Areas involved in the cultural industry in the country

The scope of cultural industry is as follows: 1. The activities of providing the public with entertainment products in physical form of cultural products, such as the publication, production and distribution of books and newspapers, etc. 2. The provision of cultural services and entertainment services that can be participated in and chosen by the public, such as broadcasting and television services, cinema services, and cultural and artistic performance services, etc. 3. The provision of services such as cultural management and research, such as the protection of cultural relics and cultural heritages, library services, activities of cultural social organizations, etc. 4. Production and sales activities of equipment and materials necessary for the provision of cultural and recreational products, such as production and management activities of printing equipment, stationery, etc. 5. Production and sales activities of equipment and supplies necessary for the provision of cultural and recreational services, such as production and management activities of broadcasting and television equipment, cinema equipment, etc. 6. Other activities related to culture and recreation, such as arts and crafts, design and other activities. Definition of Cultural Industry Since cultural industry is a relatively new concept, there are different opinions on what cultural industry is. The joint investigation group on cultural industry formed by the National Committee of the Chinese People's Political Consultative Conference (CPPCC) and the Ministry of Culture made a field visit to some provinces and cities in China in 2001, and on the basis of summarizing the practice of each province, it is believed that the cultural industry refers to the business industry engaged in the production of cultural products and the provision of cultural services. The cultural industry is an important part of cultural construction, and the cultural industry and public welfare undertakings **** together constitute the content of cultural construction. Cultural industries mainly include the fields of culture and art, cultural publishing, broadcasting, film and television, cultural tourism and so on. I think this definition is more in line with reality, and also basically coincides with the exploration of international economics. The division of culture into cultural undertakings and cultural industries is the **** knowledge of the international and domestic academic and political circles. But for the distinction between the two, there is still a lack of in-depth discussion in the academic circles, some academic papers, news reports, government documents and speeches of leaders, the distinction between the two is not very strict, there are a lot of cross-over places, some cultures are categorized into the category of cultural undertakings, and also categorized into the category of cultural industries. There is a development process of the concept of cultural industry, which can be roughly divided into three stages, the first stage is known as the cultural industry criticized by Frankfurt School, at that time, the European intellectual circles called American culture "cultural industry", taking a severe critical attitude. In the second stage, marked by the Time Warner merger in 1990, the United States began to implement a policy of "deregulation" of all kinds of media, which led to the emergence of a trend towards large-scale consolidation of mega cultural industry organizations such as Time Warner and its entry into the international market. This made some European countries, such as France, feel threatened culturally, and they therefore proposed cultural industries as a national response strategy. The third stage, which has been discussed more recently, is that under the economic globalization, especially the new economic development trend led by the United States, countries all over the world have turned the cultural development strategy into a national development strategy. Cultural development and the development of cultural industry as a national development strategy are beginning to be recognized by countries all over the world, at least those countries that have decided to join the world economic system. We can take the creation and production of cultural meaning as the basic definition of cultural industry, and according to the different aspects of such production, we can differentiate them into "the creation and sale of cultural meaning", "the creation and sale of loaded cultural meaning", "the creation and sale of loaded cultural meaning", "the creation and sale of loaded cultural meaning", and "the creation of cultural meaning". According to the different aspects of this production, we can distinguish between "the creation and sale of cultural meanings", "the reproduction and dissemination of products loaded with cultural meanings", and "the giving of a cultural label to all production activities and products". When the last of these definitions appears in social life, a major development trend emerges: globalization driven by the knowledge-based economy has entered a "post-industrial era" in which immaterial, symbolic exchange and consumption have become the quintessential growth sphere that transcends the nation-state, and in which cultural competition has become the main area of comprehensive national power competition. Cultural competition has become a major area of competition for comprehensive national power. The above concepts have their counterparts in the stages of historical development and, in the context of the uneven economic development of the modern world, in the countries. The first concept is the most traditional and can be attributed to countries such as ours, which still use the term "cultural and artistic institutions" to refer to cultural industries. The second concept is a product of the industrial society, especially formed in this century, and is proposed as a market protection measure in the countries where market economy is generally practiced, due to the difference in the level of development of cultural industries. This is how the cultural industry policy of European