Cultural policy between the state and the market: regulation, creativity and contradiction

Tong, Quan; Hung, Ruth Y. Y.

doi:10.1080/10286632.2012.662963

Cited by 19 publications

(3 citation statements)

References 2 publications

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“…Although China's cultural and creative industries have undergone a shift from politically driven industries to more market-oriented industries (Wang 2018;O'Connor and Xin 2006) and culture is no longer the focus of an open ideological struggle as it was during the Cultural Revolution (Tong and Hung 2012), my analysis of digital Dunhuang demonstrates that the ideology continues to play a crucial role in cultural development in the last decade. The analytical results reveal that cultural ideology has a potential impact on cultural and creative industries.…”

Section: Resultsmentioning

confidence: 96%

Gaining Instead of Losing: The Image of Dunhuang as a Religious Heritage in a WeChat Mini-Programme

Song

2023

Religions

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In 2020, a WeChat mini-programme called the Dunhuang E-Tour (云游敦煌) was launched during the COVID-19 pandemic to showcase one of China’s most important religious heritage sites, the Dunhuang Mogao Grottoes (also known as the Dunhuang Caves), and it attracted a considerable number of online tourists. Unlike the colonial image of Dunhuang in Chinese public discourse, the mini-programme does not focus on Dunhuang’s history; rather, it provides a dynamic and interactive representation of Dunhuang’s religious murals, painted sculptures and cave architecture. To reflect the impact of the mini-programme’s digital mechanisms on users’ experience, this study adopts an analytical framework that combines the walkthrough method and religious tourist perspectives to explore the image of the digital Dunhuang and how it was shaped. The analysis finds that the functions of the Dunhuang E-Tour create a culturally rich image of Dunhuang, which subverts its decades-long Dunhuang image as a site of loss in Chinese public discourse. This difference in images mirrors the potential impact of China’s recent cultural policy of ‘cultural confidence’ in relation to its cultural and creative industries.

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Section: Resultsmentioning

confidence: 96%

Gaining Instead of Losing: The Image of Dunhuang as a Religious Heritage in a WeChat Mini-Programme

Song

2023

Religions

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“…At one extreme is China, with its strong, typically Socialist/Communist cultural policy, whereby art and literature in particular can be produced and supported only when it meets the state's political will and vision. Culture in China, in other words, has been much repressed and survived when it served the ideological cohesion of the party state (Tong and Hung, 2012). In other countries, however, the perceived threat was not unitary, while Western influences were not necessarily viewed with alarm.…”

Section: Development Of Cultural Policymentioning

confidence: 99%

Cultural Policies in East Asia

Kawashima

2015

International Encyclopedia of the Social &Amp; Behavioral Sciences

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“…Contemporary cultural policy in China is characterised by the party-state's dual emphasises on the political and economic functions of culture (Tong and Hung 2012). The party-state has made use of the growing cultural market and creative industries to maintain its hegemony in the politicalsymbolic realm (O'Connor and Gu 2020).…”

Section: Missed Juncture: the Resilience Of The Statist Cultural Policy Regime (China)mentioning

confidence: 99%

The Covid-19 crisis and ‘critical juncture’ in cultural policy: a comparative analysis of cultural policy responses in South Korea, Japan and China

Terui

2021

International Journal of Cultural Policy

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This paper reflects on how cultural policies in South Korea, Japan and China respond to the Covid-19 crisis. It conceptualises the current period as a historically significant moment by exploring the notion of 'critical juncture'. Then, it presents an empirical analysis of what has actually happened in cultural policies in the three countries by investigating key events, debates, actors and decisions made in 2020. In Korea, the pandemic functions as a force of 'policy acceleration' by legitimising and furthering the existing development in cultural policy. In Japan, it triggered 'policy movement', where artists emerged as institutional entrepreneurs who fundamentally contest Japan's non-interventionist cultural policy and ask for policy reform. In China, cultural policy is 'locked-in' as the party-state appropriated the crisis in its ideological terms. Despite the lack of visible transformative changes (yet), the consequences of the pandemic are critical enough to determine the future direction of cultural policy.

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Cultural policy between the state and the market: regulation, creativity and contradiction

Cited by 19 publications

References 2 publications

Gaining Instead of Losing: The Image of Dunhuang as a Religious Heritage in a WeChat Mini-Programme

Gaining Instead of Losing: The Image of Dunhuang as a Religious Heritage in a WeChat Mini-Programme

Cultural Policies in East Asia

The Covid-19 crisis and ‘critical juncture’ in cultural policy: a comparative analysis of cultural policy responses in South Korea, Japan and China

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