创意产业穿过文化边缘：电子游戏在亚洲------外文翻译.doc
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创意产业穿过文化边缘：电子游戏在亚洲------外文翻译,摘要：这章介绍创意产业中文化、经济与政策之间的关系（就本文的目的，假设等同于文化产业），以及他们在亚洲的表现。寻址这三个问题中的任何一个本身就是一个挑战，但三个问题一起处理更是复杂。之前的“创意经济”学者就发现它的工作不同于传统经济。研究文化是了解创意产业发展相当重要的途径，但是文化如何形成国家竞争优势却不清楚。政策也...
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此文档由会员 wanli1988go 发布
摘要：这章介绍创意产业中文化、经济与政策之间的关系（就本文的目的，假设等同于文化产业），以及他们在亚洲的表现。寻址这三个问题中的任何一个本身就是一个挑战，但三个问题一起处理更是复杂。之前的“创意经济”学者就发现它的工作不同于传统经济。研究文化是了解创意产业发展相当重要的途径，但是文化如何形成国家竞争优势却不清楚。政策也是一样的，所以三者的讨论是相当复杂的。我已经说过，三者对创意产业的描述至关重要，正如我将在文章中阐述。
本文试图解决三者的关系，首先以产品创新为目标的工业组织，接下来是创意文化和政策。我首先通过一个特定部门——电子游戏产业——亚洲投资的重点产业。为了利于比较，我还会把有限的焦点放在动漫部门。首先，我会简要概述一下在美国出现的电子游戏创意产品，紧接着亚洲模式的比较检验。我很想知道亚洲的私人和企业的创造力水平是否相同。在亚洲，更多地讨论中国网络游戏产业和菲律宾的动漫产业，但是相关观点还是来自于日本、韩国和新加坡的相关知识和文献回顾，以及证实这些观点的访谈。
Introduction
This chapter examines the relationship between culture, economics and policy within the creative industries (which for the purposes of this paper, are assumed to be equivalent to the cultural industries), and their manifestation in Asia. Addressing any one of these three issues is a challenge in itself, but addressing all three of them together raises the complexity even further. Early writers on the “creative economy” have noted how it works differently from the traditional economy (Florida 2002; Howkins 2001).1 Culture is vitally important to understanding how creative industries develop, but the role of culture in shaping national competitive advantage is not that clear. The same can be said for policy, and a discussion of the triad can be quite convoluted. Having said that, all three levels are still very relevant to the proper description of a creative industry – as I will show in this chapter. This paper attempts to address this triad of issues primarily with a productionand-innovation-oriented view of industrial organisation, bringing in creativity, culture and policy where possible. I shall do this primarily through the lens of one sector in particular – the video games industry – in which Asia has been investing heavily lately, and in which Japan has been an early leader. I will also provide a limited focus on the animation sector for comparative purposes. I will first provide a summary of how creative production in video games occurs in the US, followed by an examination of how
本文试图解决三者的关系，首先以产品创新为目标的工业组织，接下来是创意文化和政策。我首先通过一个特定部门——电子游戏产业——亚洲投资的重点产业。为了利于比较，我还会把有限的焦点放在动漫部门。首先，我会简要概述一下在美国出现的电子游戏创意产品，紧接着亚洲模式的比较检验。我很想知道亚洲的私人和企业的创造力水平是否相同。在亚洲，更多地讨论中国网络游戏产业和菲律宾的动漫产业，但是相关观点还是来自于日本、韩国和新加坡的相关知识和文献回顾，以及证实这些观点的访谈。
Introduction
This chapter examines the relationship between culture, economics and policy within the creative industries (which for the purposes of this paper, are assumed to be equivalent to the cultural industries), and their manifestation in Asia. Addressing any one of these three issues is a challenge in itself, but addressing all three of them together raises the complexity even further. Early writers on the “creative economy” have noted how it works differently from the traditional economy (Florida 2002; Howkins 2001).1 Culture is vitally important to understanding how creative industries develop, but the role of culture in shaping national competitive advantage is not that clear. The same can be said for policy, and a discussion of the triad can be quite convoluted. Having said that, all three levels are still very relevant to the proper description of a creative industry – as I will show in this chapter. This paper attempts to address this triad of issues primarily with a productionand-innovation-oriented view of industrial organisation, bringing in creativity, culture and policy where possible. I shall do this primarily through the lens of one sector in particular – the video games industry – in which Asia has been investing heavily lately, and in which Japan has been an early leader. I will also provide a limited focus on the animation sector for comparative purposes. I will first provide a summary of how creative production in video games occurs in the US, followed by an examination of how
