Teacher Li's Cultural Industry

1. The theory that politics, art and literature are "special sectors of industry itself" was put forward by Marx in 1844 Economic and Philosophical Manuscripts.

2. Transforming knowledge resources into production resources to obtain economic benefits is the characteristic of knowledge economy production.

3. The godfather of American cultural industry theory is John? Fisk.

4. The characteristics of cultural resources are not only productive, valuable and disseminated, but also non-consumptive and renewable.

5. Cultural industry has two functions: economic function and cultural function.

6. McCarthy's 4P cultural marketing strategy combination strategy refers to product strategy, channel strategy, channel strategy and promotion strategy.

7. Cultural industry has dual attributes of spiritual production and material production.

8. The core competitiveness of the cultural industry is ultimately marked by market share and brand credibility.

9. Cultural project evaluation mainly evaluates the feasibility of the project.

10. Law of paper media: whoever has the most reliable information has higher value and credibility.

1 1. Marx thinks that culture itself is a productive theory, which solves the industrial theory problem of contemporary cultural industry.

12. The three theoretical sources of contemporary cultural industry are the critical theory of Frankfurt School, Benjamin's cultural art theory and the cultural theory of "cultural research".

13. John Fiske's famous cultural theory is "productive audience".

14. Market demand consists of three elements: consumers' willingness to spend (purchasing motivation), purchasing power and total consumption population.

15. Material attributes make cultural industries have economic functions, while spiritual attributes make cultural industries have social functions.

16. Creativity is the essential feature of creativity, and artistry and culture are the two main features of creativity.

17. Cultural resources can be divided into measurable and unmeasurable categories.

18. At present, the development direction of the world newspaper industry presents two major trends: polarization and privatization.

19. The production characteristics of paper media have identity and variability.

20. The two appeal ways of advertising strategy are emotional appeal and rational appeal.

2 1. Economic benefit is the core driving force of cultural industry activities.

Second, the noun explanation

1. Cultural industry: a social production structure with the production and operation of cultural goods and services as the main business, profit creation as the core, cultural enterprises as the backbone, and the cooperative relationship between cultural value and commercial value as the link.

2. Operating mechanism of cultural industry: refers to the forms and functions in which all components of the cultural industry system are interrelated, interacted and restricted to promote the operation of the whole system.

3. New economy: an economy with knowledge, technology, information, intelligence, media and symbols as its main operating capital is usually embodied as intangible economy and knowledge economy in the era of globalization.

4. Cultural industry means that in the later period of capitalist society, capitalism produced cultural products like ordinary commodity production, and established a set of entertainment industry system that copied and disseminated cultural products on a large scale by means of modern science and technology.

5. Cultural industry chain: emphasizing creativity as the leading factor, content as the core, promoting the manufacturing of cultural products, promoting wholesale and sales, and promoting the development of follow-up products, forming an economic circular chain of cultural industry production with up-and-down linkage, left-right connection, one input and multiple outputs.

6. Cultural capital: refers to the accumulation and formation of cultural value in the form of material wealth and spiritual wealth, formed through the optimal allocation of cultural resources, and cultural capital generates economic value through the market.

7. Cultural creativity: refers to the thinking innovation and concept innovation activities with cultural production and cultural services as special objects in the sense of cultural industry.

8. Cultural demand: refers to the cultural demand in the sense of cultural industry and cultural market, mainly refers to human consumption demand for cultural products (spiritual products and material products) and cultural services.

9. Market demand: refers to the quantity of a commodity or service that consumers are willing and able to buy at various price levels in a certain period of time.

10. Cultural consumption: refers to the behavioral process that cultural products or services are bought and used by consumers after entering the market.

1, market classification type of cultural industry

(1) From the perspective of input and output, cultural industries can be divided into short, flat and fast, double high and growth.

Short-term fast-paced cultural industries mainly refer to those cultural industries with less investment and quick results, but short life, such as go-karting, tea houses, bowling, etc., which have been popular in recent years.

