Detailed information on the traditional culture of the Chinese people, the more detailed the better

The Development of Chinese Culture

I. The Birth of Chinese Literary Thought--Pan-Literary Era (Spring and Autumn Period and Warring States Period)

1. Representative Figures: Confucius (Confucianism), Lao Tzu (Taoism), Mozi (Ink), Han Fei Zi (Law)

2. Main Characteristics: Pluralism, Originality, Synthesis

2. Transition from broad to narrow literature - the era of scripture (the two Han dynasties)

Exclusive Confucianism, striking out the others, with the Confucian classics as the only model, only the interpretation of the classics, the emperor holds the power of interpretation, without development, to serve the rulers. Dong Zhongshu's initiative was implemented by Emperor Wu of the Han Dynasty.

Third, the independence and molding of Chinese literary thought - the era of aesthetic self-consciousness in literature (Wei, Jin, and North and South Dynasties)

1. Representative figures: Cao Pi, Lu Ji, Liu Innocenti, Zhong Rong, and so on.

2. Main features: the creation of metaphysics. To go to the cumbersome scriptures, heavy abstraction of the debate.

Four, the prosperity of Chinese literary thought - the peak of culture and literature (Sui, Tang and Song)

1, representative of: Han Yu, Liu Zongyuan, Du Fu, Su Shi, Cheng Hao, Cheng Yi, Zhu Xi and so on.

2, the main features: the heyday of poetry and prose, the creation of Song science.

Fifth, the ancient Chinese literary thought of the turn - the great change of style (Yuan, Ming, Qing before the middle)

1, representative characters: Guan Hanqing, Yuan Hongdao, Jin Shengxuan, Wang Yangming, Cao Xueqin and so on.

2. Main features: the turning point, the great change in literary style, the rise of narrative, drama, vernacular, from upper-class literature to popular literature. Ming Xinxin was founded. The four great masterpieces were born.

Sixth, the new wave of ancient Chinese literary thought - ideological transformation (late Qing Dynasty to May 4)

1, representative figures: Liang Qichao, Wang Guowei, Luxun, Hu Shi and so on.

2. Main features: the enlightenment of new culture.

7. The Beginning of Modern Chinese Literature - New Culture Movement (May 4 to 1949)

1. Representative figures: Chen Duxiu, Li Dazhao, Mao Zedong.

2. The combination of Marxism-Leninism and the Chinese Revolution, the beginning of modern culture.

VIII. The Unification of Modern Chinese Literature - Mao Zedong Thought (1949-1978)

1, Representative figure: Mao Zedong.

2. Main features: In the critical inheritance of traditional Chinese culture and Marxist-Leninist thought, Mao Zedong Thought created a theoretical system that conformed to China's national conditions. It not only guided the Chinese revolution to victory, but also guided the construction of the country in the early years of the founding of the nation.

9. The Revival of Modern Chinese Literature - The Era of Liberal and Practical Literature (1978- )

1. Representative figure: Deng Xiaoping

2. Main features: The revival of Chinese culture began on the basis of great economic development. The guiding ideology is: Comrade Xiaoping inherited and developed Mao Zedong Thought, making it more in line with China's current national conditions, and development is the hard way.

On April 21, Chinese President Hu Jintao delivered a major speech at Yale University in the United States, introducing Chinese civilization.

Chinese civilization is one of the world's ancient civilizations that has remained uninterrupted and developed continuously for more than 5,000 years. The unique cultural traditions of the Chinese people, which have been formed in the course of their long historical development, have y influenced ancient China as well as contemporary China. The emphasis on people-centeredness, keeping pace with the times, social harmony and peaceful development in present-day China is both y rooted in Chinese civilization and reflects the progressive spirit of the times.

-Chinese civilization has always been people-oriented, respecting the dignity and value of human beings. Thousands of years ago, the Chinese people put forward the concepts of "the people are the foundation of the state, the foundation is solid and the state is peaceful" and "between heaven and earth, there is nothing more valuable than the people", emphasizing the need to benefit the people, to enrich the people, to nourish the people, and to benefit the people. Today, we insist on being people-oriented, that is, we must insist that development is for the people, development relies on the people, and the fruits of development are to be enjoyed by the people, paying attention to human values, rights and freedoms, as well as the quality of life, development potential and happiness index of the people, and ultimately realizing the all-round development of human beings. Guaranteeing the people's right to survival and development remains China's top priority. We will vigorously promote economic and social development, guarantee the people's enjoyment of freedom, democracy and human rights in accordance with the law, realize social fairness and justice, and enable the 1.3 billion Chinese people to lead a happy life.