countries came into being. The third concept is actually close to the dissolution of the concept of cultural industries, and the countries that advocate this concept of cultural industries actually mean that their "cultural industries" have become the mainstay of the "knowledge-based economy" and occupy a dominant position on the international market. The United States does not need to discuss the issue of cultural industries. In the United States, there is no need to discuss the issue of cultural industries, because the American cultural and media giant is already unrivaled. The concept of "cultural industry" essentially serves the implementation of national "industrial policy", and the concept of "cultural industry" essentially implies the need to support the development and transformation of a country's cultural industry in an extraordinary way with the help of national policy. The concept of "cultural industry" cannot be put forward without realizing this meaning. The triple definition of the cultural industry as the basic trend of industrial development has in a sense shown that the development of the world economy has gone through a process in which culture and industry are constantly approaching each other to the point of overlapping or fusion. This shows that the development of cultural industry and the conscious adoption of corresponding policies to synchronize cultural development with national economic construction have become a trend and a general trend, which cannot be avoided and has to be done. Specifically, the international industrial development has shown the following basic trends: 1. Service-oriented traditional industries: the usual description of industrial development is the so-called "the first industry, the second industry, the third industry", the degree of economic modernization with the "third industry". The degree of economic modernization is expressed by the degree of development of the "third industry", i.e. the degree of development of the service industry. At present, in the world's most developed countries, 80% of GDP already comes from the service industry, which plays a dominant role in the traditional manufacturing industry. An analysis of the difference between the economic development of the United States and Japan over the past decade (see Reference News, April 10, 2000) suggests that the reason for the difference between the U.S. economy and Japan's economy in recent years lies in the extent of the development of the service economy; 2. The intellectualization of the service industry: The extent of economic development in the most developed countries lies not only in the proportion of the total amount of the service economy but also in the changes in the nature of the service economy itself, which is based on the fact that knowledge-based service industries are increasingly dominant. Among the countries with equally developed service economies, the difference between the United States and other countries (e.g. European countries) lies in the fact that the service economy of the United States is increasingly characterized by the "new economy", and the knowledge-based information service industry has become the driving force of the United States economy. In particular, the "network economy", represented by "e-commerce", has played a major role. The United States Department of Commerce estimates that e-commerce has affected 30 per cent of the gross domestic product (GDP). (See Reference News, April 7, 2000); 3. The human culture of the knowledge industry, further analyzed, in the most developed countries represented by the United States, the trend of human culture has become more and more obvious in the "knowledge-based information service industry" which plays a major role in promoting the economic growth of these countries. As a result, the modern culture industry is becoming the mainstay of knowledge-based services. For example. In the United States, the culture and entertainment industry (such as film and television and audio-visual) has become the largest export industry, and in the country has also become more and more to enhance and cover the super industry sectors of the national economy industry sectors. 4, the network of culture industry, the cultural industry itself, with the technology base more and more to multimedia digital technology, the economic base more and more to the network economy (the modern risk capital market), it is more and more Beyond the traditional cultural industry, it becomes the force that has dominant influence on the traditional industry and plays a vital role in changing the overall face of the economy. Therefore, the service-oriented traditional economy, the knowledge-oriented service economy, the humanistic knowledge economy, and the network-oriented culture industry constitute the basic direction of international industrial development. The future "new economy" is the "knowledge economy of human culture". The significant impact of contemporary cultural industry on China's national economy International industrial development has its own inherent logical sequence, but there are two other increasingly prominent features of this stage-by-stage development process, namely, "spatial logical superposition" and "temporal acceleration". The first characteristic refers to the fact that, due to the increasing globalization of the economy, in a country in particular, it is often the case that the previous stage of development has not been fully completed, and then the next stage of development is "superimposed" on it, and the necessity of the previous stage of development is reduced, and then there is a reorganization of the logical relations of economic development in accordance with the needs of the next stage of historical development. (for example, after the emergence of the Internet, the importance of newspapers and magazines as well as radio, cinema and television declined); the latter feature means that new technologies are invented and disseminated more and more rapidly, so that in the context of economic globalization, the more late-developing countries are able to use the latest technological achievements directly, which leads to faster and faster