Double-high cultural industries require high technology content or cultural content, and are generally cultural industries with long payback period, high return rate and high investment. For example, the Shanghai Grand Theatre, from 65438 to 0998, was put into operation for four months, with a box office income of180,000 yuan and a profit of nearly10,000 yuan. Similarly, there are the Oriental Pearl TV Tower and Shenzhen's "Three Parks" and so on. This kind of cultural industry is small in scale or unique in the market and has absolute competitive advantage.

Growth-oriented cultural industries are generally emerging cultural industries. With the progress of society, the market demand of such cultural industries is gradually expanding, and the input-output ratio is on the rise. Such as publishing industry, cultural property industry, art industry, book industry, newspaper industry and so on.

(2) From the consumption function, the cultural industry can be divided into knowledge, leisure and entertainment.

Knowledge-based cultural industries generally refer to cultural industries that can provide consumers with knowledge education and increase their intelligence level, such as literature and art, books and newspapers, cultural relics and calligraphy, and some radio, film and television programs that can increase their knowledge.

Leisure culture industry mainly refers to all kinds of tourism and cultural leisure.

Entertainment cultural industry refers to cultural industries that can eliminate students' fatigue and enjoy life, such as performance industry, film and television industry, audio-visual industry and entertainment industry.

(3) From the perspective of industrial operation, the cultural industry can be divided into production type, intermediary type and service type.

Production-oriented cultural industry mainly refers to the "cultural industry" that specializes in the production and production of cultural products, including film and television listening programs, various artistic works, entertainment and other cultural products.

Intermediary cultural industry mainly refers to the cultural circulation industry between production and service, such as cultural brokerage, cultural agency and cultural product distribution.

Service-oriented cultural industries generally refer to film and television projection industry, performance industry, advertising industry, convention and exhibition industry, knowledge dissemination, information consultation, leisure and entertainment service industry and cultural product sales. This cultural industry does not produce cultural products, but provides cultural services.

2. Frankfurt School's three critical analyses of cultural industry.

First, the principle of value dominates all aspects of popular culture, and culture serves the power of capital.

The motive force for the existence and development of cultural industry is capital, and capital is also the goal pursued by cultural industry. Any production of cultural products with the goal of maximizing profits must meet the needs of consumers of cultural products.

In this way, the cultural industry makes instrumental rationality completely superior to value rationality, and makes use value completely subordinate to exchange value. The providers of cultural products can only produce passively and cannot create freely.

Second, the commercialization and consumption of works of art have degenerated from the spiritual realm to the material culture, depriving art of its rebellious and critical functions.

Cultural production for entertainment and recreation produces complete cultural products. These goods make consumers' personality die out day by day, and at the same time people's critical spirit and negative consciousness die out. Therefore, cultural products under the cultural industry environment no longer have much artistic value, and their artistic transcendence is simply impossible to talk about.

Third, the cultural industry is a "more ideological" cultural industrial product manipulated and controlled by advanced industrial technology. Compared with classic writers, the works of their creators are often very rough, but with advanced technology and equipment, the cultural industry can play a more domesticated role and control the psychological structure of the public more easily.

The form of mass communication of culture makes the information it transmits to the public dual. The superficial information is often freedom, equality, happiness, resistance to injustice and activism. And the hidden information is passed on to the public to adapt to and accept the real order.

Surrounded and impacted by various cultural industrial products (especially mass media), mass consumers are losing their independent minds and judgments, passively accepting the shaping of cultural industrial products, and are purely passive cultural audiences.

3. What are the characteristics of the development of modern advertising?

1. Mass media: Mass media dominates the advertising market.

First of all, TV media is still the first in the annual advertising market.

Secondly, the strong promotion of newspaper advertisements has shaken the strong position of TV media in the advertising market.

Third, the advertising operation of outdoor, online and other new media grew steadily.

