重点镇和新农村建设 实现“双轮”驱动

每年中国都有大量的文化创意产品面世，但真正走向市场的不到三分之一，走向市场后能盈利的不到五分之一 交易不畅已经成为制约版权产业发展的瓶颈 建设版权交易中心，可以很大程度地改变目前我国版权贸易落后的局面     

开拓中小企业融资领域 助推文化创意产业发展 交通银行北京分行全国首推文化创意产业中小企业版权保证贷款

2007年10月31日，是交通银行北京分行推出“展业通”中小企业知识产权质押贷款一周年的日子。在这个值得纪念的日子里，交通银行北京分行正式推出文化创意产业中小企业版权保证贷款，并与北京天星际影视文化传播有限公司签署首笔文化创意产业中小企业版权保证贷款借款合同，为北京市文化创意产业中小企业以其自主版权实现融资创立了重要的范例。首笔版权保证贷款标志着交通银行北京分行在知识产权融资方面创新探索又向前迈进一步；     

启动区县合作 力促城乡协调发展

东城和朝阳,是北京版图上两颗耀眼的明星。一个底蕴深厚,一个时尚喧嚣,这两个区在个性上的差异似乎正映射出北京这座城市在文化创意产业中的两大特色。近一年来,两区建设国际版权交易中心的消息不绝于耳,一系列的推广活动也充满了暗中较劲的火药味。然而我们最为关心的是:北京国     

数说

6.5亿元朝阳区政府近日表示,通过每年拨付专项资金支持文化创意产业发展,5年来朝阳区先后向220家文化创意产业重点企业投入了6.5亿元,让一批旧工厂华丽转身为文创企业,还促进了国家广告产业园、国家音乐文化产业基地、国家动漫产业基地、国家版权贸易基地、国家科技企业孵化基地等5个国家级文化产业基地落地朝阳。     

北京市近年文化创意产业相关政策概览

《北京市文化创意产业投资指导目录》发布日期：2006年8月发布机构：北京市委宣传部、北京市发改委主要内容：《指导目录》以北京市统计局《北京市文化创意产业的范围与分类》中所确立的11个门类为主线,以北京市文化创意产业重点发展的文艺演出、出版发行和版权贸易、影视节目制作和交易、     

版权保险制度：内在原理、国别经验及发展路径

版权保险是保险和版权制度的有机融合，有助于降低版权的市场交易成本，推动版权经济价值的实现，防范和化解版权创意企业的运营风险。本文立足于国际、国内两个视角，探讨版权保险的发展现状和特点，从多个维度分析域外版权保险制度实践的有益经验，以期为我国版权保险制度发展提供参考。我国版权保险制度发展仍存在立法支持体系有待健全、版权价值评估体系不完善、统一性的版权登记服务平台缺失等问题。基于此，我国版权保险发展应遵循“内外兼修”的完善思路，在我国版权保险实践的现实基础上进一步推进版权保险的专门性立法、创新“政府引导+市场主导”的版权保险运作模式、完善版权保险价值评估体系、构建统一性的版权登记服务平台，以优化我国的版权保险制度。     

中国版权产业期待升格

据世界知识产权组织介绍,匈牙利的版权产业占全国GDP的6.67%,菲律宾的版权产业占全国GDP的8.17%,去年美国版权产业的产值为12540亿美元,占全年全国GDP的12%……随着信息时代的到来,版权产业正     

产经

第四届北京文博会签约金额55．2亿美元 11月29日下午，为期五天的第四届中国北京国际文化创意产业博览会正式落下帷幕。据不完全统计，本届文博会共签署文艺演出、出版发行、版权贸易、影视节目制作交易、设计创意、动漫与网络游戏研发制作、古玩艺术品交易、文化旅游等合作意向、协议322个，总金额55．2亿美元。     

中国文化创意产业的整合

本文通过探寻中国传统文化之创意追述,及文化创意产业的阶层理论研究,探讨文化创意产业整合之特性.经过近几年中国文化创意产业发展态势,采用文献阅读的研究方法,进而对于中国文化创意产业集聚观念进行思考,为其产业化进行做以理论铺垫.     

文化产业还是创意产业?——对新加坡创意产业概念的理解

至于文化产业与创意产业的关系,在众多就文化产业或创意产业的诠释与界定中,以新加坡所提出的最为明确:认为文化是创意的基础与平台,是创意产业价值链的上游,文化提供创意所需素材(the raw material),而创意是激发想象创造的能力或力量(The power of thinking and ideas)。     

知识产权与司法相关的近期热点问题综述——来自我国台湾地区的观察与省思

在促进我国台湾地区知识产权法进步一事上,其司法仍可大有作为。智慧财产法院整体而言,欠缺考虑台湾地区所处发展阶段的需要 (例如汽车零件市场欠缺竞争与设计专利的强制许可,以及名牌商品二手市场迟迟无法建立仿冒品认定机制),对于方兴未艾的营业秘密保护议题的掌握有诸多令人担忧之处。展望未来,智慧财产法院应做大幅度改革,宜只专门审理专利及其他技术案件（例如植物新品种）,应转型为二级法院,应为法官建立定期轮调制度。可惜,台湾地区“司法院”并未认知到前述问题,反而将智慧财产法院改组为“智慧财产及商业法院”,将法官人数9人、高等法院层级、管辖重大商业民事的商业法院并到智慧财产法院,但是就智慧财产法院的组成、职掌以及案件的审理并未做任何改变。     

