First, although the traditional "cultural exchange" model, which relies on government-led and government subsidies, still plays an important role, the significance of cultural output has become more important.
Developed countries rely on cultural exports to enhance cultural soft power, which provides us with a good reference. As early as World War I, the United States tried its best to promote its own films to occupy the world film market. On April 28th, 2006, Japanese Foreign Minister clearly put forward the strategy of "animation diplomacy" in "New Ideas of Cultural Diplomacy". On June 65438+1October 65438+July, 2006, South Korean Prime Minister Lee Hae Chan presided over a meeting to discuss the globalization of "Korean Wave" products. American blockbusters, Japanese cartoons, "Korean Wave" TV series, etc. They are all cultural products with strong competitiveness in the international cultural market. In the process of going abroad, these cultural products can occupy the world cultural market by means of cultural output, which is certainly promoted by the "invisible hand" of the government, but what is more important is the strong competitiveness of the cultural products themselves.
Second, big cities (especially capital cities) play a leading role in enhancing the cultural influence of a country.
Gibson's research shows that there are huge differences between urban and rural areas in contemporary cultural production. In employment, investment, industrial agglomeration, etc. The metropolis is dominant, and the capital city is much higher than other non-capital cities. In the United States, more than 50% of cultural industry employees are concentrated in cities with a population of more than 6,543,800+0,000. More strictly speaking, it is mainly concentrated in two centers: new york and Los Angeles. From 65438 to 0998, the employment opportunities provided by Sydney in the cultural industry accounted for more than 30% of Australia, while the output value of Sydney's cultural industry accounted for 32.2% of Australia. In terms of employment, London accounts for 26.9% of the employees in the entire British cultural industry. Sweden's cultural and economic employees (accounting for 9% of the total number of positions in the country) are mostly concentrated in Sderot. In Japan, the number of employees in Tokyo's cultural industry accounts for 16% of the total employment in Japan's cultural industry. After entering the 2 1 century, the development of international cultural and creative industries has shown a trend of transnational capital operation, highly upgraded industrial structure and collectivization of industrial distribution, which has produced "cultural and creative industrial clusters" with global significance around some international metropolises.
The Outline of the Eleventh Five-Year Plan for Beijing's National Economic and Social Development clearly puts forward that cultural and creative industries should be the focus of Beijing's future work. In 2006, the added value of Beijing's cultural and creative industries was 810.2 billion yuan, accounting for10.3% of GDP. Cultural and creative industries have become an important pillar of Beijing's economy. As a capital city with a long history and cultural tradition, Beijing is the right choice in the new era to vigorously develop cultural and creative industries. The development of Beijing's cultural and creative industries must face both domestic and international markets. Facing the international market and enhancing the international influence of Beijing's cultural and creative industries will play a very important leading role in enhancing the international influence of Chinese culture.
First, Beijing has obvious advantages in enhancing the international competitiveness of cultural and creative industries.
(A) rich and diverse cultural resources
As a city with a history of more than 800 years and more than 2,000 years, Beijing has a unique historical and cultural heritage. Beijing not only has rich material culture such as the Forbidden City and the Summer Palace, but also splendid intangible cultural heritage such as Peking Opera, Quyi, arts and crafts, traditional medicine and folk customs. These rich historical and cultural connotations have given Beijing its own unique symbols and a historical and cultural gold mine that can be tapped. In addition to its rich historical and cultural heritage, Beijing is also the intersection of traditional culture and modern culture, China culture and world culture, and presents unique cultural characteristics in this pluralistic intersection. Beijing has high-tech culture such as numbers represented by Zhongguancun, the largest art market such as calligraphy, painting and antiques, and the highest level of cultural and sports performances in China.
Rich and diverse cultural resources provide a guarantee for the development of Beijing's cultural and creative industries. Many cultural industries in Beijing occupy a dominant position in China: books published in Beijing account for about 1/2 of the national total, audio-visual products account for about 1/3, periodicals account for about 1/4, newspapers account for about 1/5, and TV dramas (ministries) and movies account for about/kloc of the national total. In terms of export, the export scale of Beijing's cultural and creative products is also expanding day by day, especially in software, books, film and television industries. In 200 1 year, the export of cultural products in Beijing accounts for about 30% of the country; In 2004, it accounted for about 40%, with an annual increase of more than 20%. In 2006, Beijing Customs exported 356 million US dollars of software, accounting for 1/3 of the national customs software export.
