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This book aims to provide theoretical and empirical interpretations of certain phenomena in the development of China's cultural industry. Using the film and television industries as the major cases, the author proposes suggestions on China's ongoing development of foreign cultural trade.The author argues that China is well positioned to take full advantage of the opportunities of globalization, to develop its cultural industry in a leapfrog manner. China's rapid economic growth drives the country's development from a small cultural market to a large one. Since it is a middle-income country, its cultural industry still has a relatively large potential to grow. The study on China's foreign cultural trade strategy can contribute to the growing needs of people for a better life and enhance China's'cultural confidence'. With an explanation of existing practices, this book also aims to make recommendations on China's strategy for developing foreign cultural trade in the era of globalization.This book will be a good read for students, researchers and scholars of Chinese studies, East Asian studies and culture economics, and those interested in China's film and television industries.

This book examines Chinese film in the twenty-first century. Organized around the themes'movements,''genres,'and'intermedia,'it reflects on how Chinese cinema has changed, adapted, and evolved over past decades and prognosticates as to its future trajectories. It considers how established film genres in China have adapted and transformed themselves, and discusses current shifts in documentary filmmaking, the ethos and practices of'grassroots intellectual'independent filmmakers, and the adaption of foreign film genres to serve the ideological and political needs of the present. It also explores how film is drawing on the socio-historical and political contexts of the past to create new cinematic discourses and the ways film is providing a voice to previously marginalised ethnic groups. In addition, the book analyses the influences of past aesthetic traditions on the creative and artistic expressions of twenty-first-century films and cinema's relation to other media forms, including folktales, moving image installations, architecture, and painting. Throughout, the book assesses how Chinese films have been conceptualized, examined, and communicated domestically and abroad and emphasizes the importance of new directions in Chinese film, thus highlighting the plurality, vitality, and hybridity of Chinese cinema in the twenty-first century.Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

By delivering the mindful writings from our selected authors, this book portrays one big idea: a new Human-Centered society that balances economics to resolve problems, especially in the use of an integrated area in cyberspace, physical space, and how it impacts the creative industries. Through The 8th Bandung Creative Movement, scholars from 15 Universities around the Asian and European countries have discussed this issue where Human-Centered society became the main consideration in the development.Three topics are presented to the readers. Firstly,'Sustainable Cities and Communities'explores the sub-fields that construct a more sustainable environment for society post-pandemic era, such as technologies, transportation, interior design, architecture, urban planning, etc. While'Art and Design: Recontextualization of Nusantara Tradition and Indigenous Culture'concerned the novel perspectives on recognizing cultural aspects that shape the face of creative industry, from cultural identity, visual and performing arts, pop culture to language and media. The last topic,'Changes and Dynamics in The Creative Industries,'reviews the creative approach toward the industry's current trends, including marketplace, destination branding, or digital culture ecosystem.This book will enrich the mind of everybody who is an enthusiast of innovative research on creative industries, human-centered technologies, environmental design, and excellent society 5.0 post-pandemic era.

The Reform and Opening-up of China since the late 1970s has not only transformed the economic and political situation of the country but also transformed the Chinese film industry. This volume focuses on the 40 years of the history of Chinese film in the post-Mao era. As all aspects of film production, distribution, and exhibition have been commercialized, Chinese film has become an industry of immense scale and has grown by leaps and bounds. Meanwhile, contemporary Chinese film is marked by a new zeitgeist, with Chinese film closely integrated with Chinese society and the economy. The author argues that the Chinese film industry clearly stands at a turning point where the future of Chinese film and the way to further awaken, change, and shape film production have become important issues worth consideration in contemporary film history. The book will be an essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers to develop a comprehensive understanding of Chinese film.

