文化創(chuàng)意產(chǎn)業(yè)創(chuàng)新外文翻譯文獻(xiàn)

文化創(chuàng)意產(chǎn)業(yè)創(chuàng)新外文翻譯文獻(xiàn)（文檔含中英文對照即英文原文和中文翻譯）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.賈斯丁奧?康納人們總是說中國需要趕超西方或發(fā)達(dá)國家，這似乎意味著是唯一的道路。這條路上也許會有捷徑，也許會是后來者居上，但目標(biāo)是相同的，即成為一個現(xiàn)代化的發(fā)達(dá)國家。然而在中國不斷縮短與這些發(fā)達(dá)國家之間的差距時，他們也在改變著“發(fā)達(dá)”的定義，并且為其設(shè)置了種種障礙。在英語中我們稱之為“不停地移動球門柱”。在繼制造業(yè)，服務(wù)業(yè)，高新技術(shù)成為中國明確的目標(biāo)之后，作為具有新“附加值”產(chǎn)品和服務(wù)的文化創(chuàng)意產(chǎn)業(yè)成了中國政府的又一個難題。很多西方國家認(rèn)為中國需要很長時間才可以在這個領(lǐng)域迎頭趕上，這對西方國家來說過無疑又是一項新的競爭優(yōu)勢。確實如此，從某種程度上說這也是個也很有力的證據(jù)，它證明了中國還不是或者永遠(yuǎn)不可能是真正意義上的發(fā)達(dá)國家。不可否認(rèn)這是西方發(fā)達(dá)國家綜合優(yōu)勢的又一個例子，同樣，對中國來說文化創(chuàng)意產(chǎn)業(yè)既大有作為又充滿了挑戰(zhàn)。這些產(chǎn)業(yè)從視覺表演藝術(shù)到音樂制作，影視，動漫和新型媒體服務(wù)，貫穿于時尚，設(shè)計和建筑等多個方面。它需要高度創(chuàng)新，提供創(chuàng)新的產(chǎn)品和服務(wù)，也依賴復(fù)雜的知識結(jié)構(gòu)和知識產(chǎn)權(quán)保護(hù)。這些產(chǎn)品和服務(wù)影響我們個人和集體的民族文化識別，正因如此，所有的國家都通過投資文化基礎(chǔ)設(shè)施和專業(yè)人才來保護(hù)和發(fā)展自己的民族傳統(tǒng)文化。二十世紀(jì)的后半葉，這個領(lǐng)域從藝術(shù)，畫廊，博物館，劇院，大學(xué)，藝術(shù)學(xué)校和期刊擴(kuò)展到了廣播媒體，電影，出版社和音樂制作。最近的二十年，人們關(guān)注的重點也從為民族文化品牌構(gòu)建經(jīng)濟(jì)基礎(chǔ)轉(zhuǎn)移到為經(jīng)濟(jì)發(fā)展而調(diào)動文化和創(chuàng)新能力。文化創(chuàng)意產(chǎn)業(yè)和注重高水平研究及知識的轉(zhuǎn)化尤其是創(chuàng)新能力的知識經(jīng)濟(jì)有著緊密的聯(lián)系。在西方國家中，文化產(chǎn)業(yè)者一直被認(rèn)為是有著史無前例的無限創(chuàng)意能力的人。現(xiàn)在能夠開發(fā)一系列創(chuàng)新的產(chǎn)品和服務(wù)的創(chuàng)新能力已成為經(jīng)濟(jì)發(fā)展的重要催化劑。在中國創(chuàng)意產(chǎn)業(yè)也從現(xiàn)有文化產(chǎn)品的產(chǎn)業(yè)化和市場化概念發(fā)展到了文化創(chuàng)新能力和其對市場的廣泛影響。這需要預(yù)測產(chǎn)品和服務(wù)，尋求潛在客戶，細(xì)化市場而不是模仿現(xiàn)成產(chǎn)品的能力。文化創(chuàng)意產(chǎn)業(yè)需要的軟實力，因其較為隱蔽而不易被掌握。它需要的是實踐經(jīng)驗而不是常規(guī)的教育（雖然這也是必須的）。創(chuàng)意文化產(chǎn)業(yè)需要理解不同類型的產(chǎn)品，復(fù)雜的價值鏈條，不同文化之間的交流互動，以及創(chuàng)新能力和商業(yè)技巧。