(2) The innovation ability is leading in China.
Innovation ability is an important factor in the development of cultural and creative industries. As the national capital, Beijing not only has rich and diverse cultural resources, but also leads the country in scientific and technological innovation and knowledge innovation. In terms of the number of patents granted, the number of patents granted in Beijing was 5,905 in 2000 and 1 1238 in 2006, an increase of 90.2%, of which the number of invention patents granted in 2000 was 1074 and that in 2006 was 3,864, an increase of 259.8%. In terms of science and technology awards, in 2005, Beijing won 75 national science and technology awards (general projects), accounting for 30.4% of the total of 247 national science and technology awards (general projects).
Beijing's ability of knowledge innovation is far higher than other regions. At R & ampd input: In 2005, scientific research institutions in Beijing received a total of 73.5 billion yuan for scientific and technological activities, accounting for 14% of the national scientific and technological funds, ranking first in all regions of China. In addition, R& is in Beijing; D investment has increased year by year, reaching 5.8% in 2006, exceeding the average level of developed countries such as the United States, Germany, Britain and Japan in the same period; In terms of scientific research projects, Beijing has undertaken a large number of national scientific research projects in recent years, ranking first in the country in terms of both scientific research projects and the use of funds. In 2004, he undertook 158 basic research projects, accounting for 4 1.7% of the whole country, and spent 480 million yuan, accounting for 46. 1% of the whole country. It undertook 863 projects 1 0,227, accounting for 32. 1% of the whole country, and spent 2.79 billion yuan, accounting for 30.0% of the whole country. Undertaking 7 16 key projects, accounting for 35. 1% of the whole country, and spending 2 billion yuan, accounting for 3.4% of the whole country; Undertaking 176 items of technological innovation funds for small and medium-sized science and technology enterprises, accounting for 12% of the whole country, and spending 1. 1 100 million yuan, accounting for 13.4% of the whole country. In a word, Beijing has strong knowledge innovation ability and obvious advantages in the whole country.
(C) rich cultural and creative talent resources
As a national cultural center, Beijing is rich in creative resources and has gathered a large number of cultural celebrities, writers, artists and creative talents. There are more than 400 scientific and technological information research institutes and scientific and technological information network centers in China, most of which are concentrated in Beijing. There are more than 50 independent information institutions in Beijing, accounting for 10.7% of the whole country. According to the data of China Statistical Yearbook of Science and Technology in 2006, there were 89 institutions of higher learning and 350 scientific research institutions in Beijing in 2005, and the number of units with scientific research activities was 648 1 unit, including 254 large and medium-sized industrial enterprises. Beijing's human science and technology resources account for 9.24% of the total national science and technology human resources, among which the number of researchers in universities and scientific research institutions ranks first in the country, far exceeding other regions. In addition, among every 654.38 million people in Beijing, there are170,000 people with college education or above, which is five times the national average; 706 academicians of Beijing Academy of Sciences; Beijing has 1/3 national graduate schools, national key disciplines and key laboratories, and the number of postdoctoral students trained in Beijing accounts for 1/3. Rich resources of cultural and creative talents provide a strong backing for Beijing to become a bigger and stronger cultural and creative industry and improve its international competitiveness.
(D) Capital advantage
As the capital, Beijing has been endowed with symbols representing China, which has brought great attraction and radiation to Beijing. The capital advantage is a unique wealth of Beijing and an indisputable intangible asset that no city in China can match. First of all, the advantages of the capital have brought huge "attention" resources to Beijing, which can form powerful intangible assets in contemporary society. Secondly, the advantages of the capital have brought a wide variety of consumption flows to Beijing. Among them, high-end people at home and abroad account for a considerable proportion, and the huge flow of high-end personnel provides a broader market for Beijing's cultural and creative industries. Third, the advantages of the capital provide opportunities for Beijing to develop new industries and new economic forms. For example, Beijing's convention and exhibition industry and headquarters economy in recent years, including the Olympic economy brought by the 2008 Beijing Olympic Games, are mainly realized with the help of the advantages of the capital.
