从文化到创意产业：理论产业和政策启示外文翻译.docx

从文化到创意产业：理论、产业和政策启示外文翻译外文翻译原文From Cultural to Creative Industries: Theory, Industry, and Policy ImplicationsMaterial Source: Australian and New Zealand Standard Research ClassificationAuthor: Stuart CunninghamThe peiper will prese nt a rati on ale for dis tin guishi ng betwee n notions of cultural and creative industries which have implications for theory, industry and policy analysis. I do this from the standpoint of a researcher and analyst and also from a position of a corporate involvement in a substantial project to grow and diversify a regional cconomy through the dcvclopment of its creative industrics.This is a creative industries precinct" in inner suburban Bri sbane involving my universi ty, QUT, the Queensland state government through its Department of State Development， and a variety of industry players, and retail and property developers.There is theorctical purchase in distinguishing the two tcrms, inpart to put further flesh on the bones of claims about the nature of the knowledge-based economy and its relation to culture and crcativity. Shifts in the nature of the industries usually described by the terms also need to be captured effectively, as are different policy regimes that come into play as regulation of and support for cultural and creativc industries. Creative industries is a quite recent category in academic, policy and industry discourse. It can claim to capture significdnt new economy，enterprise dynamics that such terms as "the arts, ， media， and ^cul tural industries do not・ An early recognition of the distinct contribution of the creative industries came in the Creative Industries Task Force Mapping Document CITF 19982001in the UK. This document defined creative industries as ^activities which have their origin in individual creativity, skill and talent and which have the potential for wea1th and job creation through generation and exploitation of intellectual property. ， It mapped into the creative industries sector the following activities: Advertising, Architecture, Arts and Antique Meirkcts, Crafts， Design, Dcsigncr Fashion, Film, Interactive Leisure Software, Music, Television and Radio, Performing Arts, Publ i shing and Soft ware. This eclectic 1 i st includes the resol ut ely analoguearts, crafts, antiques， architecture, established commercial busi ness sec to rsTV, radio, f ilmas well as all-digital new eco nomy sectors software 、 intcractivc leisure software.Critics point to a rather arbitrary exclusivity in the list, whereby, for example, the heritage sec tor is omitted despite its economic, creative and cultural characteristics being at least if not more robust than some of the sec tors included. Never theless, the Task Force approach valuably stresses commercial or commercial sable achicvcmcnts or potential, and also stresses the overall strategic importance of the notion of the creative industries to Britain s export profile and international branding. The Task Force" s work is claimed to have had a galvanising effect on Britain， s cultural profile, and has been the template overlaid on a good deal of subsequent policy development work in the UK.In March 2001 the t hen Secre tary of St ate, Chris Smith, put out an update from the Task Force CITF 2001. A few years on, the significance of the creative industries to the knowledge economy and rmtiorml weal th has been widely appreciated. Regions and cities， as well as venture capital, are providing, he reported, more focused support measures. There is better career strueturing, some reforms of education and training programs, and ownership of intellectual property issues by practitioners. Smi th said of pol icy set tings in the UK: The crea tive in dustri es have moved from the fringes to the mainstream.，But its exclusivity and its lack of differentiation of the cultural and creative industries leave some questions unanswcTcd. They arc not only theoretical questions but go to issues of how to measure the size, nature and prospccts of the "industries， we claim to be analysing or championing, and how to develop policies and programs to most appropriately develop, facilitate or intervene in them. There is almost exasperation in Simon Roodhouse s survey of what he calls the tortuous and contorted definitional history" of the arts, cultural and creative industries and he calls for a more inclusive definition than those like the Task Force" s from the perspec tive of one wanting a st able framework for data classif ication and col lectionI am not going to go over ground covered by other analysts on the ideation nail history of the movements from the arts to cultural to creative industries but see Hartley and Cunningham 2001, but I w订 1 probably add to those tortuous contortions while focusing on some strategic aspects of the present moment, where creative industries as a concept and policy instrument is being effectively invented. This is in relation not just to the perhaps too narrow hist。