Handbook of Cultural and Creative Industries in China
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Handbook of Cultural and Creative Industries in China

Edited by Michael Keane

China is at the crux of reforming, professionalising, and internationalising its cultural and creative industries. These industries are at the forefront of China’s move towards the status of a developed country. In this comprehensive Handbook, international experts including leading Mainland scholars examine the background to China’s cultural and creative industries as well as the challenges ahead. The chapters represent the cutting-edge of scholarship, setting out the future directions of culture, creativity and innovation in China. Combining interdisciplinary approaches with contemporary social and economic theory, the contributors examine developments in art, cultural tourism, urbanism, digital media, e-commerce, fashion and architectural design, publishing, film, television, animation, documentary, music and festivals.
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Chapter 2: Doing Chinese cultural industries: a reflection on the Blue Book syndrome and remedy paradigm

Zitong Qiu


Few buzzwords in China today can compete with the cultural industries (wenhua chanye). The theme of many government-subsidized research projects, the cultural industries appear in the speeches of government officials and shape cultural policy and regulations at both central and local government levels. Often viewed as a ‘sunrise industry’ (zhaoyang chanye), the cultural industries have ignited public desire and passion for the revival of a ‘strong cultural China’ (wenhua qiangguo) riding on the back of national economic resurgence over the past three decades. More significantly, the discourse of wenhua chanye has transformed the humanities in Chinese universities since 2000, the year that witnessed its official elevation to a national development slogan at the Fifth Plenum of the 15th Chinese Communist Party’s Central Committee. Higher education institutions subsequently initiated ‘cultural industries’ majors at undergraduate level and research was conducted at postgraduate and doctoral levels. From 2001 onwards a steady stream of ‘Blue Books’ (lanpi shu) appeared – mostly development reports commissioned by editorial panels made up of industry practitioners and professionals, academics, and cultural industry-related officials.

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