(V) There are a large number of cultural and creative institutions, and cultural and creative gathering areas have begun to take shape.
According to the data of Beijing Blue Book, among the 573 publishing houses in China, there are 237 in Beijing, accounting for 4 1.36% of the total number of publishing houses in China. Judging from the volume and types of publications, Beijing's book publishing industry accounts for nearly half of the country, and this number is still increasing. Because Beijing has the most concentrated author resources, media publicity resources and market influence in China, in recent years, publishing and distribution groups all over the country have moved northward and set up branches in Beijing, such as Guangxi Normal University Press, Babel Company in Beijing, Changjiang Literature and Art Publishing House, Beijing Distribution Center, and Shanghai Century Publishing Group, which have all become well-known brands in China. In addition, many foreign private book companies have also moved their headquarters to Beijing or opened in Beijing, such as Tian Hong in Shandong, Shi Tian Audio-visual in Guangdong, Photosynthetic Study Room in Xiamen, Fujian, and Hubei Cultural Studio in Hunan, Sichuan, etc.
At present, Beijing has formed a number of creative industry clusters, such as Zhongguancun Cultural and Creative Industry Pilot Base, Shijingshan Digital Entertainment Industry Base, Yonghe Cultural Park, Electronic City 798 Cultural Base and Beijing DRC Industrial Design and Creative Industry Base. In addition, cultural and creative industrial clusters such as Dongcheng District Cultural Industrial Park, National New Media Industrial Base, Chensan Animation Online Game Industrial Base and Chaoyang Park Cultural Park are under planning and construction.
(vi) Olympic opportunities
John friedmann, a Canadian scholar, pointed out: "The Olympic Games is far more than just a competition of sports skills. At least since 1984 Los Angeles Olympic Games, it has become a big business. The Olympic Games not only attracted the world's attention to the host city, but also left hundreds of millions of dollars in the pockets of local retailers, hotels and other service providers as expected. " Hosting the 2008 Olympic Games will not only bring huge direct economic benefits to Beijing, but also have a long-term follow-up impact. The Olympic Games focused the world's attention on Beijing, which played a very important role in showing the charm of Beijing tradition and oriental culture, expanding international exchanges, and promoting the international docking of Beijing's cultural and creative industries.
Second, the lack of internationalization of Beijing's cultural and creative industries and concerns
With the vigorous promotion of relevant departments in Beijing, the internationalization of Beijing's cultural and creative industries has been accelerating in recent years, and its international influence has been greatly enhanced. However, compared with new york, Tokyo, Paris and other international metropolises, there is still a big gap, and there are still many shortcomings in the internationalization of cultural and creative industries.
(A) the strategic positioning needs to be clear, and the overall strategic layout has not yet been formed.
Under the background of globalization, the development of Beijing's cultural and creative industries should take the world metropolis as the reference and direct competition object. Therefore, the strategic positioning and layout of global and integrated cultural and creative industries are very important. At present, Beijing has done a lot of research on the development of cultural and creative industries, but on the whole, the internationalization orientation of the development of cultural and creative industries in Beijing is not clear, and the overall strategic layout has not yet been formed. What position should Beijing's cultural and creative industries be in regionally and globally? In the face of international metropolises with developed cultural and creative industries such as London, new york and Tokyo, what strategic steps should Beijing take to cope with their competition? In the case of a late start, how can Beijing's cultural and creative industries give full play to their advantages as latecomers? And so on, these problems have no clear strategic positioning, development path and implementation steps.
(2) The main strength of cultural and creative industries is weak and the international competitiveness is insufficient.
Enterprises are producers and promoters of cultural products, pioneers of cultural markets, subjects of cultural markets and undertakers of transnational operations. Without famous brands, it is impossible for enterprises to open up the situation of international cultural trade, let alone form the competitiveness of international culture. Competition is actually a contest between enterprise strength and creativity. Participating in international competition is one of the important tasks of Beijing's cultural and creative industries. Only by cultivating a number of famous cultural enterprises can Beijing's cultural and creative industries shoulder the heavy responsibility of international competition. At present, some cultural and creative enterprises in Beijing have begun to take shape and are in a leading position in the domestic market. However, if we look around the world and compare large multinational groups like time warner Inc. and Disney, it is difficult for these enterprises to compete directly with them in terms of scale, efficiency and brand.