--Chinese civilization has always focused on self-improvement and continuous innovation. "As heaven walks, a gentleman is unceasing in his self-improvement." This is a millennium-old Chinese motto. The Chinese nation has been able to grow and develop in the course of more than 5,000 years of history, and has not been discouraged by setbacks and difficulties, relying on such a spirit of indignation, perseverance and advancement with the times. The enterprising spirit of the Chinese people in the reform and opening up, the enthusiasm for creativity in the construction of the country, and the tenacity and perseverance in overcoming all kinds of difficulties on the way forward are the vivid portrayal of this spirit of continuous self-improvement.

-Chinese civilization has always emphasized social harmony and solidarity. The Chinese people have long put forward the idea of "harmony is precious", the pursuit of harmony between heaven and man, interpersonal harmony, physical and mental harmony, and aspire to an ideal society in which "all people are close to each other, all people are equal, and the world is a common good". Today, China proposes to build a harmonious society, in order to build a society characterized by democracy, the rule of law, fairness and justice, honesty and fraternity, vitality, stability and order, and harmony between human beings and nature, and to achieve the organic unity of the material and the spiritual, of democracy and the rule of law, of fairness and efficiency, and of vitality and order. The Chinese people regard the safeguarding of national unity as their unshirkable duty and the maintenance of national sovereignty and territorial integrity as their supreme mission. All acts conducive to national unity and the unity of the country are sincerely welcomed and embraced by the Chinese people. All actions detrimental to national unity and the unity of the country will be strongly opposed and resisted by the Chinese people.

--Chinese civilization has always paid attention to kindness and good-neighborliness and to living together in harmony. The Chinese people have always been peace-loving. In their foreign relations, the Chinese have always adhered to the spirit of "strength does not rule over weakness" and "wealth does not insult the poor", and have advocated "harmony among all nations". The Chinese advocate "accepting a hundred rivers from all over the world and being tolerant of them", and advocate absorbing the strengths of a hundred schools of thought, as well as the essence of all eight parties. Today, China holds high the banners of peace, development and cooperation, pursues an independent foreign policy of peace and unswervingly follows the path of peaceful development, develops itself by safeguarding world peace, and promotes world peace through its own development. China adheres to the implementation of a mutually beneficial ****-win strategy of opening up to the outside world, and is sincerely willing to cooperate with a wide range of countries, and is sincerely willing to embrace and learn from the strengths of various civilizations, to seek peace through cooperation, to promote development through cooperation, and to push forward the building of a harmonious world of enduring peace and ****-together prosperity.

(I) Low-level supply and demand in China's cultural industry and asymmetric structural contradictions

China's cultural market has seen "considerable development". Since the reform and opening up, especially since the 1990s, on the one hand, the conditions of economic and social life have been improving rapidly, and the people's demand for culture and entertainment is being released rapidly; on the other hand, various new cultural industries have been created constantly, and the structural changes of cultural industries are frequent. However, the existing statistics show that China's cultural industry is still in a low level of supply and demand balance and asymmetric structural contradiction.

In absolute terms, there is no great discrepancy between the cultural consumption needs of Chinese residents and the supply of the cultural industry sector.

In terms of demand, in 2000, China's per capita GDP had reached US$849, and the Engel's coefficient, which reflects the standard of living of urban and rural residents, had dropped to below 50%. The per capita disposable income of urban residents reached 6,280 yuan, and the per capita consumption expenditure was 4,998 yuan, of which the consumption of culture-related tourism, entertainment and consumer durables, education, cultural services, communications and so on was included in the statistics, totaling 949 yuan, accounting for about 19% of the disposable income. Calculated on the basis of China's current urban population of roughly 400 million, the country's current cultural consumption needs of urban residents amount to roughly 379.6 billion yuan. The per capita income of rural residents has reached RMB 2,253 yuan, and the per capita consumption expenditure in the communication and culture, education and entertainment categories has reached RMB 280 yuan, totaling RMB 252 billion yuan. Calculated in this way, China's culture-related consumer demand should be between 600 and 650 billion (631.4 billion yuan).

