15.8: Notes
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- Anthony Fung
- University of California Press
This work was fully supported by a grant from the Research Grant Council of Hong Kong Special Administrative Region (Project no. 4001-SPPR-09).
1 Data collection was conducted from 2011 to 2013. The research team interviewed seventy informants in China, South Korea, Malaysia, Singapore, and Vietnam. All are practitioners in the game industry, including online games, mobile games, handheld games, console games, computer games, and arcade games.
2 Maharaj Krishna Raina, The Creative Passion: E. Paul Torrance’s Voyages of Discovering Creativity (Stamford, CT: Ablex, 2000).
3 Beth Hennessey, “The Social Psychology of Creativity,” Scandinavian Journal of Educational Research 47.2 (2003): 253–271.
4 Richard Florida, The Rise of the Creative Class and How It’s Transforming Work, Leisure, Community and Everyday Life . (New York: Basic Books, 2002).
5 David Hesmondhalgh and Sarah Baker, Creative Labour: Media Work in Three Cultural Industries (New York: Routledge, 2011).
6 Todd Lubart, “Cross-Cultural Perspectives on Creativity,” in The Cambridge Handbook of Creativity , ed. James C. Kaufman and Robert J. Sternberg (New York: Cambridge University Press, 2010), 265–278.
7 Laura Murray, S. Tina Piper, and Kirsty Robertson, Putting Intellectual Property in Its Place: Rights Discourses, Creative Labor and the Everyday (New York: Oxford University Press, 2014).
8 Michael Keane, Creative Industries in China: Art, Design and Media . (Cambridge: Polity, 2013).
9 Toby Miller, Nitin Govil, John McMurria, Richard Maxwell, and Ting Wang, Global Hollywood 2 (London: British Film Institute, 2008).
10 Richard Florida, The Rise of Creative Class, Revisited (New York: Basic Books, 2012).
11 Mark Banks, The Politics of Cultural Work (New York: Palgrave Macmillan, 2007).
12 Anthony Fung and Vicky Ho, “Cultural Policy, Chinese National Identity and Globalization,” in Global Media and National Policies: The Return of the State , ed. T. Flew, P. Iosifidis, and J. Steemers (New York: Palgrave Macmillan, 2016).
13 Richard Caves, Creative Industries: Contracts between Art and Commerce (Cambridge, MA: Harvard University Press, 2002).
14 Maureen McKelvey and Sharmistha Bachi-Sen, eds., Innovation Spaces in Asia: Entrepreneurs, Multinational Enterprises and Policy (Cheltenham: Edward Elgar, 2015).
15 Tiziana Terranova, “Free Labor,” in Digital Labor: The Internet as Playground and Factory , ed. T. Scholz (New York: Routledge, 2013), 33–57.
16 Murray, Piper, and Robertson, Putting Intellectual Property in Its Place .
17 Florida, The Rise of Creative Class, Revisited .
18 Florida, The Rise of the Creative Class.
19 Pitman Pott, “Belief in Control: Regulation of Religion in China,” in China Quarterly 174 (2003): 317–337.
20 Ibid.
21 Lucy Montgomery, China’s Creative Industries: Copyright, Social Network Markets and the Business of Culture in a Digital Age (Cheltenham: Edward Elgar, 2010).
22 UNESCO, Creative Economy Report 2013 Special Edition: Widening Local Development Pathways (2013), www.unesco.org/culture/pdf/creative-economy-report-2013.pdf