Second, the agency of the operation mechanism: agency, the internationally accepted advertising operation mechanism.

The advertising agency system is a common mechanism in the international advertising industry, that is, advertising companies (advertising agencies) are entrusted by advertisers and media organizations (advertising agencies) to carry out advertising activities within the entrusted authority and complete all aspects of advertising business. After the implementation of the advertising operation plan, advertising companies will extract a certain proportion (generally 15%) from the media publishing fee as a reward.

Advertising agency system is the development direction of modern advertising industry, which clarifies the market function among advertisers, advertisers and media organizations, is conducive to the specialization and socialization of advertising positioning and planning, improves advertising publicity efficiency, improves advertising planning and creativity, and improves the social and economic benefits of advertising.

Third, the plot communication of advertising: advertising implicitly conveys the function, effect, brand and image of commodity content with a story.

Fourth, the integration of advertising existence form and activity mode: one is that advertising form does not appear in a single form, but in a holistic way, with multiple carriers appearing at the same time. First, advertisements appear in a series of ways.

4, the characteristics of cultural industry chain:

(1), the cultural industry chain must first have a flagship product, that is, leading enterprises or brand products should have extensive influence in the cultural market, form a good reputation, create economic benefits, and have competitiveness and market development potential.

(2) The cultural industry chain should be based on the corresponding industrial association. An industrial chain often needs to go through an industrial chain of upstream products and downstream products, and use the input of cultural resources to carry out in-depth development of related content and realize repeated output, including providing rich market added value for related products.

5. The trend and characteristics of digitalization and networking in the development of paper media.

6. Characteristics of cultural product consumption

Cultural consumption has the characteristics of multi-level and diversity. 2. Cultural consumption is expandable. 3. Cultural consumption is developing. 4. Cultural consumption can be induced. 5. Cultural consumption is persistent and spreadable. 6. Cultural consumption is entertaining, aesthetic and creative.

The author of Creative Economy is Richard, a professor at George Mei Sen University and a non-resident senior researcher at the Brookings Institution. Florida. In this book, the author emphasizes his theory: Like the mass production of wealth in the industrial period, the creative economy has played a leading role in the current global economy. Creative talents, which account for a small proportion of the total population, will become the most important source of wealth. In his theory, the indicators of science and technology, talents and inclusiveness, everyone's creative opportunities, the relationship between urban industrial development and creative economy, and the formation of a global creative system give people a new perspective.

This book analyzes the new round of global talent competition and the challenges that come with it. Tracing back to the footprint of the rise of creative economy, this paper expounds the driving factors and limiting factors of the development of creative economy.

The globalization of talents is the fundamental driving force of creative economy. Compared with other elements of productivity, talents are easier to flow and can choose their own destination. According to the creative class and a new global innovation index (based on technology, talents and inclusiveness), the author ranks 45 countries around the world, and points out that it is the successful cities themselves that attract or take away global creative talents, not their countries or companies located in those cities.

At the same time, the rise of creative economy has intensified the opposition of social strata, forming a gap between economy and society on the map. Creative economy will improve economic inequality, which will lead to huge regional differences and greater inequality in leading innovation centers. The real cause of inequality is not social or moral problems. This inequality actually comes from the waste of talent creation potential.

Finally, the author outlines the future development steps, and clarifies how to cultivate talents' innovative ability and prosper in the era of creative economy.

Through reading, we must first understand what the author refers to as creative economy. The author thinks that creative economy actually refers to the driving force of economic development, just as the source of economic development hundreds of years ago was the working class. He defined economy from three main aspects: manufacturing, service and creative industries. In the creative industry, there are scientists, engineers, technicians and inventors engaged in research and development, as well as artists, writers and musicians. Designers, architects and cultural creative people are what he calls "advanced creative core". His definition also includes some industries dominated by traditional knowledge, such as health care, finance, law and education. In the United States, all these occupations add up to about 40 million people, accounting for 30% of the total labor force in the United States, but the collective wages are more than half of the total wages.

