Handbook of Cultural and Creative Industries in China
Bibliographic Data
| ID | 23178290 |
|---|---|
| Authors | Tim Lindgren (0000-0003-2986-8025, corresponding author) |
| Editors | Michael Keane (0000-0002-9131-7008) |
| Year | 2016 |
| Publication date | 2016-05-27 |
| Open Access | No |
| Type | BOOK |
| Venue | Handbook of Cultural Industries in China (SOURCE_BOOK) |
| Publisher | Edward Elgar Publishing (PUBLISHER • GB) |
| DOI | 10.4337/9781782549864 |
| OpenAlex | W3084126970 |
| ISBN | 9781782549864 |
| Language | EN |
| Citations received | 27 |
The fashion industry is a potentially dynamic sector of the cultural and creative industries, an area in which China already has a dominant global presence through its mass manufacturing of garments. However, the 'made in China' label that appears on garments through the developed world does not signify a Chinese cultural presence. Fashion is identified with creativity. Chinese designers want to create brands. In the Chinese coastal city of Qingdao, a local garment manufacturer has invested RMB 1 billion (US$163.6 million) over the past several years in cloud computing. Red Collar's online platform allows it to respond to the increasingly specialized and sophisticated needs of its global clients. The platform enables Red Collar to flexibly organize manufacturing capacities; for instance, it produces some three thousand tailored garments each day for clients in New York and has plans to double the availability of this kind of customizable production in the future. Red Collar illustrates the possibilities of cloud computing in transforming China's garment manufacturing industry (Xinhua News Agency 2015). While the company is changing long established industrial manufacturing processes, at the creative end of the value chain Chinese fashion designers are seeking out a presence on the world stage.
Archaeology · Art · China · Creative industries · Geography · Visual arts · Cultural Industries and Urban Development · Engineering
Bilateral trade of films, religion, and democracy (2002–2015)
Cultural Exports, Creative Strategies and Collaborations in the Mainland Chinese Market
Iron bubbles
The newsworthiness of Gu Ailing
WeTV in Thailand
Australian cultural studies in an 'Asian century
How does the Chinese smartphone brand attract new filmmakers to make films with their phones
China’s soft power conundrum, film coproduction, and visions of shared prosperity
Between distinction and ‘common prosperity’
Disperse and preserve the perverse
Introspecting the History
Shenzhen – A typical benchmark of Chinese rapid urbanization miracle
Untamed Jianghu or Emerging Profession
Fendou
Mediated Massacre
Entrepreneurial solutionism, characteristic cultural industries and the Chinese dream
The creative spatio-temporal fix
Streaming media business strategies and audience-centered practices
Regulating Dominant Platforms
Independent Game Production in Southern China
Networks, collaboration and knowledge exchange in creative industries
Author, Artist, Actress
The impacts of cultural policy on gaming entrepreneurs in Shanghai
Art, art education, creative industry
‘ Deaf Is Only One of Us ’ and Other Viewpoints in Historical Debates on TV and Film Captioning in Hong Kong
Using movement
Towards a critical anthropology of the (de)creative turn in heritage
| Unique citing works | 27 |
|---|---|
| Citations per year | 3 |
| Citation span | 2017 - 2026 (10) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 12 |