From the supply side, according to the summary of the relevant statistics, the output value of our cultural industries in recent years (1998 or 1999) into the statistics is about 600 billion (624 billion in 1998), of which 181.29 billion yuan of education, culture and art, and radio, film and television industry (1998), domestic tourism revenue of 283.192 billion, books and magazines 35.5 billion yuan, post and telecommunications and entertainment, books and newspapers 35.5 billion yuan, post and telecommunications and entertainment. newspapers and periodicals 35.5 billion yuan, post and telecommunications is 123.51 billion yuan (1998), audio-visual products 1.27 billion. (Advertising has not yet been taken into account.

The above two figures are roughly in line with the scale of China's cultural market from the two aspects of supply and demand, but can not conclude that the development of China's cultural industry can be satisfactory. A little analysis shows that the current situation of the cultural market is only a low-level balance between supply and demand, not to mention that, due to the existence of various institutional problems, it is still only an asymmetric balance with structural contradictions.

According to international research, when per capita GDP crosses $1000, the proportion of consumer spending on food, clothing and utilities declines significantly, housing remains basically unchanged, and cultural and spiritual consumer spending begins to rise significantly; the tertiary industry should account for about 40% of the total GDP, with the proportion of the output value of cultural products also increasing significantly. China's current per capita GDP is close to 1,000 dollars, but the proportion of the tertiary industry (33.2%) is 6 percentage points below this standard, and its total amount is about 500 billion RMB. Although we can remove the error due to consumption habits and institutional factors, and remove possible spending on non-cultural consumption (such as medical care), the balance should be 300-400 billion RMB.

How should this 300-400 billion RMB gap be interpreted?

One explanation is that China's residents' ability to consume culture has been greatly suppressed, thus restricting the growth of the culture industry. There are many facts to prove this. For example, according to various scattered figures from the cultural industry sector in China, there is a great deal of mismanagement and loss in our movie industry and television industry, with many works published and left unattended, and a serious backlog of inventory; while some works have made sudden profits for unknown reasons. Some statistics show that film production has been going downhill in recent years. in 1992 our country *** produced 170 feature films, the most in the last 10 years, and since then it has been 146 in 1995, 110 in 1996, 88 in 1997, and only 82 in 1998. Where has our supposedly growing audience gone? In recent years, the economic benefits of the traditional cultural and entertainment industries, such as opera houses and dance halls, which have been on fire for a while, have rapidly declined and they have become loss-making industries. These phenomena show that a considerable part of the products provided by our cultural industry sector can not meet the growing and changing cultural consumption needs of the people.

There is also another explanation, that is, our residents have in fact realized a considerable part of the cultural consumption has not been included in the statistics. At present, the audiovisual industry has a recognized market capacity calculation method, that is, according to the residents of the consumption of audio-visual technology equipment owned by the estimated market capacity of audio-visual products. According to this method, China's residents currently own about 350 million TVs, more than 10 million CD players, more than 30 million VCD players, more than 5 million LD disk players, more than 15 million multimedia computers, and so on. If each hardware needs 10 pieces (sets) of new audio-visual products every year, it is believed that the total sales of audio-visual products should be more than 100 billion yuan per year, but according to the statistics of the relevant departments in 1996, China's audio-visual products are only less than 2 billion yuan of genuine income, accounting for 2-3% of the total; according to the statistics of 1999, the genuine income of about 5 billion yuan even though, due to the government's efforts to "crack down on pornography and illegal publications". According to 1999 statistics, the revenue from licensed products amounted to about 5 billion yuan, and even if the licensing rate is increased as a result of the government's intensified efforts to combat pornography and illegal publications, it is believed that the actual market size should also be around 150 billion to 200 billion yuan. The facts in this regard show that the cultural consumption demand of a considerable part of the population is being lost. It is an indisputable fact that there is a huge structural gap between supply and demand in our cultural market.