This book surveys the explosive youth culture in twenty-first century China, an active and powerful force catalysing cultural innovations, social changes, and collective efforts, re-inventing a pluralistic and multivalent youth (qingnian) in an age of enormous change, division and uncertainty. Providing a comprehensive analysis of literary, cinematic, musical, televisual, and social media representations about, for and by disparate youth groups, this book seeks to offer a systematic investigation of a trans-medial and multi-locale youth culture. In so doing, it examines contributions from high school dropouts, industrial workers, migrant laborers and'leftover women', as well as best-selling writers and filmmakers, cultural entrepreneurs, queer idols and fans, and young feminist activists. Observing the Chinese youths'deployment of'small'genres, such as light novels and short videos, in addition to digital media, this book ultimately demonstrates the renewal of cultural forms and the transformative power of networked'small'atomized individuals in reinventing a youthful coalition of silenced, belittled, and marginalized groups. A thoroughly interdisciplinary study, Youth Economy, Crisis, and Reinvention in Twenty-First-Century China will be useful to students and scholars of Chinese culture and society, as well as Literary Studies, Cultural Studies, Gender Studies and Media Studies.

Recent years have witnessed the remarkable development of the cultural and creative industries (CCIs) in Asia, from the global popularity of the Japanese games and anime industries, to Korea's film and pop music successes. While CCIs in these Asian cultural powerhouses aspire to become key players in the global cultural economy, Southeast Asian countries such as Malaysia and Thailand are eager to make a strong mark in the region's cultural landscape.As the first handbook on CCIs in Asia, this book provides readers with a contextualized understanding of the conditions and operation of Asian CCIs. Both internationalising and de-Westernising our knowledge of CCIs, it offers a comprehensive contribution to the field from academics, practitioners and activists alike. Covering 12 different societies in Asia from Japan and China to Thailand, Indonesia and India, the themes include: State policy in shaping CCIs Cultural production inside and outside of institutional frameworks Circulation of CCIs products and consumer culture Cultural activism and independent culture Cultural heritage as an industry. Presenting a detailed set of case studies, this book will be an essential companion for researchers and students in the field of cultural policy, cultural and creative industries, media and cultural studies, and Asian studies in general.

In the two volumes of Prosodic Syntax in Chinese, the author develops a new model, which proposes that the interaction between syntax and prosody is bi-directional and that prosody can not only constrains syntactic structures but also activates syntactic operations. All of the facts investigated in Chinese provide new perspectives for linguistic theories as well as the insights into the nature of human languages. The subtitles of the two volumes are Theory and Facts and History and Change respectively, with each focusing on different topics (though each volume has both theoretical and historical descriptive concerns). In this volume, the author first introduces the relevant theories and concepts of Metrical Phonology, Prosodic Phonology and Formal Syntax, and formulates the Government-based Nuclear Stress Rule in Chinese which can explain how and why Mandarin Chinese sentences are structured in a particular way. It is proposed that prosody can not only blocks the legitimate syntactic structures but also activates the potential syntactic operations. The former can be seen from the ungrammatical sentences that are caused by the inoperable NSR in these structures while the latter can be seen from sentences that are derived from syntactic movements which, however, are operable only when being motivated by prosody.

The “national drama” in China is a historical concept. Grown on longstanding Chinese culture and art, the traditional drama, mainly in the form of “opera”, has been integrated with “drama” of an international background. From the perspective of modern “drama and opera”, this book mainly studies the conditions and research of Chinese traditional drama in the 1920s and 1930s.Instead of analyzing from the viewpoint of literature appreciation or music theory, the author regards the drama as a comprehensive stage art. He attaches special importance to restoring historical scenes and therefore mainly introduces the drama journals and monographs published in that historical period, in order to help readers understand the original state of drama at that time through the records of the witnesses. In particular, this book delivers an insightful view about the evolution of the meaning of “national drama” and “drama”.The book will help scholars and readers understand the meaning and the whole story of the “national drama” concept, and will certainly facilitate the construction of the discipline of Drama and Opera.

