Thursday, October 20, 2011

The Development of Culture Industry in China

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Since China entered WTO, the economic development of China has been brought into the orbit of economic globalization, so is the culture industry. We should take a new point of view to think about the development of culture industry in Shanghai, and to re-establish the strategy and policy of it in the new historical context.


Strategic orientation the background to the development


To some extent, the economic globalization represents itself as a great adjustment to the global industrial structure and re-distribution of resources under the direction of Multinational Corporation. The tide of incorporation sweeps over the globe, which is a strategic alliance in which one is inside and outside of another at the same time.


Information technology in wide use promotes cooperation among countries, and enhances the mutual supplement in the allocation of resources. The combination of information technology and traditional industry contributes to the rise of culture industry, making the traditional division of work more complex. The culture industries of the Western developed countries had gone through three phases, namely, the traditional entertainment industry, the content industry correlated with information technology, and the experience economy deeply exploiting people's spirit experience. There was always a new correspondence between culture industry conceptions and the exploitation of new production, the combination of new resources, the introduction of new elements, and the emergence of new patterns of competition.

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In the post-cold-war era, cultural exports in the form of international trade gradually replaced the confrontment in ideological field. The competition in culture industry brings forward the problem of cultural identification because cultural diffusion has gone beyond national boundaries and caused changes in social value, life style and aesthetic mentality. Cultural infiltration, by all appearance, would exert great influence on economic activity, social communication and daily life. A few developed countries, like U.S.A, try to find valid justifications for the dominance of their culture over the whole world by controlling the constitution of rules in WTO, while the third world countries, as well as some of the western developed countries, insist on adopting 'cultural exception' as their standpoint during the negotiations in WTO so as to preserve the characteristics of their national culture and the culture industry in comparatively infirm situation. So the arguments on the cultural trade and commerce and the market admittance of capital during the negotiations in WTO affect not only the economic status of the WTO leaguers, but also the strategic restructure of the international cultural system.


The WTO leaguers open their market of cultural service to each other as they promised in the negotiations. As Chinese government has promised, the culture industry and cultural market in China will open widely to other countries. What's more, foreign capital have actually infiltrated into culture industry in Shanghai and other provinces of China in the 10s, taking advantage of uncertainty and limitation in policies and statutes or spanning the illegible boundary between industries. There is no question that multinational capital will flood cosmically into the Chinese culture industry sooner or later. So the basis of the development of the Shanghai culture industry is a big culture market in conformity with pluralistic culture that faces the whole world.

Idea and measure strategic consideration on the development of culture industry in Shanghai

What we need is a macro visual field, and to turn the mode of thought into the inducting type from the traditional dominating type of directing the market by the simplex mainstream ideology.

The most fundamental approach to reducing the cost of development is to change the mode of thought. It consists of establishing the consciousness of objective market, whose main object are mass consumers. It wound impair the social foundation, communion and appetency of an advanced culture if the function of mass culture to construct the whole cultural configuration is neglected. The development of mass culture with national characteristics is important to the strategy about the evolution of the national culture; establishing the consciousness of competition and productive mechanism, which centers on the world market. There is no specific national boundary in the global competition in culture industries. We cannot set up a line of defence in open area of cultural geography. We need a kind of containable intention that is ready to attract and make use of excellent cultural factors all around the world, and a kind of global market consciousness that is good at colligating the specific national cultural resources into productions that accommodates to the pluralistic culture; establishing the consciousness of cultural brand that have appetency and local characteristics. The brand is the essential that attracts attention in the information time, and it's special, characteristic and relatively superior. Cultural brands in Shanghai should show their features through the Shanghai School of Art with specific native resources.

In the globalization context, the function of government must be strategically transferred from dominion into administration. The government should do its best to deal with all kind of complex relations between government and market, domestic and external development, ideological propaganda and culture industry management. The government should keep acquaintance with the market and think of it as one of its important tasks and duties instead of taking the place of the market in collocating resources. From most culture industries, the government must definitely drop out or fade out, and give the authority and power back to the market, enterprises, all kinds of guilds and agency institutions. The function of government should be turned into that of macro manipulation, that is, to constitute appropriate policies, laws and statutes.

The existing culture industries meet with some problems attracting great attention. They are made bigger but not stronger. The industries have little relation to each other. It's difficult for non-culture-entity to set foot in the field of culture industry, even some great industrial groups newly constituted are unable to carry out the task of reallocating resources across the industrial borderlines. So the quality and efficiency of the intensive production are more important than the scope and dimensions. It is necessary to set up an investment mechanism promising fair play in any competition, put forward the incorporation across industry borderlines, organize a pluralistic property configuration, and pool domestic resources through free market admittance. The culture industry in Shanghai could exploit international market and join in the world system of labor division by effective joint venture, cooperation and alignment with some famous Multinational Corporations. But the precondition of deepening cooperation is to spurn the dated principle of market admittance that refuses to yield a single step because we have to give up a part of market to get in a bigger part of it.

With the adventure of the experience economy, all kinds of cultural resources continuously flooded in economic activity, which blurred the borderlines between culture industry and other industries, and turned the economic activities into cultural and ideological ones. So we should take advantage of various immaterial and intellectual resources, such as cultural originality, brand, patent and visual figure, to deepen the post-market exploitation of culture industry throughout the economic field. And it is significant to set up Shanghai's own experience as a model and make it a new kind of city economy, which not only bears the weight of national and world culture but also embodies its own individuality.



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