内蒙古文化创意产业的知识产权保护问题研究

近几年来我国的文化创意产业发展异军突起,在推动经济发展中起到了积极的促进作用,成为最受关注的“朝阳产业”。由于创意产业在本质上建立在知识产权基础之上,且创意成果在表现形式上大部分符合知识产权保护范围,因此知识产权是创意产业发展的基础,掌握、分析和解决创意产业发展中知识产权保护存在的问题意义重大。     

现阶段我国企业频遭知识产权壁垒的原因及对策

近年来,知识产权壁垒成为继传统两反一保后的一种全新的贸易壁垒形式。近一段时间以来,我国企业出口频遭知识产权壁垒,进出口贸易受到严重影响。本文着力探寻知识产权壁垒频繁发生的原因,并在此基础上提出相应的对策建议。     

“积成电子”知识产权质押贷款案例剖析

知识产权质押贷款为有技术、有潜质的中小企业间接融资,为市场疲软的商业银行放贷提供了新思路,找到了兼容点。但企业对知识产权商业机密的保护等与银行对信息对称的需求存在冲突。这种困境的突破,有赖于政府的牵线搭桥和银企间建立良好的合作基础。     

Office Property Returns in Shanghai,Guangzhou, and Shenzhen

Commercial property development in China has been a growth industry in recent years. This article examines the returns on office property in the three major cities of Shanghai, Guangzhou, and Shenzhen in the period 1991 to 1997. Analyses based on the Security Market Line (SML) show that property investments in the office sector in Shanghai and Guangzhou have excess returns and that Shanghai office property tends to dominate the optimal portfolios due to its superior risk-adjusted returns. While equal returns in Shanghai, Guangzhou, and Shenzhen cannot be rejected, the Shanghai office property is subject to the least systematic risk, compared with all other cities. Hong Kong office property is included only in the less risky optimal portfolios. In addition, our results indicate that there is little correlation between the office property returns in Hong Kong and the office property in Guangzhou and Shenzhen. Guangzhou and Shenzhen office markets, which are geographically relatively close to Hong Kong, tend to be more volatile than the Shanghai office market. However, owing to Shenzhens proximity to Hong Kong, there is significant correlation between the returns of the office property in Shenzhen and the office property in Hong Kong.     

Wealth from creativity: Insights and strategies for the future of international cultural relations

Regardless of frontier, the creative community has begun to benefit financially from the democratisation of creative production and distribution opened up via the Internet, a place where planetary plurality and diversity is implicit. Artists are major ambassadors for their cultures operating in a collaborative environment that recognises the distinctive differences between cultures without threat to indigenous expression.

The cultural ecology may have changed but the response of government has been obstructive. Until the second Iraq war cultural diplomacy seemed to have replaced gunboat diplomacy and there was a growing movement to foster cultural relations in an environment being characterised as mutual. In parallel, at national level, governments were seeking to recognise the strong economic value of the cultural industries sector in the new globalised technology. This has now all been thrown into reverse gear by the practice of public diplomacy, a policy of unreformed imperialist hubris that seeks to influence policy in other nations by using domestic producers of intellectual, scientific, creative or economic content to promote selected values and so dominate the international relations agenda.

What if one were to integrate into the activities of international cultural relations the dynamic ways of working and thinking of the creative industries? A more beneficial model emerges if creators are given centre-stage and the values of the creative community applied to the management of international cultural relations. A series of insights borne of many years work in the creative industries could lead to a new set of strategies that would call the bluff of those currently seeking to promote the advantages of liberal democracy. For these strategies demonstrably uphold the rights of individuals to creative expression and to enrich their local economies. This does require the managers of international cultural relations to live more dangerously than at present and it is to them that this paper is addressed.     

我国文化创意产业政策现状、问题及对策分析

近年来,我国文化创意产业发展迅猛,成为了经济发展的新引擎.我国的文化创意产业属于政府主导型产业,所以对于我国文化创意产业政策进行研究很有意义.本文介绍了我国文化创意产业的发展历程,对于我国文化创意产业的培育重点、存在的问题进行了分析,并提出了对策,以促使文化创意产业政策在产业发展中发挥更大的作用.     

吉林省文化创意产业规模、结构的时空分布和趋势——基于信息熵和区位熵的分析

文化创意产业已成为世界各国竞相发展的朝阳产业,对于区域转变经济增长方式、提升城市核心竞争力具有重要的实践意义。当前吉林省文化创意产业增加值以递增速度增加,法人单位、营业收入和从业人员比重增大,但是内部发展不平衡。1998年到2009年吉林省文化创意产业发展经历了三个阶段,并呈现一定收敛趋势,文化创意产业几个典型行业出现了一定的集聚,产业优势比较突出,但是由于行业发展的非均衡性导致了内部产业优势存在差异。     

An Analysis of Contingent Commission Use by Property–Liability Insurers

The payment of contingent commissions in the property–liability insurance industry has long been commonplace, but recent events have made the practice highly controversial. Even prior to these events, wide variation existed among insurers in their use of contingent commissions. In this article, we examine the determinants of whether or not an insurer chooses to pay contingent commissions at all, as well as the determinants of the extent of their use for those insurers that pay them. We find a number of variables that have a significant relation to the use and extent of use of contingent commissions.     

An Exploratory Analysis of Insurer Groups

Grouping is a widespread and interesting phenomenon of the insurance industry, among both life‐health insurers and property‐liability insurers. Recognizing the potentially important implications of group membership for insurer behavior and characteristics, numerous academic researchers using insurance company data have included a dummy variable in their regression analysis to control for group membership. However, it has never been clear exactly what is being controlled for when such a variable is included. This article attempts to shed light on this question. Results indicate that group affiliated insurers tend to be larger than unaffiliated insurers, are more likely to be licensed in New York, are more likely to be stock firms than mutuals, and are likely to be less geographically concentrated.