Performance analysis of the cultural and creative industry: a network‐based approach

Abstract

The cultural and creative industries (CCIs) in Taiwan have gradually contributed to the national economy under the impetus of government policies. We employ a two‐stage data envelopment analysis model with an additive efficiency decomposition approach to measure the profitability and marketability of 22 Taiwanese cultural and creative companies. Furthermore, we employ the network‐based ranking approach to identify benchmark inputs/outputs, and the strengths and weakness of each company. Our empirical results show that the profitability of the cultural and creative companies is better than their marketability. Companies in the industries of publishing, creative life, popular music, and cultural content averagely perform better than those in the other three types of CCIs in terms of profitability. Companies in the creative life industry are on average more efficient than those in the other five types of CCIs in terms of marketability. The profitability/marketability matrix of cultural and creative companies is also presented.

On the Development of Cultural and Creative Industry in Museums: A Case Study of Beijing Palace Museum

“…In addition to the Palace Museum school in Beijing, the museum has also set up branches of the Palace Museum school in ten cities. No one is asking the Palace Museum to develop a museum school [22], but the Palace Museum believes that it is worthwhile to invest a lot of marketing revenue in the education of children, so that they can love Chinese culture when they grow up [29].…”

“…The cultural consumption psychology of the Chinese people tends to pursue brand awareness and brand effect, which is also reflected in the interaction with the museum. At the same time, it is true that many of the cultural and creative products of the Palace Museum rely on the existing historical stories, but there are still some doubts on the Internet platform that it overuses the network language to attract the audience, which has lost the professionalism and seriousness it should have as a museum in the historical and cultural communication [22]. The increasing involvement of museums in commercial activities will easily push museums into the forefront of the discussion on professional ethics.…”

“…Among the national museums in China, the Palace Museum, Shanghai Museum, Capital Museum, Nanjing Museum, Suzhou Museum and other large museums have developed well [5]. However, compared with foreign countries, there are still some deficiencies, such as serious homogenization of cultural and creative products [13,[15][16][17][18][19][20][21], "little about everything" [8], low proportion of originality [9], loss of the seriousness on network platform [22][23], lack of relevant professionals and management [15,20,24], the generation of virtual heat phenomenon [9,13,21], etc. These are the problems that should be "cold" to think about and solve behind the "hot" of China's cultural and creative industry in museums [23].…”

“…Behind the museum craze is the public's increasing awareness and identification of national culture and traditional culture, as well as the promotion of spiritual and cultural consumption demand. In order to make historical stories more lightsome, easy-to-read network language is properly used [22]. And the innovation of the traditional festival expression makes the public feel the human kindness.…”

“…Yinzhen's Beauties, which has digitized twelve screen portraits of beauties, shows the gorgeous and elegant court life of the Qing Dynasty. And Han Xizai's Banquet reveals the social and historical background behind this picture with professional academic materials and innovative interactive aesthetics [20,22]. At the same time, the Palace Museum also combines digital technology and communication technology to build a digital museum.…”