The huge gap between supply and demand in the cultural market has become a hidden worry for the national cultural and economic security issues. At present, China's residents personal financial assets have reached about 9 trillion yuan, bank deposits of about 7 trillion yuan, with the gradual introduction of China's various reform measures in housing, pension, medical care and education, people's consumption demand for culture, education and entertainment will be further released. This is a huge market space, and has even formed a vacuum that cannot be filled by China's cultural industry at present. After joining the WTO, foreign cultural industry groups may enter in force with the multiple advantages of technology and content, and rapidly occupy the cultural market in China, and the policy of "limited openness" of the cultural market may be severely challenged in a short period of time under the action of market laws.

In recent years, people frequently see such figures: the annual output value of the cultural industry in the United Kingdom is nearly 60 billion pounds, and the number of employees accounts for about 5% of the total number of people employed; the annual output value of Japan's entertainment industry exceeded the annual output value of the automobile industry as early as 1993; the United States has a more developed cultural industry, and its audio-visual exports have become the first major export products, and occupy a 40% or more share in the international market. More than 40% share in the international market. According to media reports, our government has begun to consider allowing some internationally renowned media groups to enter our media market. This is a significant signal that the process of internationalization of the cultural industry may be unexpectedly accelerated, China's cultural market has been exposed to the strong pressure of international cultural capital, and the economic and cultural fruits accumulated in China's reform and opening up for more than 20 years have become the coveted target of international cultural capital.

(2) China's cultural industry has many business units, but the degree of intensive industrial organization is not high

In the face of the huge market demand, and the international media and cultural groups, China's cultural industry in general lacks of competitiveness, and it is difficult to satisfy the people's ever-growing cultural needs, which is enough to make us worry. China's traditional cultural industry was born under the planned system, and has long been divided by the administrative system and protected by various policies. The overall pattern formed under this circumstance shows the prominent features of numerous business units, low degree of industrial intensification, extreme dispersion of resources and lack of economic efficiency. In today's rapidly forming cultural market, all of these features are transformed into weaknesses.

In terms of staff size, just take the cultural industry organizations under the Ministry of Culture as an example. As of 1999, China's Ministry of Culture under the enterprises and institutions *** 337,700, here including art performance groups, theaters, libraries, group art museums and cultural relics protection units, employing *** 1,661,500 people; that year, the number of domestic performances was 423,000; domestic audience of 469 million people. The cultural and entertainment industry has 174,700 establishments and 903,000 people; the cultural market has 97,000 other business establishments and 230,000 people. These units are characterized by the majority of small institutions, such as the Ministry of Culture under each unit on average only about 5 people.

From the scale of operation, the audio-visual industry is a typical example. China's audio-visual production, reproduction units nearly 600, the annual production of genuine audio-visual products (cassette tapes, VCDs, CDs and DVDs) 20,000 kinds of about 200 million pieces (disks), an average of 340,000 pieces of annual production per enterprise, the monthly production of less than 30,000; and the sale of units of about 70,000, the annual sales of all the genuine audio-visual products 200 million pieces, on average, each point of sale a year, but to sell 3,000 pieces of the average day is not enough! The daily average is even less than 10 pieces. Book wholesale and retail industry is another example. 1999, the Ministry of Culture under the book wholesale and retail organizations have 13,056, 23,000 people, business income of only 545 million yuan, per capita 23,000 yuan or so, the daily turnover of 60 yuan.

The problem of resource fragmentation and low degree of intensification in the press and publication, broadcasting and film industry is extremely full of performance. China's press and publication system and the traditional industrial economic management system has *** with the same characteristics: the press and publication units must be a certain level of administrative agencies for the "parent unit", and built on the basis of its financial allocations. Once formed, these press and publishing establishments are entrenched and can neither be eliminated nor reorganized; new needs generally arise from new administrative bodies, established through new appropriations, which are also inherently inadequate. In the long run, the press and publishing organizations swelled along with the administrative bodies. Most of these press and publishing organizations are small in size, duplicative and inefficient, failing to meet the spiritual and cultural needs of the people and resulting in idle and wasted resources. In the past 20 years, especially in the past 10 years, all parties concerned have been trying to reform the cultural management system in many aspects of the experiment, but the basic situation has not fundamentally changed.

According to the statistics of 1999, there are 2038 kinds of newspapers, 8178 kinds of periodicals, more than 500 publishing houses, and more than 3000 radio and television stations in China. This is a huge and valuable cultural resource accumulated over decades. In the all-round opening pattern is basically formed today, if we do not quickly integrate and optimize it, change its business model, enhance its competitive strength, will inevitably become the target of international media giants.