最近幾年推進(jìn)創(chuàng)意產(chǎn)業(yè)的核心政策就是創(chuàng)意產(chǎn)業(yè)園的概念。通過京滬以及其他較小的沿海城市為數(shù)不多的例子，這個概念已經(jīng)發(fā)展成了一個核心的政策平臺。西方的文化創(chuàng)意產(chǎn)業(yè)園區(qū)涵蓋了極為廣泛的發(fā)展方向，這也是中國政府優(yōu)先考慮這一產(chǎn)業(yè)政策的原因。很多“去工業(yè)化”的大城市具有適合這種發(fā)展模式的空曠廠房和車間。這種集中化規(guī)?；员阌诎l(fā)展的模式和中國歷史上的發(fā)展模式以及它最近發(fā)展高科技和高新技術(shù)園區(qū)的方式一脈相承。當(dāng)然，文化創(chuàng)意產(chǎn)業(yè)對政府官員也很有吸引力，因為它們政績效用很明顯，一目了然。成功的創(chuàng)意園區(qū)可以為他們和城市提供很好的公共空間。與此同時，它們也為這個很新穎但不易理解的領(lǐng)域提供了清晰的發(fā)展步驟。然而，如果創(chuàng)意產(chǎn)業(yè)園區(qū)想要不負(fù)重望，他們還有很多問題亟待解決。由于藝術(shù)家們往往尋求相對經(jīng)濟(jì)廉價的工作場所，很多創(chuàng)意產(chǎn)業(yè)園區(qū)都是有組織的形成的。但是和西方國家一樣，它們會迅速的吸引房地產(chǎn)公司的注意。創(chuàng)意園區(qū)提升了所在地區(qū)的形象，導(dǎo)致了租金的迅速上漲，這是它們遇到的首要問題，典型的“鵲巢鳩占”。這個問題很復(fù)雜，主要是產(chǎn)業(yè)政策不能被房地產(chǎn)商的利益所驅(qū)動。有人會說，既然創(chuàng)意園區(qū)的經(jīng)濟(jì)效益這么好，那就讓市場經(jīng)濟(jì)來決定吧。這是不可忽略的事實，我們很容易去救濟(jì)經(jīng)濟(jì)窘迫的藝術(shù)家和創(chuàng)意工作者，但是地產(chǎn)商的利益和創(chuàng)意經(jīng)濟(jì)是兩碼事，尤其是在初級階段。文化創(chuàng)意的形象可以比其他占有者更快的提高租金，通常的情況亦以較低的成本就可以獲得不錯的利潤。但是對于一個發(fā)展相對緩慢的產(chǎn)業(yè)，租金漲得也太快了。創(chuàng)意產(chǎn)業(yè)園不應(yīng)該被看作是個別企業(yè)，而應(yīng)當(dāng)是一個正在發(fā)展的創(chuàng)意文化生態(tài)環(huán)境。房地產(chǎn)公司僅憑它們付租金的能力來判斷創(chuàng)意產(chǎn)業(yè)的好壞而不是它們對創(chuàng)新的長期影響力。評價房產(chǎn)公司的成功與否很容易，只要一看房價就明明白白了。但是我們怎么評價一個地區(qū)經(jīng)濟(jì)的創(chuàng)新能力呢？實際上，當(dāng)?shù)氐恼粦?yīng)該給房產(chǎn)公司相應(yīng)的減免稅優(yōu)惠政策，而讓市場規(guī)律來決定租金。如果想要在這方面找到很有效益的平衡，那就的依靠更多具體而明智的政策和規(guī)范。創(chuàng)意園區(qū)往往被人們誤認(rèn)為是文化產(chǎn)品工業(yè)化的地方，這里有大量的產(chǎn)品和市場。在這樣的過程中創(chuàng)意的需求被忽略了。有很多視覺藝術(shù)的產(chǎn)業(yè)園區(qū)很像一個工廠，為藝術(shù)市場生產(chǎn)大量過時的產(chǎn)品。這在短時間內(nèi)可以提供很多的工作崗位，但這只是簡單的證明了這樣一個事實：中國是全球低價值產(chǎn)品的制造者。類似的情況還有受政府稅收政策保護(hù)而重復(fù)生產(chǎn)的傳統(tǒng)手工藝品。這些產(chǎn)品有可能夸大一些統(tǒng)計數(shù)據(jù)。據(jù)報道稱，中國已經(jīng)成為世界第三大文