Digital online music in China – A “laboratory” for business experiment

Shen, Xiaobai; Williams, Robin; Zheng, Shufeng; Liu, Yyinliang; Li, Yixiao; Gerst, Martina

doi:10.1016/j.techfore.2018.10.022

Cited by 16 publications

(12 citation statements)

References 28 publications

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“…An entrepreneurial sector sought to profit from and provide a service in response to this. Numerous start-ups began intensely competing by setting up and acquiring networks and platforms (Shen, Williams, Zheng, Liu, Li & Gerst, 2019), evidenced by over 1,100 mergers and acquisitions 'in the technology, media, and telecoms sectors' during 2014-2016 (Jia & Winseck, 2018, 49). Further connections were established by Chinese companies investing in the Korean entertainment industry.…”

Section: The Itinerations Of East Asian Pop Music Industries the Kormentioning

confidence: 99%

“…Only limited artist development had been introduced by the end of the 1990s. In China, the digital economy facilitated platformization rather than the growth of talent acquisition, and conventional cultural production (Shen et al, 2019). This was part of a more general historical change in the music, media and entertainment industries: A shift from investment in production and manufacture (the selling of individual recordings as artefacts) towards a subscription model of access to digital content, underpinned by datafication as a means of risk management and revenue generation (Negus, 2019).…”

Section: The Itinerations Of East Asian Pop Music Industries the Kormentioning

confidence: 99%

“…An entrepreneurial sector sought to profit from and provide a service in response to this. Numerous start-ups began to compete intensely, setting up and acquiring networks and platforms (Shen et al, 2019), evidenced by over 1100 mergers and acquisitions ‘in the technology, media, and telecoms sectors’ during the period 2014–16 (Jia and Winseck, 2018: 49).…”

Section: The Itinerations Of East Asian Pop Music Industries the Kormentioning

confidence: 99%

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East Asian pop music idol production and the emergence of data fandom in China

Zhang

Negus

2020

International Journal of Cultural Studies

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This article traces the formation of popular music idol industries in China and the emergence of data fandom. It charts the growth of digital platforms and historicizes the commercial and geopolitical itinerations linking cultural production in Japan, South Korea, and China. It locates data fandom as an integral part of the popular music industries reconfigured by digital social media platforms; a structural change from the production-to-consumption ‘supply chain’ model of the recording era towards emergent circuits of content that integrate industries and audiences. Data fans understand how their online activities are tracked, and adopt individual and collective strategies to influence metric and semantic information reported on digital platforms and social media. This article analyses how the practices of data fans impact upon charts, media and content traffic, illustrating how this activity benefits the idols they are following, and enhances a fan’s sense of achievement and agency.

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Section: The Itinerations Of East Asian Pop Music Industries the Kormentioning

confidence: 99%

Section: The Itinerations Of East Asian Pop Music Industries the Kormentioning

confidence: 99%

Section: The Itinerations Of East Asian Pop Music Industries the Kormentioning

confidence: 99%

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East Asian pop music idol production and the emergence of data fandom in China

Zhang

Negus

2020

International Journal of Cultural Studies

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“…15 This kind of creative recombination is, of course, a key component of Schumpeter's view of innovation. However we note the sustained experimentation at large scale that has been a distinctive feature of China's successful recent modernisation (Shen et al 2019).…”

Section: Organisation Of Bgi Research Institute 231 Flexible Evolvmentioning

confidence: 87%

Sequencing BGI: the evolution of expertise and research organisation in the world’s leading gene sequencing facility

Wang

Shen

Williams

2020

New Genetics and Society

Self Cite

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The increasing importance of computational techniques in post-genomic life science research calls for new forms and combinations of expertise that cut across established disciplinary boundaries between computing and biology. These are most marked in large scale gene sequencing facilities. Here new ways of organising knowledge production, drawing on industrial models, have been perceived as pursuing efficiency and control to the potential detriment of academic autonomy and scientific quality. We explore how these issues are played out in the case of BGI (Beijing Genomics Institute prior to 2008). BGI (in Pinyin, Hua Da Jiyin-Big China Genome) is today the world's largest centre for gene sequencing research. Semi-detached from traditional academic institutions, BGI has developed distinctive models for organising research and for developing expertise, informed by practices in US Information Technology and Life Science Laboratories, that differ from existing models of interdisciplinary research in academic institutions.

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“…Other scholars try to propose business modelling which is sometimes too technical, thus turning business models into concrete and rigid structures that are measured by idiosyncratic selections of diverse variables (Li et al, 2017). This may limit the innovation of business models and are largely based on empirical studies in the West, which may not be applicable to the Chinese music industries as an emerging market (Shen et al, 2019). Therefore, I do not take such an approach.…”

Section: On Business Modelsmentioning

confidence: 99%

Flying with two wings or coming of age of copyrightisation? A historical and socio-legal analysis of copyright and business model developments in the Chinese music industry

Chen

2021

Global Media and China

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Following the third copyright law amendment in China, this paper offers a timely contribution to the debates on the shifting policy, governance and industry landscape of the Chinese music industry. This paper conducts a historical and socio-legal analysis of the development of Chinese copyright law with regards to the music industry and argues that the Chinese digital music industry has developed to a stage where three business models collide, namely the cultural adaptation model, the renegade model and the platform ecosystem model. This paper draws on interdisciplinary literature and discourses from legal studies, business studies and cultural studies and provide new evidence of the much neglected autonomous development of Chinese copyright law on top of foreign pressure and the desired reforms to further integrate into the global market economy.

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Digital online music in China – A “laboratory” for business experiment

Cited by 16 publications

References 28 publications

East Asian pop music idol production and the emergence of data fandom in China

East Asian pop music idol production and the emergence of data fandom in China

Sequencing BGI: the evolution of expertise and research organisation in the world’s leading gene sequencing facility

Flying with two wings or coming of age of copyrightisation? A historical and socio-legal analysis of copyright and business model developments in the Chinese music industry

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