(3) China's cultural industry, the traditional resource allocation mechanism and market-oriented requirements are forming a sharp contradiction between.

In recent years, China's cultural industry system reform began to enter the "fast lane". In 1998, China's government departments are no longer directly run magazines and newspapers, quit the publishing business field, cut off the press and publishing units and the traditional dependence of various government agencies; more than 2000 newspapers and more than 8,000 publications were "forced" on the industrialization of the operation of the track. 1999, began the formation of the media group and the multi-media cultural industry group; in 2000, the "media concept" red stock market, began to try the media group and the capital market, the media group and the capital market. In 2000, the "media concept" became popular in the stock market, and attempts were made to combine media groups with the capital market. The systematic reform of the cultural industry has pushed forward the wave of the back, from the sub-sector, local reform, and gradually entered the stage of holistic reform.

However, the confusion of the resource allocation mechanism, the contradiction between the compartmentalization and industry barriers and the requirement of marketization still plague the development of China's cultural industry.

The cultural industry is based on the market, and the modern market economy requires open, fair and equitable competition, and opposes all forms of local protection and monopoly; China's traditional cultural institutions are set up according to the way of "block and block" (local and industry a vertical and horizontal) division, and at present, although it has been started to varying degrees of decoupling from the administrative department, the implementation of "professional management", but, from the real market competition there is still a considerable distance between the market and the market. There is still a considerable distance from real market competition. There are even some enterprises that make use of the traditional connection with the administrative institutions, take advantage of the special social public welfare nature and ideological function of the enterprises, monopolize resources, manipulate the market, and seek exorbitant profits; while some other cultural enterprises, after getting bigger, want to do cross-industry and cross-region asset reorganization or even mergers, but often encounter resistance. In the situation of accession to the WTO, in the international "media convergence" under the influence of the trend, some radio and television, newspapers and magazines, publishing enterprises in the coordination of local governments set up a group of companies to achieve a "strong combination" and "asset reorganization" and even engaged in local cross-industry, cross-media operations. This is of course a kind of progress. But we also note that the "media convergence" in the West is a market trend, in China is mainly dependent on government administrative means, how to combine structural adjustment and institutional transformation, is still a problem.

In this way, the development of the cultural industry meets the issue of deep-rooted reforms: the cultural industry is a special industry, with both general industry attributes and social welfare nature. The core industry categories such as the media industry have the characteristics of mass media and are the propaganda channels of the party and the state. How to make institutional arrangements based on these characteristics, not only in accordance with the general laws of the market economy and healthy development, but also to ensure that the leading role of advanced culture, this is a completely new issue, we need to boldly open up in the spirit of innovation.

However, guaranteeing the cultural rights of the masses is a more fundamental issue, and is the basis for the Party and the state to ensure the leadership of the socialist cultural cause. It should be noted that, under the situation of joining the WTO and deepening the reform, and under the impact of digital information technology, the economic and technological basis of the traditional media system has changed, and the way of realizing the cultural rights of the masses of the people has also changed: more and more from the non-autonomous way intermediated by the state's administrative mechanism to the independent way of choosing to use the market as an intermediary. This requires us to actively explore new ways of utilizing our traditional political strengths under conditions of market competition. We should therefore pay particular attention to studying new systems for regulating the development of the cultural market, new mechanisms for guiding the circulation of spiritual products, and new forms of organization for active cultural production. Only in this way can we truly promote the development of culture.

Of course, we can also see that after the global "media convergence" and "deregulation", due to the uneven development of the cultural content industry, even the western developed countries are reconsidering how to deal with the issue of the cultural content industry with a new industrial policy and new institutional arrangements. Protecting national cultural heritage, promoting national cultural traditions, and ensuring national cultural security have become the *** same strategic themes for all countries in the world in the face of globalization, and there will be a lot of experience for us to learn from. What our policy makers need to do is to look forward, not backward.

