广州发展战略性新兴产业路线图研究

从产业整体结构绩效评估看,广州正在延伸出各种增长潜力巨大的新兴技术和产业,基本趋势是技术创新驱动、服务业高端化和文化软实力提升。紧紧抓住建设国家中心城市的战略机遇,广州要推动国家中心城市优先领域发展,促进国际大都市竞争领域发展和奠定国家创新型城市长期发展领域基础。充分考虑战略性新兴产业活动的空间价值链分布,形成战略性新兴产业发展的区域合理分工格局,加快推进支撑战略性新兴产业的中心城区知识密集型服务业发展。     

‘Northernness’, gender and Manchester’s creative industries

This article explores northernness and gender in the context of creative industries in Manchester. I argue that a version of northernness has been mobilised by those within the creative industries and that this identity is strongly linked with masculinity. The article examines the emergence of new creative industries in Manchester from the 1980s onwards. Many of these new creative industries were connected with music and club culture and often prioritised ‘lads’ and their interests. The ‘heritage’ and influence of this seedbed stage of Manchester’s creative industries and the dominant discourses about Manchester’s pop cultural creativity has had a profound influence on the ‘gendering’ of subsequent creative industries in this city. A paradigm of northern ‘laddishness’ pervades the creative sector in Manchester, and this is amplified and sustained by a powerful, media fuelled, cultural identity of the city and its popular culture. A number of local specificities have had an impact on linking creativity to ‘northern’ masculinity in the Manchester case. This has contributed to the ascendency of closed, male-dominated networks in the creative sector. This appears to stand in the way of women’s full access to, and participation in, the city’s creative industries. I suggest that all empirical case studies of creative industries could find value in reflecting on the local context and specificities of place. Using Manchester as a case study, I argue that place-specific identities could productively be explored in debates about exclusion and underrepresentation of women in creative industries.     

Creative industries as a globally contestable policy field

The development of the creative industries “proposition” has caused a great deal of controversy. Even as it has been examined and adopted in several, quite diverse, jurisdictions as a policy language seeking to respond to both creative production and consumption in new economic conditions, it is subject to at times withering critique from within academic media, cultural and communication studies. It is held to promote a simplistic narrative of the merging of culture and economics and represents incoherent policy; the data sources are suspect and underdeveloped; there is a utopianization of “creative” labor; and a benign globalist narrative of the adoption of the idea. This article looks at some of these critiques of creative industries idea and argues against them.     

Sexual Harassment in the Creative Industries: Tolerance,Culture and the Need for Change

The economic, social and cultural contributions of the creative industries are essential elements of many societies and their governments' policies. However, there is growing evidence that precarity, competition and lack of regulation within these industries is exacerbating inequalities with respect to gender, race and class. With a focus on gender and sexual harassment among female workers, this study involved 32 in‐depth interviews with women working in the Netherlands' creative industries. Data were analyzed using content analysis. Findings suggest that sexual harassment is prevalent, and many women considered it to be part of their occupational culture and career advancement. Four factors influenced this phenomenon: competition for work; industry culture; gendered power relations; and the importance of informal networks. Implications include the need for a climate of non‐tolerance, sector‐specific research and guidelines, sensitivity training and further work with unions and professional associations to provide worker protection strategies traditionally undertaken by organizations. The article concludes that effective sexual harassment prevention requires action at the individual, educational, sectoral and governmental levels, beginning with public conversations to convey the message that sexual harassment is never acceptable.     

国学引领文化产业繁荣论

中华国学是民族智慧结晶,是文化创意火种,重视它才能认识并开发广州龙文化、羊文化、节庆文化的底蕴,以龙舟竞渡精神,将南海神庙、黄埔古港、南沙天后宫串联成线,利用广东文化强省的政策优势、传媒优势、智力优势、制造业、文化产业优势、商都消费优势等,建好广州棋都以及国际会展集团、名城旅游集团、海上丝绸之路、越秀中华文化城、南粤演艺大观园、羊城国艺创意园等,以中华国学创意促进广州文化产业大繁荣。     

扩大上海文化消费研究

扩大上海文化消费包括文化消费规模的扩大和文化消费结构的优化两方面,这对上海转变经济发展方式、扩大内需、提高人口素质、社会稳定和增强城市软实力均具有重要意义。扩大上海文化消费,关键在于树立都市文化消费品牌,发展文化消费价值链或集聚带,提升文化内涵和形象;重点是抓好"三网融合",大力推进信息服务的基础设施和大众文化基础设施建设;不断创新机制,培育原创文化,吸引文化人才,建立文化高地;推进文化产业与文化事业的协同发展。     

广州创意产业的发展与布局

近年来,与创意相关的诸多话题渐成研究讨论热门,创意产业已经成为各国重点发展的产业。本文对广州市创意产业的空间分布和发展现状进行了分析,并就如何培育创意产业提出了对策。     

推进上海战略性新兴产业发展对策研究

战略性新兴产业关系到国家的经济命脉和产业安全,具有广阔的发展空间、市场前景、扩散效应以及引导科技进步的能力。上海战略新兴产业发展需要理清新兴产业培育与传统产业发展、加工制造与高端服务、立足本土创新与集成全球创新资源、普惠性政策与定向性政策、重点扶持大企业与培育科技中小企业、系统推进与重点突破等之间的辩证关系。通过研究借鉴国内外培育战略性新兴产业发展的主要经验与做法,提出上海发展战略性新兴产业的战略目标、发展方式、发展愿景、发展重点和方向。     