upgrading of their industries and faster economic development (in terms of the need to invest in traditional industries in accordance with the original scale). The faster the economic development (in the sense that there is no need to invest in traditional industries on the original scale). As a result, there is a possibility that in the era of knowledge economy, economically latecomer countries may, through the adjustment of industrial policy, be more and more on the same starting point as advanced countries. This could be one of the reasons for the "latecomer's advantage" theory. Under this viewpoint, we should re-understand the significance of the cultural development strategy in a "late-modernized country" like ours, and arrange our limited socio-economic resources. From the above point of view, China's economic management should reverse some of the traditional understanding of the guiding ideology: 1. We should change the traditional concept that "China is a resource-poor country". Because only from the point of view of natural resources, China is a per capita possession of resources is extremely poor country, but from the point of view of human resources, we have 5000 years of uninterrupted development of civilization, and its rich cultural relics and very distinctive cultural customs, these cultural resources will be more and more with the value of economic development. China is a unique resource country in the world. Taking the tourism industry as an example, China's historical and cultural monuments are increasingly becoming international tourist attractions, and their potential value is incalculable. In the era of "new economy", China will once again be qualified to become a "big resource country". 2. We should change the traditional concept of evaluating China's economic development level purely from the perspective of "material production". The traditional concept of evaluating China's economic development level solely from the perspective of "material production" should be changed. Because only from the point of view of the total amount of material products has been unable to assess the level of economic development of a country. For some traditional industries (especially those with overcapacity), the future development should be redesigned from the viewpoint of "downstreaming", while for those high-tech industries that represent the direction of development, they should be gradually transformed to be valued by taking the cultural content as the main body of their value. For example, in the traditional communications industry, open "access" and "services" will increasingly replace the means of service and become the biggest growth point of the industry's development. Finally, the perception of cultural creation, dissemination and reception activities as "unproductive" should be changed. As many industries will rely more and more on cultural symbols to produce added value for them, cultural activities from creation, production, dissemination to acceptance will already have an increasing economic value, and their "career" nature, which depends on state support, will become increasingly diluted. The state no longer needs to restrict it through financial allocations and the management of "public institutions". At this point in time, if there is still a need for the State to play an active role, it should be in the form of an "industrial policy", that is to say, in order to encourage individuals and organizations engaged in cultural work to link up with the market as soon as possible. In other words, a "blood-forming mechanism" should be formed, rather than continuing to "transfuse blood". After realizing the change of thinking, we will see that the cultural industry will have a great impact on our national economy: first of all, the cultural industry will produce added value for a large number of industries. Although the level of our country's economic development is still not high, the development of industry is still in the stage of developing from the primary industry to the secondary industry, and the trend of developing from the secondary industry to the tertiary industry has only just appeared, but many people have already seen that our country's cultural industry is rapidly integrating with a large number of traditional industries, and this integration has produced a great enhancement effect on the traditional industries, so as to make their value rapidly increase. For example: China's clothing design industry is on the rise, will improve the product grade and popularity of the traditional clothing industry, for the traditional clothing industry to produce huge added value. There is also the advertising industry, tourism and so on, culture is its vitality. Recently, the rapid combination of traditional industries and the "new economy" network industry has opened up a broader field for the combination of cultural industries and traditional industries. In recent years, the price competition of durable household electronic consumer goods in China has become more and more intense, and it seems that "subtracting" has become the only magic weapon to gain the survival advantage. In fact, how we really carefully consider the needs of consumers, consider the pursuit of modern life and feelings, we can be completely humanistic design and technological innovation to gain a competitive advantage, in this regard there is actually a lot of room for development. The important role of the cultural symbols representing oriental culture for the national economic growth of the "late modernization" countries like ours is becoming more and more obvious. Secondly, the cultural industry will transform the value of some industries. According to our research, the development of knowledge economy makes the "high-tech" industry more and more unable to develop independently, and it becomes a marriage of "high-tech" and "high culture". Cultural industries are becoming the "content" of high-tech industries, while high-tech industries are becoming the "carrier" of these cultural industries. Obviously, in this development trend, the culture industry is becoming more and more the main body of value. For example, the U.S. industry