(4) A strategic contradiction is formed between the advanced requirements for the development of China's cultural industry and the lack of cultural originality, and the potential of resources can't be transformed into the strength of the industry

The development of China's cultural industry is still blessed with some unique conditions. First of all, Chinese culture has a great influence, the world's largest population using Chinese language, China's long history and culture in addition to the Chinese territory, but also in Southeast Asia, North America and Europe's Chinese area has a wide range of influence. This should be said to be the most favorable conditions for Chinese cultural enterprises to develop their markets, because language and cultural differences have always been regarded as the biggest negative factor in economic globalization and international communication. In the monopolistic competition theory of economics, maintaining product differences is considered to be the key to maintaining the monopoly power of a product in the market. Differences in cultural products come first and foremost from the uniqueness of values and means of expression; cultural differences are also comparative advantages that we can rely on in international competition and in catching up with developed countries.

From the perspective of factors of production, China's cultural resources are exceptionally rich and recognized worldwide. Over thousands of years of civilization and even longer, there are many historical and cultural sites and relics, as well as various types of natural and human geographic landscapes remaining on the vast territory; libraries and museums have millions of art treasures, books and cultural relics; Chinese people's speech and mannerisms, customs and festivals retain a large number of tangible and intangible cultural symbols; Chinese scholars in the humanities and social sciences have made a lot of efforts to improve traditional culture, and to develop the Chinese cultural heritage. Chinese scholars in the humanities and social sciences have continuously researched and disseminated traditional culture. All of this provides an inexhaustible source of inspiration for the design, production and innovation of Chinese cultural products and other durable consumer goods that can be loaded with cultural symbols.

But to be satisfied with just that is clearly behind the times. In today's world, culture has a native form, economic form and technological form, the emerging cultural industry thanks to the capital market and information technology two carriages pulling, there is an unheard of high speed, only a large number of cultural resources into industry and wealth. Our country is precisely in the above two aspects are passive and sluggish.

For example, cultural tourism is an important way to turn the potential of national cultural resources into industrial strength, and tourism is still the sector with the highest degree of industrialization among the various categories of China's cultural industry, but successful cases of transforming cultural heritage into industry in this field have been extremely rare so far. From the disastrous "man-made landscape fever" across the country many years ago to the many debates in recent years among the relevant departments on whether the ownership and management of cultural heritage can be separated and how to introduce market mechanisms, many issues have not yet been thoroughly discussed and transformed into reasonable policies and regulations. Facts have already proved that theme parks built out of thin air will never have credibility, while the sloppy utilization of cultural heritage is tantamount to destruction, and the right path should obviously lie between the two. However, in how the protection of cultural heritage and the development of organic combination, to achieve both the protection of cultural heritage, but also to promote the cultural tourism, we have not been able to have a clearer approach, and therefore missed many opportunities for development.

The digitization of cultural heritage is a key link in transforming national cultural resources into a new industrial base. At present, the "cultural content revolution" is being carried out worldwide. In 1992, UNESCO began to promote the "Memory of the World" project, which aims to promote the digitization of cultural heritage around the world for permanent preservation and maximize equitable public access. In 1999, at the initiative of Finland, EU countries started a multinational framework cooperation project called "Content Creation Initiative", in which the digitization of cultural heritage was identified as a fundamental element. The digitization process of cultural resources in China can be said to be not too late due to the launch of the National Digital Library Project (1996), but until now, there is no national development strategy, and it has not been upgraded to a basic project for the construction of the national cultural industry, which can not be said to be a deep crisis in the development of China's cultural industry.

The transfer to digital media is a necessary step to develop traditional cultural resources into economic resources, which is essentially to prepare the conditions for industrial integration on an unprecedented scale with great economic significance. International information technology groups and cultural media groups have long begun to integrate the world's digital cultural resources, in preparation for the development of a new world market; China's cultural resources are related to the possession of China's cultural products market, this market is also for them to look forward to for a long time. 1999, the U.S. blockbuster "Mulan" has already sounded an alarm: China's cultural resources have been transformed into cultural products by the hands of international media capital, and become China's cultural industry. For cultural products, China's cultural industry has become a strong competitor; May Day 2000, China experienced the first "holiday economy" peak, Dunhuang cave murals in a large number of tourists visiting the pressure of "overload", the United States Foundation began to negotiate with me "digital virtual cave" program; the same year, Japan's information technology companies to speed up the Palace Museum and China's National Palace Museum on the establishment of a digital multimedia The same year, Japanese information technology companies accelerated the negotiation process with the National Palace Museum on the establishment of a digital multimedia online Palace Museum. These two things show that the developed countries have taken advantage of both economic and technological advantages, began to seek a new round of development of China's cultural resources, this trend deserves our attention.