How can Japanese popular culture gain numerous fans in China, despite pervasive anti-Japanese sentiment? How is it that there's such a strong anti-Korean sentiment in Chinese online fan communities when the official Sino-Korean relationship is quite stable before 2016? Avid fans in China are raising hundreds of thousands of dollars in funding to make gifts to their idols in foreign countries. Tabloid reports on Japanese and Korean celebrities have been known to trigger nationalist protests in China. So, what is the relationship between Chinese fandom of Japanese and Korean popular culture and nationalist sentiment among Chinese youth?Chen discusses how Chinese fans of Japanese and Korean popular culture have formed their own nationalistic discourse since the 1990s. She argues that, as nationalism is constructed from various entangled ideologies, narratives, myths and collective memories, popular culture simply becomes another resource for the construction of nationalism. Fans thus actively select, interpret and reproduce the content of cultural products to suit their own ends. Unlike existing works, which focus on the content of transnational cultural flows in East Asia, this book focuses on the reception and interpretation of the Chinese audience.

Promoting China's cultural soft power by disseminating modern Chinese values is one of the policies of President Xi Jinping. Although, it is usually understood as a top-down initiative, implemented willingly or unwillingly by writers, filmmakers, artists, and so on, and often manifesting itself in clumsy and awkward ways, for example, the concept of'the Chinese dream,'intended to rival and perhaps appeal more strongly than'the American dream,'modern Chinese values are in fact put forward in many ways by many different cultural actors. Through analyses of film festivals, CCTV, Confucius Institutes, auteurs, blockbusters, reality TV, and online digital cultures, this book exposes the limitations of China's officially promoted soft power in both conception and practice, and proposes a pluralistic approach to understanding Chinese soft power in local, regional, and transnational contexts. As such, the book demonstrates the limitations of existing theories of soft power, and argues that the US-derived concept of soft power can benefit from being examined from a China perspective.

This book explores how the traditional ideal of Chinese manhood – the'wen'(cultural attainment) and'wu'(martial prowess) dyad – has been transformed by the increasing integration of China in the international scene. It discusses how increased travel and contact between China and the West are having a profound impact; showing how increased interchange with Western men, for whom'wu'is a more significant ideal, has shifted the balance in the classic Chinese dichotomy; and how the huge emphasis on wealth creation in contemporary China has changed the notion of'wen'itself to include business management skills and monetary power. The book also considers the implications of Chinese'soft power'outside China for the reconfigurations in masculinity ideals in the global setting. The rising significance of Chinese culture enables Chinese cultural norms, including ideals of manhood, to be increasingly integrated in the international sphere and to become hybridised. The book also examines the impact of the Japanese and Korean waves on popular conceptions of desirable manhood in China. Overall, it demonstrates that social constructions of Chinese masculinity have changed more fundamentally and become more global in the last three decades than any other time in the last three thousand years.

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis of vocal microstructures, text/phonetics-music-relationships, historical vocal sources or models for contemporary art and pop music, and areas of conflict between vocalization,'ethnicity,'and cultural identity. They pinpoint crucial topical features that have shaped identity-discourses in art and popular musical situations since the1950s, with a special focus on the past two decades. The volume thus offers a unique compilation of texts on the human voice in a period of heightened cultural globalization by utilizing systematic methodological research and firsthand accounts on compositional practice by current Asian and Western authors.

This is the first reference book to digest this vast cultural output and make it accessible to the English-speaking world. It contains nearly 1,200 entries written by an international team of specialists, to enable readers to explore a range of diverse and fascinating cultural subjects from prisons to rock groups, underground Christian churches to TV talk shows and radio hotlines. Experimental artists with names such as'Big-Tailed Elephants'and'The North-Pole Group'nestle between the covers alongside entries on lotteries, gay cinema, political jokes, sex shops, theme parks,'New Authoritarians'and'Little Emperors'.While the focus of the Encyclopedia of Contemporary Chinese Culture is on mainland China since 1980, it also includes longer, specially commissioned entries on various aspects of contemporary culture in Hong Kong and Taiwan. Including full and up-to-date references for further reading, this is an indispensable reference tool for all teachers and students of contemporary Chinese culture. It will also be warmly embraced as an invaluable source of cultural context by tourists, journalists, business people and others who visit China.