division standard has changed the definition of information industry from "information carrier" (hardware production) to "information content", such as press and publication, radio and television broadcasting, infotainment products, and this change has changed the information industry into cultural industry. In recent years, the development of China's communications industry has been the subject of many debates, about the "initial installation fee", "telephone charges" and so on topics have aroused a lot of discussion. Excessive charges in the telecommunications industry have obviously become a bottleneck in the development of China's network economy. In fact, this involves the problem of recognizing the value of the main body of the communication industry. From the international development trend, the communication industry's profit area with the rapid increase in bandwidth will increasingly turn to "proliferation of services", that is, information and cultural content services. Europeans have already put forward the viewpoint of "the second stage of development of the information society", believing that at this stage of development, there will be a "content revolution", and the provision of information and cultural content will determine the life and death of companies operating media means. If China's communications industry does not pay attention to this development trend, it will lose the best development opportunities when it joins the WTO and faces international competition. No one would think that the construction of a department store should recover its capital by charging admission fees, so why do some people take it for granted that they should recover their investment in the communications industry by charging "phone bills" and "Internet fees"? Finally, to create a new type of cultural industry "business form", after the reorganization of traditional industries will form some new cultural industry categories and employment opportunities. China's cultural industry is still very small, the overall "transformation" of the industry is still in progress, but, in fact, a variety of new cultural industry categories have been created, for our society in transition to provide a large number of new employment opportunities. The specific manifestation is that after realizing the marriage of high technology and high culture, it transforms itself into "cultural service industry", and penetrates into all other industries in the form of cultural service industry. For example, infotainment industry provides personalized entertainment service; for example, network service industry provides personal information service; for example, education service industry provides education and training service; for example, consulting service industry provides personalized solutions for enterprises and individuals, and so on; according to the above analysis, the influence of contemporary culture industry on the national economy will be gradual and deep until it plays the role of comprehensive domination. The contribution of the cultural industry to the growth of the national economy should be completely re-conceptualized. Characteristics of modern international cultural industry organization The great influence of cultural industry is concentrated in the development of international cultural industry organization. According to our research, the development of international cultural industry organizations has shown some brand-new features, which are worth studying and learning from: 1. Modern international cultural industry organizations have been built on the basis of "digital" technology, which can realize costless reproduction and dissemination, personalized and interactive service, multimedia interface, virtual reality, life penetration, etc. The modern international cultural industry organization has the characteristic of "economy of scale". Large-scale international multinational cultural media giants invest heavily in the production of cultural products, and achieve high output and high profit through international sales network; 3. Modern international cultural industry organization has the characteristic of "economy of scope". The large-scale international culture and media giants carry out cross-industry and multi-faceted operation, cross-industry and ultra-competitive combinations in order to realize the profit of scope economy, etc.; 4. The modern international culture and media giants have the characteristic of "network economy". Large-scale internationalized culture and media giants make use of the financial leverage of network economy and modern capital market to realize low-cost expansion and fast integration, and comprehensive transformation of traditional culture industry. (For example, the merger of Time Warner and America Online.) The characteristics of network economy of modern international cultural industry organizations deserve our attention. Some people summarize the development of network economy into three stages: the attention economy stage, the content economy stage, and the e-commerce stage. This can be roughly viewed as three stages: attracting investment, integrating resources, and forming a market. After these three stages, the whole process of economic transformation is completed, and the network economy (new economy), with the help of the risk capital market as a modern financial lever, crosses the economic transformation that used to take decades to complete. In this process, the cultural industry quickly surfaced and came to the forefront. During the transition from a pre-market economy to a market economy, the primitive accumulation of capital used to utilize the leverage of the state's administrative power to complete the transformation of the entire economy. This was manifested in the expansion of state credit, the waging of foreign wars, the use of bulk ordering of war materials, the nourishment of large capitalist enterprises, and the complete elimination of craft guilds. The transformation of the "new economy", which utilized the capital markets and the financial instruments that were created, was accomplished rapidly and in a short period of time, and its basic characteristics are the same.