I acknowledge the support of the Australian Research Council in enabling this research to be undertaken. The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. The author disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: Research for this paper was funded through the Australian Research Council Discovery-Projects DP140101643 Willing Collaborators: Negotiating Change in East Asian Media Production.
1 I use the term developed nation or economy rather than West or Western. A developed economy in this sense is where tertiary and quaternary sectors dominate the economy.
2 Robert Baldwin, “Globalisation: The Great Unbundling(s),” Economic Council of Finland, 2006, available at www.tinyurl.com/2ol2n8.
3 For instance, see G. Hearn, R. Bridgstock, B. Goldsmith, and J. Rodgers, eds., Creative Work beyond the Creative Industries (Cheltenham: Edward Elgar, 2014).
4 See Nestor Gabriel Canclini, “Precarious Creativity: Youth in a Post-Industrial Culture,” Journal of Latin American Cultural Studies: Travesia 22.4 (2013): 341–352.
5 Boosterist claims of the creative economy proliferate in most countries. Much of this relates to errors in accounting, namely the propensity to count as creative things that are evidently not creative. The first book to advance the cause was John Howkins’s The Creative Economy: How People Make Money from Ideas.
6 For instance, facilities maintenance, hospitality, domestic work. See Terry Flew, The Creative Industries: Culture and Policy (London: Sage 2012), 107.
7 From 251 valid surveys (from a total of 400) in Beijing (Fangjia 46, Shijingshan Cyber Recreation Park), Suzhou Industrial Park and Creative 100 (Qingdao), conducted May 2009 to July 2010. Michael Keane, China’s New Creative Clusters: Governance, Human Capital and Investment (London: Routledge 2011).
8 See Seamus Grimes, “Foreign R&D in China: An Evolving Innovation Landscape,” in Innovation and Intellectual Property in China: Strategies, Contexts and Challenges, ed. K. Shao and X. Fend (Cheltenham: Edward Elgar, 2014), 186–205.
9 AnnaLee Saxenian, The New Argonauts: Regional Advantage in a Global Economy (Cambridge, MA: Harvard University Press, 2006), 201.
10 The term cultural soft power in China is used to refer to China’s attempts to move its cultural and media products into international markets. See Michael Keane, Creative Industries in China: Art, Design, Media (London: Polity 2013); and Michael Keane, China’s Television Industry (London: BFI Palgrave, 2015).
11 Gilbert Ryle, The Concept of Mind (Chicago: University of Chicago Press, 1949).
12 Ibid., 45.
13 For a discussion of soft power competition regionally, see Beng-Huat Chua, Structure, Audience and Soft Power in East Asian Culture (Hong Kong: Hong Kong University Press, 2012).
14 For a discussion, see Jason Potts and Tarecq Shehadeh, “Compensating Differentials in the Creative Industries: Some Evidence from HILDA,” in Creative Work beyond the Creative Industries, ed. G. Hearn, R. Bridgstock, B. Goldsmith, and J. Rodgers (Cheltenham: Edward Elgar, 2014).
15 McKinsey Global Institute, “Preparing for China’s Urban Billion” (McKinsey and Company, 2009).
16 The One Child Policy refers to the policy adopted in 1978 that mandated that each family is allowed one child with the exception of minorities. The policy has undergone revision in the past few years, allowing people who were single children to marry and have two children.
17 The hukou refers to the household registration scheme initiated in the 1950s to maintain population control. It is essentially a work permit.
18 For a discussion, see Keane, Creative Industries in China.
19 The word industrialization is translated as gongyehua.
20 Martin King Whyte, “The Paradox of Rural-Urban Inequality in Contemporary China,” in One Country, Two Societies: Rural-Urban Inequality in Contemporary China, ed. M.K. Whyte (Cambridge, MA: Harvard University Press, 2010), 1–28.
21 Michael Keane, China’s New Creative Clusters: Governance, Human Capital and Investment (London: Routledge, 2011).
22 Loretta Napoleoni, Maonomics: Why Chinese Communists Make Better Capitalists Than We Do, trans. Stephen Twilley (New York: Seven Stories Press, 2011), 41.
23 See Juncheng Dai, Shengyi Zhou, Michael Keane, and Qian Huang, “Mobility of the Creative Class: A Case Study of Chinese Animation Workers,” Eurasian Geography and Economics 53.5 (2012): 649–670.
