有力的证据，它证明了中国还不是或者永远不可能是真正意义上的发达国家。不可否认这是西方发达国家综合优势的又一个例子，同样，对中国来说文化创意产业既大有作为又充满了挑战。这些产业从视觉表演艺术到音乐制作，影视，动漫和新型媒体服务，贯穿于时尚，设计和建筑等多个方面。它需要高度创新，提供创新的产品和服务，也依赖复杂的知识结构和知识产权保护。这些产品和服务影响我们个人和集体的民族文化识别，正因如此，所有的国家都通过投资文化基础设施和专业人才来保护和发展自己的民族传统文化。二十世纪的后半叶，这个领域从艺术，画廊，博物馆，剧院，大学，艺术学校和期刊扩展到了广播媒体，电影，出版社和音乐制作。最近的二十年，人们关注的重点也从为民族文化品牌构建经济基础转移到为经济发展而调动文化和创新能力。文化创意产业和注重高水平研究及知识的转化尤其是创新能力的知识经济有着紧密的联系。在西方国家中，文化产业者一直被认为是有着史无前例的无限创意能力的人。现在能够开发一系列创新的产品和服务的创新能力已成为经济发展的重要催化剂。在中国创意产业也从现有文化产品的产业化和市场化概念发展到了文化创新能力和其对市场的广泛影响。这需要预测产品和服务，寻求潜在客户，细化市场而不是模仿现成产品的能力。文化创意产业需要的软实力，因其较为隐蔽而不易被掌握。它需要的是实践经验而不是常规的教育（虽然这也是必须的）。创意文化产业需要理解不同类型的产品，复杂的价值链条，不同文化之间的交流互动，以及创新能力和商业技巧。最近几年推进创意产业的核心政策就是创意产业园的概念。通过京沪以及其他较小的沿海城市为数不多的例子，这个概念已经发展成了一个核心的政策平台。西方的文化创意产业园区涵盖了极为广泛的发展方向，这也是中国政府优先考虑这一产业政策的原因。很多“去工业化”的大城市具有适合这种发展模式的空旷厂房和车间。这种集中化规模化以便于发展的模式和中国历史上的发展模式以及它最近发展高科技和高新技术园区的方式一脉相承。当然，文化创意产业对政府官员也很有吸引力，因为它们政绩效用很明显，一目了然。成功的创意园区可以为他们和城市提供很好的公共空间。与此同时，它们也为这个很新颖但不易理解的领域提供了清晰的发展步骤。然而，如果创意产业园区想要不负重望，他们还有很多问题亟待解决。由于艺术家们往往寻求相对经济廉价的工作场所，很多创意产业园区都是有组织的形成的。但是和西方国家一样，它们会迅速的吸引房地产公司的注意。创意园区提升了所在地区的形象，导致了租金的迅速上涨，这是它们遇到的首要问题，典型的“鹊巢鸠占”。这个问题很复杂，主要是产业政策不能被房地产商的利益所驱动。有人会说，既然创意园区的经济效益这么好，那就让市场经济来决定吧。这是不可忽略的事实，我们很容易去救济经济窘迫的艺术家和创意工作者，但是地产商的利益和创意经济是两码事，尤其是在初级阶段。文化创意的形象可以比其他占有者更快的提高租金，通常的情况亦以较低的成本就可以获得不错的利润。但是对于一个发展相对缓慢的产业，租金涨得也太快了。创意产业园不应该被看作是个别企业，而应当是一个正在发展的创意文化生态环境。房地产公司仅凭它们付租金的能力来判断创意产业的好坏而不是它们对创新的长期影响力。评价房产公司的成功与否很容易，只要一看房价就明明白白了。但是我们怎么评价一个地区经济的创新能力呢？实际上，当地的政府不应该给房产公司相应的减免税优惠政策，而让市场规律来决定租金。如果想要在这方面找到很有效益的平衡，那就的依靠更多具体而明智的政策和规范。创意园区往往被人们误认为是文化产品工业化的地方，这里有大量的产品和市场。在这样的过程中创意的需求被忽略了。有很多视觉艺术的产业园区很像一个工厂，为艺术市场生产大量过时的产品。这在短时间内可以提供很多的工作岗位，但这只是简单的证明了这样一个事实：中国是全球低价值产品的制造者。类似的情况还有受政府税收政策保护而重复生产的传统手工艺品。这些产品有可能夸大一些统计数据。据报道称，中国已经成为世界第三大文