(5) The contradiction between WTO regulation and the existing policy support system of China's cultural industry

The WTO is a kind of legal system and policy system, and many agreements and protocols formed by the WTO are widely related to various fields of cultural industry, and the regulations and rules about cultural industry mainly include the basic rules of trade in services and intellectual property rights protection of the WTO, i.e. General Agreement on Trade in Services (GATS), Trade-Related Aspects of Trade in Services (TRIPS) and General Agreement on Trade in Services (GATS). General Agreement on Trade in Services (GATS) and Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS). Therefore, its basic principles naturally become the textual basis for member governments to formulate and implement domestic cultural trade policies, which inevitably bring institutional, legal and policy impacts to the cultural management system and cultural industry policy support system of this country.

China has been carrying out cultural system reforms since the 1980s, and started to establish the reform goal of the socialist market economy system in the 1990s. So far, it has initially established a cultural industry policy system constructed by a series of administrative rules and regulations, and a cultural management mechanism established by this system, including: Regulations on the Administration of Places of Cultural and Entertainment, Regulations on the Administration of the Performing Arts Market, Regulations on the Administration of Films, Regulations on the Administration of the Film Market, Regulations on the Administration of the Cultural and Entertainment Market, and Regulations on the Administration of the Film Market.

However, the problem is that the existing textual system of cultural industry policies is basically formulated and formed in the process of two institutional transformations, and is not the rules of the game for joining the WTO, or according to the WTO principles, and therefore, to a large extent, it carries the traces of the planned system, which has led to the contradiction between the purposefulness of the existing policies and the WTO's requirements on China's cultural industry policies. At the same time, since the existing cultural management and cultural industry policies in different fields of China are mainly formulated by different administrative departments of the government and issued in the name of the government, the interests of the industries and sectors are more strongly protected. In this way, the due public ****ness, impartiality and fairness in the value stipulation, function and authoritative distribution of the government's cultural resources to the society in the whole policy are relatively poor. And all of these are with the WTO trade liberalization principles, the principle of transparency, the principle of market access and so on there is a clear inconsistency and inherent conflict of rules.

China's government is gradually increasing its efforts to reform the cultural management system, and the revision and promulgation of the Copyright Law of the People's Republic of China has already done a lot of work in the regulatory interface between domestic and international law. However, as these measures have not fundamentally solved some fundamental problems in the system and institutions for the development of China's cultural industry, such as administrative monopoly, market access, diversification of investment bodies, and reform of property rights relationship of cultural enterprises, the old conflicts have not only not been eliminated, but also further provoked new conflicts. At the same time, because the original cultural policy system has not lost its policy effectiveness as a result of institutional reforms and the merger of cultural administrative departments, there is also the phenomenon of new institutions implementing old policies and "bottling old wine in new bottles". In some places and areas, the cultural administrative power in the name of resource reorganization and optimization of the allocation of an unprecedented high degree of concentration, this high degree of concentration of power, so that from the planned economy to the market economy in the process of transition to the formulation of the cultural industry policy not only did not lose the original institutional basis, but also gained new support.

China's cultural industry management department has put forward the idea of "big culture management", but due to the lack of policy system innovation support, the expected reform effect has not appeared, so the government is also difficult to realize the strategic change from "running culture" to "managing culture". For China, the key to successfully enter the WTO is to realize the organic linkage of system innovation and policy system innovation. If the overall innovation cannot be realized at the level of system and policy, the development prospect of China's cultural industry in the 21st century may not be so optimistic.

The cultural industry is a special industry, and it is still in the process of development and transformation, therefore, the fundamental problem is still institutional. The base point of any country's industrial policy is two, that is, market-based and policy-oriented, not to mention that China's cultural industry is surviving and growing in a more special environment. In a certain sense, our understanding of the cultural market and cultural industry today, as well as the rationality of the cultural industry policy formulated accordingly, will affect the development of China's cultural industry in the future for quite a long period of time, and will further affect the adjustment and upgrading of the industrial structure of China's entire economy. The development of cultural industry has become a **** knowledge, but a truly reasonable industrial policy development process has only begun.