Creative economy came into being, behind which was a massive cultural movement. Nevertheless, we should try our best to encourage this sport and make it contain more things. In our time, the creative economy has almost become a stillbirth. I am thinking of the period from 1870 to 1930, which is a period of industrial upheaval. Its benefits were too concentrated in the elite, which led to the financial crisis and two world wars. Later, people thought, "No, no, you must create an industrial economy and an industrial society, and more and more people must participate." Now I'm afraid it's stuck in the periods of 1870, 1880 and 1890. We must accelerate the pace of change in order to build an innovative and more humane society.

In China, although the creative class has not yet formed and the form of creative industry is not yet mature, it has been prepared. With the transformation of the old economic and cultural system, publishers, designers, advertisers, brokers, architects, journalists and other cultural groups will eventually complete the role transformation and become the first truly creative people in China. Some cities in China, such as Shanghai and Shenzhen, have long recognized the necessity of parallelism and accumulated considerable experience in the construction of national cultural industry research bases and urban creative industrial parks. In the future, China will move from a cultural country to a creative country, from a manufacturing country to a creative country, and from "Made in China" to "Created in China". Undeniably, there are still many problems in China's creative industry, such as the lack of overall planning, the imperfect internal and external environment for the development of creative industries, and the extreme shortage of creative talents.

Creative economy is not a simple idea economy, a whimsy can't decide Gan Kun, he needs execution. Ideas that cannot be executed are worthless. Therefore, after you have a good idea, you should think about how to implement and realize it. In addition, it needs to be clear that "creativity" and "innovation" are different words with different dimensions. "Innovation" can be more understood as the creation and renewal of technology in the era of industrial revolution, and the word "creativity" can better express the creation of people's thinking value in the knowledge economy society.

Several Issues on Commercialization of China Films

Movies are a commodity and an art. In recent years, China's New Year movies have become increasingly commercialized. No matter how serious the historical theme is, they don't forget to add big-name stars with box office appeal. Mei Lanfang's Dawn and Zhang Ziyi, Tony Leung Chiu Wai and Lin Chi-ling in Red Cliff, Zhao Wei and Chen Kun in Mulan, Chow Yun Fat and Zhou Xun in Confucius, and countless stars in Besieged City in October.

According to common sense, the audience lacks interest in the biographies of the sages. Therefore, the story of Confucius and Mulan, which is well-known to women and children in China, is better than who has more star box office, more news and better business operation. Mulan grabbed the schedule first, and the film's sense of history was not heavy enough. However, from Chen Kun's dissatisfaction with the deletion of the scene after the completion of the film, to the speculation that Zhao Wei was married and pregnant, and then to the triumphant return of Cannes, news emerged one after another. "Confucius" takes the role of "Confucius" played by superstar Chow Yun Fat as the box office guarantee, and then draws controversy with the fabricated story of "confidante" Zhou Xun and "love triangle", and arouses the curiosity of the audience.

The evil consequence of commercialization of New Year's films is the complete disappearance of art films. Major first-line and second-line cinemas have been fully capitalized and profitable. Invisibly, "China Film" completely eliminates the "Xie Jin color", which has nothing to do with our real life and is full of commercial value everywhere. Confucius, the character of the film itself, is the guarantee of the global marketing of the film. Confucius and Chow Yun Fat are complementary, and both have considerable international fame, aiming at the global film market. Hu Mei, the director of Confucius, said that good works of art will definitely be echoed by the market.

However, in the process of commercialization of China films, many problems will inevitably arise. There are several problems in the commercialization of today's movies:

First, the film commercial promotion and distribution mode is still insufficient.

