Copyright: a systemic marketplace icon

This article argues that copyright is a systemic marketplace icon because of the breadth of its effects on market operations. Copyright determines how intellectual property rights for creative work are allocated between the different actors involved in production and consumption, and must balance the civic priority of public access to creative work with the market-driven principle of rewarding private interests for their effort. This duality tends to polarise opinion about its implementation by rights holders, because very different ideological assumptions underpin civic and market objectives. Copyright discourses reveal how these ideological struggles play out among interested parties, who use the concept of copyright to make arguments about how markets should be structured, how creative work should be exchanged, and how consumers should behave. In the process, copyright is constructed, explained, branded and promoted as an object to which market actors must orient themselves if they wish to conduct themselves appropriately, and as a rationale for material changes to market structures. At the same time, copyright discourses reveal the implications of copyright, which invoke both the market and democracy, for the quality of democracy, the circulation of creativity, and the availability of public knowledge, and help explain why ideological struggles over copyright are so difficult to resolve.     

发展无锡文化创意产业 提升城市文化软实力

无锡作为我国“吴文化”起源地之一,经济实力有目共睹,而文化软实力一直是无锡的弱项。在产业结构优化的背景下,第三产业中的创意产业被证实拉动经济成效显著,因此无锡提升文化软实力,可以从创意产业发展入手,是实现“弯道超车”的有效途径之一。文章研究了无锡城市文化现状与问题,包括历史文化产业发展受阻,经济发展后劲不足;无锡城市文化发展趋“利”少“韵”;创意人才缺少等问题。提出发展无锡文化创意产业,提升城市文化软实力的具体建议:发展创意产业,弥补先天历史文化短板;发展创意文化经济,着眼长期效益;建立创意产业人才引进体系、激励体系与培养体系。     

基于创意旅游的游客行为意向影响机制研究

创意旅游作为可持续旅游的实现形式之一,受到学界广泛关注,然而,对创意旅游中旅游者的研究却很少。本文在梳理相关文献的基础上,从旅游者视角出发,对西塘纽扣博物馆10名旅游者进行深度访谈,以及北京凝蓝珐琅工作室部分APP游客评论,运用扎根理论研究范式,提炼出18个初始范畴、6个主范畴、1个核心范畴,并据此构建旅游者行为意向模型。结果表明:游客在创意旅游过程中,通过与创意产品、创意空间以及创意人群的互动,满足个人基本需求、社会需求和知识需求,进而影响到行为意向。     

Business model innovation in cultural and creative industries: Insights from three leading mobile gaming firms

This paper contains an exploratory analysis of the business model innovations (BMIs) that firms in cultural and creative industries (CCIs) undertake along their life-cycle. Despite the role that creative and cultural and creative firms (CCFs) have in the economic development of industrialised countries, they tend to remain small and often fail due to industry-specific constraints and tensions, such as the lack of managerial capabilities and complexity in nurturing value chain relationships. However, there has been relatively limited scholarly interest into the specific conditions and processes that enabled CCFs to overcome these liabilities, and in particular into the identification of the business models they have adopted along their life-cycle. In this paper, this issue is analysed by using the concept of BMI, which sheds light on how the reconfiguration of the activity system through which a CCF creates, delivers and captures value enables the exploitation of entrepreneurial opportunities over time. This paper builds on an in-depth historical study of three leading firms operating in the mobile gaming industry, namely Rovio, Zynga and King Digital Entertainment. Three main results emerge from this study. First, in the ramp-up phase of their life-cycle, CCFs organize their resource architecture to build a strong and recognized reputation. Second, in the development phase, BMI is used to leverage new distribution paradigms. Finally, in the maturity phase, firms dedicate resources to innovate their product portfolios by providing platforms that support the development and testing of new creative ideas and solutions. Findings and implications are then discussed.     

Creative Cities,Graffiti and Culture-Led Development in South Africa: Dlala Indima (‘Play Your Part’)

Creative cities and culture-led development discourses have come under increasing scrutiny as elite-centric economic development agendas tend to trump ‘civic creativity’ ideals as imagined by Charles Landry. In South Africa, culture-led development and cultural policy tends to primarily mimic that of the global North, largely focusing on culture as a catalyst for economic and property development. Public art commissioning processes tend to focus on decorative projects as part of urban upgrading, which are often associated with ensuing gentrification and displacement of the urban poor. In contrast to focusing on these kinds of regeneration strategies, this article investigates Dlala Indima, a hip-hop-led graffiti project in a rural township in the Eastern Cape of South Africa. This article situates graffiti as a critical social and spatial practice to argue that this case challenges normative cultural planning paradigms. Dlala Indima's work is an alternative approach to cultural development by and for young people who are usually marginalized by the mainstream practice of culture-led economic development. The project challenges dominant creative cities and culture-led development discourses in three ways: first, it challenges the normative processes of regeneration; secondly, it grounds participatory practice; and finally, it shifts participation from ‘tyranny to transformation’ through the ubuntu of hip-hop, the notion of ubuntu being based on the communitarian notion of ‘ubuntu, ngubuntu ngabantu’—‘I am because you are’.     

Creative destruction Zhu Jia Jiao, China

Chinese water towns have experienced tourism investment since the adoption of the Open Door Policy in 1978. These river-based settlements offer an ancient small-town atmosphere, historic architecture, and a diversity of heritage commodities. The implications of this development in one such town, Zhu Jia Jiao, are examined through application of the model of creative destruction. Data collected on investments, tourist numbers, and resident attitudes reveal that this destination is in the model’s second stage of advanced commodification, which may be maintained if limits are placed on arrivals. Findings should be beneficial to other communities which are basing their development on marketing small-town heritage.     

武汉市中心城区创意产业企业空间分布特征

通过对武汉市中心城区创意产业进行分类,调研整理武汉市中心城区现有创意企业的基本情况,利用Arc GIS10建立武汉市中心城区创意产业7大类创意企业的空间数据库,运用栅格法分别计算绘制武汉市中心城区各类创意产业企业空间分布机构密度图,并进行空间分布特征分析,揭示武汉市中心城区创意产业企业空间分布规律和各类型创意企业的空间分异特征。研究发现:1武汉市中心城区创意产业企业在中心城区商圈附近高密度面状集聚;2沿河与沿交通干线次密度带状扩散;3高校与高科技园区周边地区低密度点状蔓延;4各类型创意企业中心城区的空间格局呈现出一定的差异,表现为三种形态、三种密度和三种不同的发展阶段。最后,总结武汉市创意产业企业的空间分布特征,提出武汉市创意产业可持续发展的优化策略。     

Consumer engagement behaviors in the online wildlife trade: Implications for conservationists

This study investigates consumer engagement behaviors in the online wildlife trade, drawing implications for conservationists. The first study undertook a quantitative content analysis of 500 Facebook posts in wildlife trade lateral exchange markets to show how creative strategies, media type and persuasion tactics influence the number of likes and comments that posts receive. The second study then undertook a thematic discourse analysis to develop a rich understanding of the culture, beliefs and motivations that influence how consumers engage in the markets. Findings showed that an overwhelming majority of posts use a functional or informational strategy and that when posts use overt persuasion tactics the number of comments decrease. A conceptual model of how cultural factors may impact the success of marketing strategies is then proposed. These findings have implications for conservationists who seek to build engagement with wildlife trade consumers online.