巴黎文化产业的现状、特征与发展空间

“文化产业”作为当前经济活动的一个重要概念，在城市经济活动中发挥着越来越重要的影响。巴黎作为法国的历史、文化、经济中心，其“文化产业”从20世纪70年代以来随着城市经济的转型呈现蓬勃发展的势头。进入21世纪，巴黎“文化产业”的领域与空间也在不断变化与扩展。本文将试图对巴黎“文化产业”的发展作一梳理，以期对其“文化产业”的发展面貌作一阐释。     

城市文化产业发展的特征分析及对策

本文总结了广州文化产业发展的现状特点,分析了当前广州文化产业发展中存在的问题,在此基础上提出了广州文化产业发展的的规划布局及相应的对策与措施。     

战略性新兴产业自主创新问题研究

战略性新兴产业是中国未来产业发展方向,而自主创新是发展战略性新兴产业的关键。大力推进战略性新兴产业自主创新主要可以从以下几个方面着手：一是突破制度性障碍,切实加快体制、机制的创新;二是突出企业在自主创新中的主体地位,打造高端产学研合作创新平台;三是着眼于新兴产业发展和技术应用的方向,围绕全产业链条支持产业自主创新;四是促进科技和金融更紧密结合,充分发挥金融在战略性新兴产业自主创新中的促进作用;五是着力培养和引进富有创新能力的各类人才,为战略性新兴产业自主创新储备人才等。     

佛山发展文化产业的实践与探索

本文对佛山市近年来文化产业发展概况进行了分析,提出了发展文化产业的重要意义和相关对策。文章认为,发展文化产业必须依托自身优势,整合内外资源,坚持保护开发,加快文化与经济融合发展的步伐,才能促进文化产业快速有序的发展。     

论发展文化创意产业——基于建设国家中心城市的视角对广州文化创意产业发展的研究

本文从建设国家中心城市的视角,就广州发展文化创意产业的必要性进行了理论探讨,对广州发展文化创意产业的基础条件进行了实证分析,并提出广州大力发展文化创意产业关键在于解放与发展文化创意产业领域的生产力。     

上海文化创意产业投融资模式与政策研究

文化创意产业的投融资是产业金融领域的一大普遍性难题。上海致力于打造国际金融中心和国际文化大都市,有责任也有义务加快文化金融服务创新,成为全国文化金融创新的领头者。但从银行贷款、投资基金、上市融资、政府投资等几种模式比较来看,上海文化投融资现状不容乐观。调研发现,上海文化创意产业投融资难有着自身的特殊原因,需要在突破投融资模式政策举措的选择上引起关注。鉴此,综合已有研究及国内外成功经验,从信息对接、重点聚焦、主体示范等方面提出若干对策建议。     

ALL INDUSTRIES ARE CULTURAL

While the conceptual categories of cultural industries and cultural consumption have been useful tools that have yielded valuable insights in a number of studies, they, nevertheless, pose certain problems. This text argues how their usage, in fact, obstructs certain research possibilities. Highlighting the ‘cultural’ character of certain specific industries and forms of consumption can also limit, if not impede altogether, the possibilities of analyzing other industries and forms of consumption from a cultural perspective. Doing away with such categories may open new possibilities for analysis and research. The main focus of this text is the category of ‘cultural industries’ though it also refers in passing to the complementary category of ‘cultural consumption.’     

从全球化视野看文化产业发展的机遇与挑战

本文从全球化视野出发，对文化产业发展的内在逻辑进行了宏观扫描。在此基础上，作者结合当前国际经济环境及中国的实际情况，剖析了中国文化产业的发展态势，并提出了自己的观点与解决思路。     

发展文化产业应做好四大设计

国际文化产业发展经验和规律表明,大都市是发展文化产业的排头兵,只有紧密依靠大都市的复合产业链优势,才能将文化产业做大做强。应对文化产业发展的目的、规律、手段和路径应当作深入的思考,结合中国实际学习国际经验,理清发展的思路。     

以新兴产业带动经济可持续发展

金融危机的影响正在逐步减弱,在高强度的投资带动下已能完成当前保增长的目标,但今后结构调整的任务将更加繁重。本文在分析广州新兴产业发展现状和存在问题的基础上,提出当前和今后一个时期培育战略性新兴产业的指导思想和主要工作任务,并建议从组织保障、资金保障、人才保障和空间保障等方面着手,加快对战略性新兴产业的培育,尽快形成新的增长点,不断优化经济结构;实现经济可持续发展。     

上海国资引领战略性新兴产业发展

上海国资在战略性新兴产业发展中有其独特的优势,同时也存在一系列问题。明确提出上海国资发展战略性新兴产业的战略目标、战略定位,正确选择上海国资战略性新兴产业的重点发展领域,系统论述上海国资引领战略性新兴产业发展的具体路径,提出六种发展模式和七大产业平台建设,以及上海国资引领战略性新兴产业发展的主要配套政策措施等。