(c) Support services need to be improved.
At present, most of China's cultural and creative enterprises focus on the domestic market for three reasons: First, with the economic development and the improvement of people's material living standards, China's cultural market has formed a huge scale, and only by facing the domestic market can we get enough profits; Secondly, due to the long cultural history and the lack of market cultivation in the early stage, China cultural products often encounter greater cultural discounts in the process of going abroad, and cultural enterprises will face greater risks in adopting export-oriented development; Third, the vast majority of cultural and creative enterprises in China are small and medium-sized enterprises, which generally lack funds, information, management experience and business channels and are difficult to participate in international competition. Therefore, it is still difficult for China's export-oriented cultural export enterprises to form scale and obtain economies of scale, which is an important source of competitiveness of cultural products.
There are a large number of cultural and creative enterprises in Beijing, and these enterprises are also facing severe competitive pressure in the Beijing market. Many enterprises urgently need to base themselves on Beijing and face the international market. However, due to the imperfect supporting services of relevant government departments, they face many problems such as resources, channels, funds and legal services when they go to the international market.
Third, countermeasures and suggestions to enhance the international influence of Beijing's cultural and creative industries
(A) from the perspective of urban marketing, formulate the overall strategy to enhance the international influence of Beijing's cultural and creative industries.
In the era of globalization, the competition between cities is increasing. In this case, the concept of urban marketing has been paid more and more attention by major cities in the world. The concept of "urban marketing" comes from the concept of "national marketing" in philip kotler. Kotler believes that the country is actually a whole composed of the actual behaviors of consumers, manufacturers, suppliers and distributors. Therefore, the country can also operate with care like an enterprise according to its own advantages. Urban marketing, which originated from the national marketing concept, also strives to regard the city as an enterprise and promote various resources, products and the overall image of the city by modern marketing means.
Urban marketing is a comprehensive concept, including urban resources, products, enterprises, brands, cultural atmosphere, investment environment and even urban image. There are three main marketing methods in urban marketing: one is "scenic spot" marketing, the other is "project" marketing, and the third is systematic overall marketing. Both "scenic spots" and "projects" are static and partial urban marketing methods. Only systematic overall marketing can truly reflect the overall image and characteristics of the city.
Nowadays, cultural and creative industries play an extremely important role in the overall marketing process of urban systems. First of all, with the development of contemporary economy and the upgrading of industrial structure, cultural and creative industries have become a vital industrial type in cities (especially international metropolises). Second, the products of cultural and creative industries can intuitively reflect the city's style and spirit. Third, cultural and creative industries have a strong integration function, which can form related industrial chains, thus driving the overall marketing of related industrial chains. Fourth, the incubation of cultural and creative industries for good ideas will also promote the renewal of urban marketing methods.
At present, the development of Beijing's cultural and creative industries has fully realized the significance of international development, but it has not been integrated with urban marketing as a whole. We believe that in the process of policy designation and actual operation, the overall strategy to enhance the international influence of Beijing's cultural and creative industries should be formulated from the perspective of urban marketing, and the problems should be solved from three levels: concept, mechanism and strategy.
At the conceptual level, we should combine the development concept of cultural and creative industries with the concept of urban marketing. In the process of formulating and implementing the strategy of cultural and creative industries, we should fully reflect the overall consciousness of "city" and "marketing" consciousness. Cultural and creative industries emphasize the core position and integration effect of creativity in the process of upgrading urban industrial structure and enhancing urban image, which is the key to distinguish it from cultural industries. The formulation and implementation of cultural and creative industry strategy should also run through Beijing's overall consciousness as a "city". The consciousness of "marketing" is to change passivity into initiative and truly "market" the overall image of the city through cultural and creative industries. As far as the domestic situation is concerned, ignoring marketing and trade is a common problem. The development of Beijing's cultural and creative industries must fully run through the marketing consciousness, and push Beijing's cultural and creative products to the domestic and international markets as an important strategic link.