Commercial publicity strategy is targeted publicity. According to the different content and style of the film, different groups are selected to promote it in different ways, and a market-oriented recruitment system is implemented to make propagandists stand out from the competition. At present, there are only simple TV publicity and print advertising in China, and most of them are film studios. For all films, the propaganda methods and strategies are exactly the same, lacking strength and pertinence.

For example, Shanghai Film Group's two films this year, The Third Warmth and Stop the Heartbeat, were publicized through the Internet, TV, movies and magazines, and cooperated with the press conference. It sounds like a lot of publicity, but so far, not many people know about these two films.

What's the problem? These networks, televisions and magazines are all owned by Shanghai Film Group, which is different from the original planned economy? Under this system, all propaganda is a mere formality. If the publicity adopts a professional publicity company or a classified recruitment system, it will inevitably be greatly improved. On the other hand, China's national conditions are not up to this level at present.

Second, the new movie market rules are not perfect.

This problem is the root of the first two problems. Since China's reform and opening up, there has been a freak phenomenon in the film industry, that is, semi-traditional and semi-open film market rules. Under this rule, the state-owned film studios accustomed to the state paying the bill are largely unreasonable in market orientation and capital grasp. Under this unreasonable development, China films came to a dead end in 1990s. After 2002, under the wave of blockbusters, some rules were relaxed, which brought China movies back to life after several years of development. In 2006, China's film came back to life after a hundred years. System perfection is still the decisive factor for the marketization of China films. If in the process of business transformation, it remains the same as the original big workshop, or just relaxes in business and does not change its concept in system, that kind of freak phenomenon will only be further alienated into a stubborn disease that hinders development.

Third, the serious piracy problem.

Piracy is the achilles heel of almost all industries in China. Especially the popular cinema movies with strong timeliness, if even the box office will be strongly impacted by piracy, then it is not necessary to expect the release of DVD, vcD and soundtrack in the later period. When Hero was released, Zhang Yimou said that he would only compete with piracy for three days. Obviously, such a huge box office will actually be lost. If the film didn't particularly emphasize "visual feast", it should have lost more than half. However, people in China are enjoying the convenience brought by piracy when their copyright awareness is almost blank. Quite a few people think that being able to "see" is a kind of support, no matter the carrier or the form. A few people who have the concept of copyright are unwilling to support originality because of economic and other reasons. Because the quality is almost the same, especially in the case of home audio-visual facilities in China, there is no difference at all. Why not buy pirated products that are much cheaper? Assuming that everyone has a sense of copyright, will the box office situation improve? The answer is no. The high movie ticket price in China is one of the reasons why many people don't want to go to the cinema. However, if the ticket price is lowered, many films that are difficult to recover the cost will take great risks. So now the film market is still in a dilemma.

All kinds of piracy are a headache for producers.

Fourthly, the lagging film grading system.

The delay of grading system can be said to be the second fatal wound of China film industry. As a result, many excellent films with great box office potential cannot be released, or they have been cut beyond recognition before being released. It is conceivable that this will hit the filmmakers and dampen the enthusiasm of the audience to a certain extent. It is precisely for this reason that a film with high humanistic quality like Suzhou Creek can only seek asylum from overseas film festivals. At the same time, vague and ambiguous shots will inevitably lead to the loss of the support of the youth box office-but they happen to be the main force of the cinema box office.

Five, the policy has not really opened.

Although the introduction of the new policy has indeed improved the film industry, these changes can only be counted as adjustments made by the China Film Administration at most. On the fundamental attitude, they are still not open, and they have not given a clear statement on the blueprint for the development of China films.

A very simple example, the State Administration of Radio, Film and Television has promulgated that private individuals can make films independently without being affiliated with a film studio, but these policies cannot be implemented in practical work. Local censors and film studios pose inevitable obstacles. It is no secret in the industry that if it is not reported to the film studio for approval, it is likely that the approval will not pass. You need to pay the affiliated film studio, and the film studio will be assigned to the film review unit. However, unsuspecting film lovers think that China's film policy has changed.