24 Mark Banks and David Hesmondhalgh, “Looking for Work in Creative Industries Policy,” International Journal of Cultural Policy 15.4 (2009): 515–430; David Hesmondhalgh, David, The Cultural Industries, 2nd ed. (London: Sage, 2007); Andrew Ross, Fast Boat to China: Corporate Flight and the Consequences of Free Trade: Lessons from Shanghai (New York: Pantheon Books, 2006); Kate Oakley, “In Its Own Image: New Labour and the Cultural Workforce,” Cultural Trends 20.3–4 (2012): 281–289.
25 For instance, see the other essays in this volume.
26 Alan Burton-Jones, Knowledge Capitalism: Business, Work, and Learning in the New Economy (Oxford: Oxford University Press, 1999).
27 For a discussion of media capital, see Michael Curtin, Playing to the World’s Biggest Audience: The Globalization of Chinese Film and TV (Berkeley: University of California Press, 2007). For Silicon Valley, see Martin Kenney, ed., Understanding Silicon Valley: The Anatomy of an Entrepreneurial Region (Stanford, CA: Stanford University Press, 2000).
28 From National Bureau of Statistics and China Statistical Yearbook, Beijing.
29 See www.zhihu.com/question/19588383.
30 See www.zhuayoukong.com/122808.html.
31 Dai Juncheng, Zhou Shangyi, Michael Keane, and Qian Huang, ‘Mobility of the Creative Class and City Attractiveness: A Case Study of Chinese Animation Workers,” Eurasian Geography and Economics 53.4 (2012): 649–670.
32 Interview with Shaun Rein, September 15, 2014, available at http://www.creativetransformations.a...chinese-dream/.
33 Ying Zhu, Two Billion Eyes: The Story of China Central Television (New York: Free Press, 2012).
34 Focus group discussion with representatives of Beijing Media Group, including production managers, marketing, and programmers, QUT, Brisbane, September 25, 2014.
35 Enlight media was formed in 1998 by Wang Changtian, a former producer at Beijing Television. For a discussion, see Yuezhi Zhao, Communication in China: Political Economy, Power and Conflict (Lanham, MD: Rowman & Littlefield, 2008).
36 Michael Keane and Bonnie Rui Liu, “China’s New Creative Strategy: Cultural Soft Power and New Markets,” in Asian Popular Culture: The Global Cultural (Dis)connection, ed. Anthony Fung (London: Routledge, 2013), 233–249.
37 Keane, China’s Television Industry.
38 X. Yingdan, “90% from the Private Production in China’s TV Drama Market,” Xinhua Daily, May 28, 2007, www.ccmedu.com.bbs33_45123.html.
39 See Keane, China’s New Creative Clusters.
40 Interview with Shaun Rein, September 16, 2014.
41 Eric Wilson, “O and RL: Monograms Meet,” New York Times, October 25, 2011, www.nytimes.com/2011/10/27/fashion/oprah-winfrey-interviews-ralph-lauren.html?_r=1&.
42 Interview with Tim Lindgren, September 12, 2014.
43 The Dream of the Red Chamber (hong lou meng), The Journey to the West (xiyouji), Outlaws of the Marsh (shuihu zhuan), and Romance of the Three Kingdoms (sanguo yanyi).
44 Interview, Beijing, August 25, 2014.
45 Keane, China’s New Creative Clusters.
46 See ibid.
47 Keane, Creative Industries in China.
48 I have elsewhere argued that the concept of neoliberalism is problematic and is not applicable to China. See, for example, Keane, The Chinese Television Industry.
49 Curtin, Playing to the World’s Biggest Audience.
50 See the discussion by Yingchi Chu regarding horizons of expectation. Yingchi Chu, “The Politics of Reception: ‘Made in China’ and Western Critique,” International Journal of Cultural Studies 17.2 (2014): 159–173.
51 Guanxi is usually translated as “personal relationships”; these may have political implications.
52 For a discussion of knowing-to in traditional Chinese philosophy, see Stephen Hetherington and Karyn L. Lai, “Knowing-How and Knowing-To,” in The Philosophical Challenge from China, ed. Bryan Bruya (Cambridge, MA: MIT Press, 2015), 279–301.
