京沪文化创意产业发展比较研究
|
摘要
北京市和上海市的文化创意产业发展迅速,已经成为支柱性产业.北京形成文化创意产业发展的"一核、一带、两轴、多中心"的空间发展格局,而上海则形成"一轴、一带、两河、多圈"的空间格局.北京以京派文化、首都文化等为基础,形成"3+3+X"的文化创意产业发展模式,而上海以沪派文化、国际经济中心等为基础,形成"5+3+3"的文化创意产业发展模式.北京市和上海市都已经通过多元投融资渠道,在园区发展模式上由自发型走向政府导向型模式.
The Cultural and Creative Industry in Beijing and Shanghai has developed rapidly and become the pillar industry.Beijing has formed the space development layout of"one core,two axes and multi center area"and Shanghai has formed the layout of"a shaft,along the rivers and multi ring".The"3+3+X"model of the cultural and creative industry in Beijing is based on Beijing school culture and capital culture,while"5+3+3"model of the cultural and creative industry in Shanghai is based on Shanghai culture and international economic center.The zone development of Beijing and Shanghai has head for government-led model from the spontaneous model through multi investment and financing systems.
The Cultural and Creative Industry in Beijing and Shanghai has developed rapidly and become the pillar industry.Beijing has formed the space development layout of"one core,two axes and multi center area"and Shanghai has formed the layout of"a shaft,along the rivers and multi ring".The"3+3+X"model of the cultural and creative industry in Beijing is based on Beijing school culture and capital culture,while"5+3+3"model of the cultural and creative industry in Shanghai is based on Shanghai culture and international economic center.The zone development of Beijing and Shanghai has head for government-led model from the spontaneous model through multi investment and financing systems.
引文
[1]北京市统计局.北京市统计年鉴2013[M].北京:中国统计出版社,2013.
[2]蒯大申.上海文化发展报告2014[M].北京:社会科学出版社,2014.
[3]赵讷,汪明峰.文化创意产业空间布局及动力机制:伦敦与上海比较研究[J].城市观察,2016,43(3):150-151.
[4]滕堂伟,翁玲玲,韦素琼.中国文化产业发展的区域差异[J].经济地理,2014,34(7):99-104.
[5]张晓明,胡惠林,章建刚.中国文化产业发展报告[M].北京:社会科学文献出版社,2008.
[6]王益澄,杨阳.浙江省文化创意产业发展模式的反思:基于文化创意产业园的审视[J].宁波大学学报,2016,29(4):125-132.
[7]洪娟,孙黛林,付建文.北京与伦敦文化创意产业发展比较研究[J].城市问题,2013,35(6):37-41.
[8]袁晓玲,何里文,陈亮.中国城市文化产业效率研究[J].财经理论与实践,2015,36(6):111-116.
[9]李庆本.文化创意产业:“北京模式”和“昆士兰模式”比较研究[M].北京:北京大学出版社,2015.
[10]向勇,刘静.中国文化创意产业园区实践与观察[M].北京:红旗出版社,2012.
[11]戴钰.湖南省文化产业集聚及其影响因素研究[J].经济地理,2013,33(4):116-121.
[12]姜玲,王丽龄.文化创意产业集聚效益分析:以北京市文化创意产业发展为例[J].中国软科学,2016,34(4):176-183.
[2]蒯大申.上海文化发展报告2014[M].北京:社会科学出版社,2014.
[3]赵讷,汪明峰.文化创意产业空间布局及动力机制:伦敦与上海比较研究[J].城市观察,2016,43(3):150-151.
[4]滕堂伟,翁玲玲,韦素琼.中国文化产业发展的区域差异[J].经济地理,2014,34(7):99-104.
[5]张晓明,胡惠林,章建刚.中国文化产业发展报告[M].北京:社会科学文献出版社,2008.
[6]王益澄,杨阳.浙江省文化创意产业发展模式的反思:基于文化创意产业园的审视[J].宁波大学学报,2016,29(4):125-132.
[7]洪娟,孙黛林,付建文.北京与伦敦文化创意产业发展比较研究[J].城市问题,2013,35(6):37-41.
[8]袁晓玲,何里文,陈亮.中国城市文化产业效率研究[J].财经理论与实践,2015,36(6):111-116.
[9]李庆本.文化创意产业:“北京模式”和“昆士兰模式”比较研究[M].北京:北京大学出版社,2015.
[10]向勇,刘静.中国文化创意产业园区实践与观察[M].北京:红旗出版社,2012.
[11]戴钰.湖南省文化产业集聚及其影响因素研究[J].经济地理,2013,33(4):116-121.
[12]姜玲,王丽龄.文化创意产业集聚效益分析:以北京市文化创意产业发展为例[J].中国软科学,2016,34(4):176-183.