欧盟和中国的文化创意产业研究 - KEA

2 KEA, The Economy of Culture in Europe, Study completed for the European Commission – DG Education and
Culture, 2006.
3 http://ec.europa.eu/trade/creating-opportunities/bilateral-relations/countries/china/index_en.htm
4 UNESCO accounted in its figures for the following cultural goods and services: heritage goods, printed media, recorded
media, visual arts, audiovisual media, audiovisual and related services and other cultural services.
5 UNCTAD, Creative Economy Report, United Nations Conference on Trade and Development, 2008.The huge
differences between UNESCO and UNCTAD figures come from the fact that they do not consider the same industries.
Unlike UNESCO, UNCTAD includes arts and crafts, design as well as a longer catalogue of services.
6 Ibid.
7 UNESCO, International Flows of Selected Cultural Goods and Services, 1994-2003, UNESCO Institute for
Statistics, 2005.
8 China Trade in Services Report 2008, MOFCOM.
9 Ibid.
10 Ibid.
11 Source: Chinese National Bureau of Statistics (2008).
12 Ibid.
13 Michael Keane, Created in China: The Great New Leap Forward, Routledge, 2007.
14 Design, Architecture and the Creative Industries, Embassy of the Kingdom of the Netherlands to China, 2009.
15 China Statistical Yearbook, 2008.
16 Source: Chinese National Bureau of Statistics (2008).
17 For a critical survey of the development of a new design culture in post-reform China (after 1978 when economic
reform began) refer to China Design Now Edited by Zhang Hongxing and Lauren Parker, V&A Publishing. Edited in the
context of the Victoria and Albert museum exhibition China Design Now 15 March – 13 July 2008, London.
18 CMM Intelligence, China Media Yearbook and Directory, China, 2008.
19 CNNIC. Statistical Survey Report on the Internet Development in China, China Internet Network
Information Center, 2008. However, it must be said that its penetration of 19.5 % lags far behind developed
nations like the US and Japan and is also slightly lower than the average internet penetration rate worldwide,
which stands at 21.1%.
20 European Information Technology Observatory. http://www.eito.com/pressinformation_20100811.htm.
21 Massively Multiplayer Online Role-Playing Game (MMORPG) is a genre of computer role-playing games in which a
very large number of players interact with one another within a virtual game world.
22 Zhang Hongxing, Lauren Parker (edited by), China Design Now, V&A Publishing, 2008.
23 CMM Intelligence, China Media Yearbook & Directory, China, 2008.
24 PricewaterhouseCoopers, Global Entertainment and Media Outlook 2009-2013.
25 Source: SARFT statistics.
26 Ibid.
27 Media Consulting Group, The Potential for Cultural Exchanges Between the EU and Third Countries: the case
of China, Study prepared for the European Parliament – Directorate General for Internal Policies, 2009.
28 CCTV is the largest broadcaster in China, operating 19 channels and drawing viewers accounting for nearly half of the
national population each day.
29 CMM Intelligence, China Media Yearbook & Directory, China, 2008.
30 Source: Chinese National Bureau of Statistics (2008).
31 Zhang Hongxing, Lauren Parker (edited by), China Design Now, V&A Publishing, 2008.
32 Bartz, Jing The conditions of Private Publishing in China, 2008.
33 Claydon Gescher Associates, Changing China – The Creative Industry Perspective: A Market Analysis of
China’s Digital and Design Industries, UK Trade & Investment, 2004.
34 Entgroup, China Film Industry Report 2009-2010, Available at (short version):
http://english.entgroup.cn/Report02.html
35 Ibid.
36 Ibid.
37 Michael Keane, “Exporting Chinese Culture, Industry Financing Models in Film and Television”, Westminster Paper
in Communication and Culture, 2006.
38 Media Consulting Group, The Potential for Cultural Exchanges Between the EU and Third Countries: the case
of China, Study prepared for the European Parliament – Directorate General for Internal Policies, 2009.
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