Download The classification of Cultural Industries(2004) in China

Several Observations on the Current Status of the
Cultural and Creative Industries in China
Zhang Jiangang
Chinese Academy of Social Sciences
I. The Definition of Cultural and Creative Industries
◎
Cultural and creative industries are the commerciali-zation result
of copy technology, especially the digital and internet technology.
The key is the replicate manufacture and commercial
dissemination of the cultural content. So, all cultural industries are
medium.
◎ Industrial structure of CCI differs from the manufacture in-dustry.
In addition to the large media facing the consumers, it has an
industrial front-end consisting of a great number of small or micro
enterprises. These enterprises provide formatted program or
content to the media at the back end of the industries.
TWO PARTS OF CCI
Culture/Arts
Creation
Cultural
Industries
Creative
Industries
Life and
Cultural
Activities
Small-Macro
Companies
Media
Group.
II. The Growing of Cultural and Creative Industry in China
◎ The cultural and creative industries in China have a very short history.
Because the media industry is not open to the private sector, Chinese
cultural and creative industry is still at its enfant stage.
◎ When making the development plan for the then coming 10 years (2001-11),
Chinese government used the concept of cultural industries in a positive
way. It proposed to “set up cultural products manufacturing and operation
institutions and rules”, and “perfect the cultural industries policies”.
◎ The Chinese government realized that cultural products had not only
“ideological character”, but also “commercial character”. And some cultural
products have stronger ideological character than others. This
understanding enables the reform. The establishment and welladministration of domestic cultural market has become a challenging
reform task.
◎ At that time, Keith Rupert Murdoch was invited to China, and he mentioned
that the media industry in US and UK accounted for 5% of their GDP. This
number impressed Chinese and became a mid-term target for Chinese
cultural industries development thereafter.
Statistics and classification of CCI in China
◎ China National Bureau of Statistics began to establish a domestic
cultural industries statistic index system from 2003.
◎ NBS did two things:
※ It classified the cultural industries into three categories in
2004. This classification is diagramed as a triple concentric
circle.
※ It reported the first annual output value of Chinese CCI: in
2003, the Chinese CCI created 357.7 billion yuan value-added,
accounting for 3.1% of the GDP.
◎ In 2012, NBS revised its classification of the cultural industries. It
combined the two inner rings of the concentric circles and made
slight additions and deletions to the original contents. Now, the
Chinese cultural industry includes two parts, 10 categories, 50
sub-categories, 120 items and some extensive items.
◎ In 2012, the value-added of Chinese CCI has reached to 1807.1
billion yuan, five times of the number in 2003.
THE CLASSIFICATION OF CULTURAL
INDUSTRIES (2004) IN CHINA：
the core circle: publication,
television and broadcast,
film, video products,
performance, heritage,
museum, library, etc.
the core circle
the periphery circle
the connected circle
the periphery circle: internet,
tourist service,
entertainment,
advertisement,
exhibition, auction, etc.
the connected circle:
stationary, toy,
photographic equipment,
music instrument,
printing facilities,
television and
broadcasting facilities,
handicraft article, etc.
YEARLY VALUE-ADDED OF CHINESE CCI
III. The Impacts of the Cultural System Reform over the
Development of Chinese CCI
◎ The
aim of China’s reformation is to establish a socialist market
economy system. The reform of cultural system is also marketoriented. There are two tasks of the reform:
※ The first is the gradual open of cultural market, i.e. allowing
private parties to enter the market.
※ The second is to differentiate the government cultural
producing departments, and transform the state-owned
agencies into enterprises who will compete with other private
companies as operators, i.e. transforming them from public
serviced units into market players.
◎ The three-year “cultural system reform pilot phase” starting from
2003 made explorations into these two directions.
III. The Impacts of the Cultural System Reform (continued)
◎ For the past ten years, the central and local governments of China
issued various directive, programmed or supportive policies to
promote the development of cultural and creative industries.
◎ In recent years, Chinese government also tried to pursue the mixed
economy policy in cultural industries, supporting qualified cultural
companies to go public so as to absorb variety sources of capital.
◎ In sum, with discreet but persistent impetus from the national
macro-economic department and a group of experts, the cultural
system reform of China advances by small steps, and the scale and
performance of Chinese CCI progress steadily. It is foreseeable
that for a quite long period of time, the CCI in China will continue
to grow with a speed in excessive of overall increasing rate of
national gross economy.
structurally deficient in China CCI
◎ The
structurally deficient of CCI is directly related to the
contradiction intrinsic to the goal of the cultural system reform.
◎ The
development policies of Chinese CCI are consisted of two
different or even contradicting goals.
※The first is to increase the industrial output value, encourage
the enterprises to grow so that they can participate and compete
in the international cultural market.
※ The second is to regulate the entrance of all cultural products
into the market, set up strict review rules for the production and
broadcasting of cultural products.
◎ Such
policies restrict the growing of Chinese CCI on its the speed
and space. With such policy regulation, the domestic cultural
product supply is tight at some occasions, but superfluous at other
occasions. And the overall cultural life (consumption) and cultural
activities is neither enthusiastic nor elegant.
structurally deficient in China CCI (continued)
◎ Generally speaking, the supply of cultural products is restricted
by the demand. However, insufficient variety and quantity of
product, and high price as a consequences repressed the elastic
effective cultural demand.
◎ However, it is not desirable for the government to see a
decreasing output value or increase rate. Hence, they might adopt
following two ways to change such negative impressions.
※The first is to include more items into the statistic range.
the CCI in China are still at a lower end.
※ The other way is to increase the public spending, the
added-value of China’s CCI is inflated. A substantial portion
of added-value of the Chinese CCI is extremely ineffective,
or “uneconomical”, because consumers dislike such
products.
IV. Opportunities to Deepen the Reform and Stimulate the
Development of China’s CCI
◎ Chinese people’s huge shopping enthusiasm reveal tremendous
cultural products consumption potential.
◎ Content innovation is the development bottleneck of China’s
cultural and creative industries. Reformation, especially the full
open-up of cultural market, will be the only path to this end. The
free speech shall be the prerequisite for the market opening up.
◎ The rapid growth of digital and internet technology has completely
changed the way media spreads information. Under such
circumstances, strict control over the media merely means selfexile. Chinese government should take the current technological
development as an opportunity to advance the cultural administration system reform, “to give full play to the fundamental role of
the market”.
Government’s role: action or inaction?
◎ On
the other hand, Chinese society has great creativity
potentials. Self-employed artists in various areas, professional
but unincorporated cultural creative workshop (such as music
studio) are emerging in large numbers.
◎
It is a clear trend to include the missing portion of cultural and
creative economy into the GDP reasonably and wisely through
the means of public policy and public finance. It shows an
essential way for the countries to scale up and enhance their
cultural and creative industries with the assistance from the
government.
◎
Should China seize such opportunities and provide new
practices for the world?
Thank you very much !