At the mechanism level, we should fully establish relevant incentive and restraint mechanisms to promote the cultural and creative products that express Beijing's image to "go global". At present, China has a serious deficit in cultural trade. The "going out" of Beijing's cultural and creative products is not only related to the development of Beijing's cultural and creative industries, but also plays an exemplary role in the development of cultural and creative industries in other cities and regions. Establish an incentive mechanism to encourage related cultural and creative products to "go global", and at the same time establish a restraint mechanism to prevent vicious competition within enterprises. Encourage the production of cultural and creative products that fully reflect Beijing's image, and reward or subsidize good cultural and creative products. Establish relevant coordination mechanisms, break down various barriers between industries, take cultural and creative industries as the leader, take relevant industrial chains as the main body, and aim at improving the overall image and creativity of the city, so as to firmly establish the brand of "Beijing Creativity" in domestic and foreign markets.
On the strategic level, we should make full use of modern media and modern market strategies while excavating the traditional cultural resources of this city. Beijing has a long history and cultural tradition, which is an important advantage of the development of Beijing's cultural and creative industries and the focus of Beijing's urban marketing process. In the era when popular culture has become the main cultural form and cultural trade has become the general trend, this advantage of traditional cultural resources must be combined with modern media, and through modern marketing strategies, traditional cultural resources can be activated and made known and understood by the world. In the production strategy of cultural creative products, we should emphasize the activation of traditional cultural resources in a modern way. In the marketing strategy, passive "please come in" is a combination of "please come in" and "go out". In terms of brand strategy, the only product brand should be "Beijing brand", which takes the embodiment of Beijing city image as the core and forms a series of related brands.
(2) Implement various incentive policies as soon as possible.
Since Beijing clearly put forward to vigorously develop cultural and creative industries, various encouragement policies have been introduced to promote the development of cultural and creative industries. In "Several Policies for Promoting the Development of Cultural and Creative Industries in Beijing" issued on June 5438+ 10, 2006, various encouragement policies were adopted to promote the export of cultural and creative products and services, such as tax refund (exemption), rewarding excellent export enterprises, and cultivating marketing network system. Judging from the current situation, these incentive policies still have various shortcomings such as imperfect laws and regulations and inadequate implementation. Relevant departments should implement relevant policies such as funds, taxes, legal aid and consulting services as soon as possible according to the actual situation of industries and enterprises, so that all kinds of encouragement can not only stay in words.
(3) Integrate industrial resources, promote the docking of cultural and creative industries with other industries, and form a joint force.
Judging from the existing experience, those cultural and creative products with strong international influence and competitiveness are not only because of the advantages of the products themselves. In the initial stage of entering the international market, there are often two "invisible hands" behind politics and economy. In terms of political promotion, developed countries often urge the target market countries to open their own cultural markets through political pressure. For example, the United States uses WTO negotiations and other means to vigorously promote the export of its own cultural products. Economically, those cultural and creative products with strong international competitiveness are often driven by other industrial capitals. Sony, Colombia, Disney and other large multinational groups are the best examples in this regard. Relying on strong economic strength, cultural and creative products play a "locomotive" role in the development of enterprises. It can be seen that without strong political and economic power, it is difficult for cultural and creative products to "outshine others" in the international market.
Due to the comprehensive national strength and China's development concept, it is unrealistic for Beijing Wenchuang products to rely on political pressure in the process of enhancing their international influence. A more realistic approach is to actively promote the docking of cultural and creative industries with other industries, and absorb funds, marketing networks and other resources from other industries to form a joint force. In this way, on the one hand, it can solve various resource problems that need to be solved urgently in the process of cultural and creative products and services going global; On the other hand, we can also give full play to the "locomotive" role of cultural and creative industries and form a complete industrial chain, thus achieving a win-win situation between cultural and creative industries and other related industries.
(4) Improve the training mechanism of cultural and creative talents and promote the transformation of international trade talents.
When talking about several key issues in the development of China's cultural industry, Mr. Long Yongtu pointed out that China's cultural industry "needs to live and work abroad, gain successful experience, and be familiar with foreign production methods, marketing channels and talents for distribution and screening". The lack of relevant talents has become one of the bottlenecks restricting the international influence of China's cultural and creative industries, and Beijing is no exception.
At present, many colleges and universities in Beijing have set up courses in cultural industries, cultural creative industries, international cultural trade and other related majors. However, it is worth noting that in the process of setting up related majors, more attention is paid to the cultivation of related culture, media theory and professional knowledge, and there is a big shortage in the connection with economy and trade. In the future, we should focus on solving the connection between culture and economy and trade, and cultivate real "compound" talents.
