Cultural and creative industries to study economic era of new technology
|Keywords||Cultural creative industry Cultural industry New Economy of Arts and Crafts Contract theory Industrial development|
In this dissertation, cultural creative industry is defined as "a set of enterprises produce, copy and communicate goods and services cored with cultural contents by individual creative process and special organizational modes on a base of modern technology and cultural materials". In the perspective of technology-culture development, cultural creative industry is a new stage of cultural industry in an era of New Economy of Arts and Crafts which means that a economic mode that the value of goods and services produced through both cultural and technologic devotion weigh a large proportion of a economic unit’s GDP. Cultural creative industry is justly a representative industry of the New Economy of Arts and Crafts, and based on the attributes of New Economy of Arts and Crafts, the author chooses a "Trinitarian" perspective of technology, organization and consumption to investigate this industry.Modern technologies have changed the cultural industry in two dimensions: support and embeddedness. In the supportive dimension, new technologies improving physical forms of cultural products, individualizing the cultural products and services, reduce the costs of production and exchange, altering the consumption modes. In the embedding dimension, more and more IT corporations invest on cultural creative industry or establish creative enterprises, and some new technologies have been absolutely necessarily components of the cultural products and services.In the era of New Economy of Arts and Crafts, there are more and more creative processes have to be run by devoting both cultural and technologic materials. Therefore, an independent creator or creative team can’t afford to those capital-density and technology-density arts, and then problems of principal-agent and teamwork appear. Firstly, the author distinguishes the creative individual,creative team and creative organization; secondly, in allusion to the shortcomings of Throsby’s model, the author describes and interprets the typical organizational modes of modern cultural creative industry: mode of employment (multi-tasks principal-agent model), mode of production contract (simple static principal-agent model and dynamic reputation model), mode of purchase (two-stage option model of sequential investment). Especially, the conflict between "voluntary person" and "economic person" within the creative organization makes it necessary to pay attention to the particularity of creative individual and team’s economic behavior and its influence on equilibrium.Cultural goods and services are typical experience goods and credence goods, so feedbacks of consumers have obvious influence on the stage of cultural creativity. Those feedbacks consist of two aspects: experience exchange between consumer and creator of cultural enterprises and mutual infection among consumers. The author describes and interprets those two aspects through the productive theory of cultural consumption and the models of snob effect and bandwagon effect.On the ground of theoretical research with the "Trinitarian" perspective of technology, organization and consumption, the author classifies the policies of the countries and regions whose governments make excellent successes in cultural creative industry into two categories. One is for technologies in this industry and the other is for organizational reference. Some concise policy advises for China is also proposed in the end.