While improving related majors and courses, it is also necessary to facilitate the exchange and transfer of foreign trade talents. Compared with cultural trade, China has more experience and achievements in other products trade. After years of development and experience accumulation, China has a large number of high-end talents who can skillfully engage in international trade and deal with related problems in agricultural products, textiles and other fields. With the development of cultural industry and the continuous expansion of foreign cultural trade, it is a shortcut worth trying to make full use of trade talents who have grown up in other fields. Internally, outstanding trade talents can be registered with relevant departments such as culture, foreign trade and economic cooperation, and trained in cultural and creative industries according to their intentions; Externally, government departments can match bridges, promote alliances and exchanges between domestic institutions and foreign cultural enterprises, and invite relevant personnel to train high-end trade talents in domestic non-cultural industries. In addition, special training and qualification examinations can be set up, and international trade talents from other fields can be regularly organized to participate.
(five) clear target market positioning, strengthen research and cooperation on the target market.
The consumption of general material products is common to human beings. For example, China's textiles are cheap and good, which is the case in all countries-both developed countries in Europe and America and backward countries in Africa. Therefore, we can export textiles produced according to the same quality standards to different countries. However, cultural and creative products are not the case. Cultural and creative products are based on the cultural content contained in them. If the content of cultural creative products is incompatible or even contrary to the values and aesthetic tastes of the target market countries, then cultural products cannot succeed in the target market countries. Therefore, in the process of promoting Beijing's cultural and creative products to the international market, we must first make clear the target market positioning and strengthen research and cooperation for the target market.
As early as 1927, the U.S. Department of Commerce published a China market research report provided by embassies and consulates in China personnel, which grasped in detail "the interests of China films", especially reminded producers that "the theme of love triangle and the conflict between two generations is not welcomed by China people because it violates traditional ethics", and summarized "happy reunion" and "clear distinction between good and evil" as the reasons why American films can occupy the China market. An in-depth understanding of the cultural habits and markets of the target market countries is one of the reasons why American cultural products can be popular all over the world.
In the process of promoting Beijing's cultural and creative products to go abroad, we should also have a targeted understanding of the cultural habits and cultural market conditions of the target market countries, and make and distribute cultural products according to the actual situation of the target market countries, so as to get twice the result with half the effort and avoid unnecessary disputes. In terms of specific measures, professional research institutions can be set up to conduct in-depth research on the global cultural market and regularly publish market research reports from various countries for industry reference; In the process of administrative examination and approval, foreign market information such as performance summary report and exhibition summary report can also be provided as a condition for collecting relevant information about foreign cultural markets, which not only facilitates the macro-planning of management departments, but also provides suggestions and guidance for applicants in future related applications.
The ancients in China said: "It is better to build momentum by taking advantage of the situation, and borrowing power is stronger than exerting strength." Strengthening cooperation with target market countries and tapping the resource advantages of partners will play a multiplier role in enhancing the international influence of Beijing's cultural and creative industries.
(six) focus on cultivating a number of internationally renowned large-scale cultural and creative enterprises.
With the acceleration of globalization, the dominant position of international cultural trade has begun to shift from a government to multinational companies. News Corporation, time warner Inc. Company, Disney and other large multinational cultural groups have obvious monopoly positions in the international cultural market. Under the influence of economies of scale, these large multinational groups can concentrate their advantages in capital, technology and talents to form a product chain with intellectual property rights, and then launch it to the global cultural market in various forms to gain competitive advantages. Today, multinational corporations have become the real subject of global cultural trade, and the competition in the international cultural market has also become a kind of competition among giants. Without its own large-scale multinational cultural companies, it is difficult to truly achieve the strategic goal of "going out".
In view of the fact that Beijing's cultural and creative enterprises are generally small in scale and weak in comprehensive strength, mergers and acquisitions between local enterprises and between local enterprises and foreign enterprises are encouraged to form enterprise groups with certain scale and strength. In the process of full enterprise integration, administrative integration and market integration should be unified, so as to realize economies of scale and scope after enterprise integration, change the government operation mode of domestic cultural enterprise integration, and avoid the situation of "big but not strong".