Blue Book of Cultural Industry: The Internet will dominate the film market's "cultural going global" publicity and innovation

Recently, the "Cultural Blue Book: China Cultural Industry Development Report (2015~2016)" organized and compiled by the Cultural Research Center of China Academy of Social Sciences was published and distributed by Social Science Literature Publishing House.

Recently, the "Cultural Blue Book: China Cultural Industry Development Report (2015~2016)" organized and compiled by the Cultural Research Center of China Academy of Social Sciences was published and distributed by Social Science Literature Publishing House.

The Blue Book on Internet Companies to dominate China's Film Market

points out that in 2014, Internet companies represented by BAT had already used a series of investment and mergers and acquisitions to allow China's film market to fully appreciate the huge impact brought by the Internet. Under the direct or indirect promotion of BAT, a new model of crowdfunding has emerged in film investment, a model of video website platforms or new media has emerged in film distribution, and a new model of group buying and online seat selection has emerged in film ticket purchase. The emergence of these new models has fundamentally changed the traditional film industry chain and integrated it with the Internet industry chain.

In the foreseeable future, Internet companies are bound to gradually penetrate into the entire film industry chain, and may even integrate China's film industry with the Internet ecosystem. The ecosystem launched and continuously improved by BAT, LeTV, 360, Xiaomi and other companies will gradually devour the film industry, making it an indispensable part of the ecosystem.

The Blue Book on Improving the paying propensity of Emerging Cultural Consumers

points out that the integrated development of traditional cultural consumption and emerging cultural consumption is another structural feature of cultural consumption at this stage. The development of information technology, Internet and mobile Internet technologies has greatly stimulated the development of emerging media and their integration with traditional media. Faced with different consumption methods, consumption channels and even new consumer goods and services, the field of cultural consumption has been greatly expanded. Taking the Internet as an example, we can summarize the characteristics of some emerging cultural consumption, which will help to have a deeper understanding of the characteristics of cultural consumption at the current stage.

First, the consumer group will be younger. In 2013, the number of mobile Internet users in my country reached 652 million, and young people are the main Internet users. Among them, 31% are 24 years old and below, 29% are 25 to 30 years old, and 18% are 31 to 35 years old. This trend of rejuvenation is reflected in various fields of emerging cultural consumption, mainly in the fields of online literature, online music, online games, and online video. The main consumer groups are all younger.

Second, the academic qualifications are low. Another major feature of emerging cultural consumer groups is that the trend of consumers spreading to low-educated people continues to develop. Most of the academic qualifications of Internet netizens in my country are concentrated in high schools/vocational high schools/technical secondary schools (33%), with undergraduate courses accounting for 23%, and junior colleges accounting for 20%. Among my country's mobile news and information application netizens, 31% graduated from high school/vocational high school/technical secondary school/technical school, while 35% of my country's mobile music application netizens graduated from high school/vocational high school/technical secondary school/technical school. Undergraduate, junior college, master's degree and above total account for about 40% of the total, indicating that the academic qualifications of emerging cultural consumer groups are generally low.

Third, income is low. Statistics on Internet user income in China show that 23% have incomes below 1000 yuan, 10% have incomes ranging from 1000 to 1,999 yuan, 20% have incomes ranging from 2,000 to 2,999 yuan, and 19% have incomes ranging from 3,000 to 3,999 yuan. Consumer groups are mainly low-and middle-income people. In China, 25% of Internet users with mobile video applications have income below 1000 yuan, and 24% have income from 2,000 to 2,999 yuan. 28% of netizens from China Mobile's news and information applications have income below 1000 yuan, and 25% have income from 2,000 to 2,999 yuan. In China, 25% of Internet users from mobile music applications have income below 1000 yuan, and 24% have income from 2,000 to 2,999 yuan.

Fourth, users 'paying propensity has increased. As users 'awareness of payment gradually increases, the government has stepped up efforts to protect copyright, and the number of paying users has gradually increased. Taking online literature as an example, the proportion of online literature users in China who are willing to pay has increased significantly, reaching 28.9%. However, in fact, the proportion of paying users is still less than 10%. The main reason is that the copyright protection environment in China still needs to be improved. The monthly payment limit acceptable to online literature users in China has also increased, especially the proportion of monthly payment users with higher amounts has increased to varying degrees. 3 - 10 yuan is the main payment range acceptable to users, accounting for nearly 50%.

"Cultural going global" requires external publicity, innovation and internal publicity reform. The

Blue Book on Reform points out that reflecting on the problems that have arisen when my country implements the "cultural going global" strategy in recent years can basically be attributed to the result of "internal publicity model doing external publicity", so what needs to be done now is to "use external publicity innovation to force internal publicity reform", which requires further deepening the reform of the cultural system.

Guided by the principles of "government-led, enterprise entities, market operation, and social participation", promoting the construction of a cultural governance system is the central proposition of deepening the reform of the cultural system and the key to improving the level of cultural openness and effectively serving the country's external cultural development strategy. What is a "cultural governance system"? It is to establish an intermediate link with coordination functions-the third department-between the government's "management of culture" and the "management of culture" of specific cultural units. This department is mainly composed of non-profit professional organizations. Externally, it can discuss sensitive issues through non-governmental channels to avoid the inconvenience of the government's direct stance being too rigid. Internally, it can undertake considerable management functions of the government and avoid inappropriate judgments on cultural values. Facts have proved that the establishment of a "cultural governance system" is not only a successful internationally accepted form of social participation in cultural management, but also a major measure to implement the spirit of the Third Plenary Session of the 18th CPC Central Committee-"promoting the modernization of the national governance system and governance capabilities." Building a cultural governance system will surely find a new breakthrough for deepening the reform of the cultural system, and enable the reform of my country's cultural system to embark on a new path from "running culture" to "managing culture", and from "managing culture" to "managing culture", opening up a new situation in my country's foreign cultural exchanges.

The Blue Book on Ending the "Hot Operation" of the Cultural Industry

pointed out that on January 23, 2015, the National Bureau of Statistics released the 2013 Annual Report of China's Cultural Industry, with an added value of 2.1351 billion yuan, accounting for 3.63% of GDP. Among them, the added value of legal persons in the cultural industry was 2008.1 billion yuan, an increase of 201 billion yuan or 11.1% over the previous year, which was 1 percentage point higher than the current GDP growth rate during the same period. In comparison, in 2012, my country's cultural industry legal entities achieved an added value of 1.8071 billion yuan, an increase of 16.5% over the previous year and 6.8 percentage points higher than the current GDP growth rate in the same period. In 2013, the growth rate of the cultural industry dropped significantly again, almost The same as the GDP growth rate in the same year. It now seems that the cultural industry, as an important sector of the national economy, has grown significantly beyond other sectors of the national economy for a long time. Judging from the actual development situation of my country, this growth is closely related to the reform of the cultural system and the incentive policies introduced in support of the reform, so they are largely based on the "exogenous motivation" provided by the government. As the reform comes to an end, the policy effect will surely diminish, the driving force for industrial development will shift from the government to the market, and the development speed will surely decline. This decline is a return to normal.

Therefore, the primary feature of the cultural industry entering a new stage is to change the relationship between the government and the market and reduce the speed of unconventional development.

The cultural industry is increasingly integrated into the real

economy. The Blue Book points out that contemporary cultural industries are a product of the "post-industrial" era and are increasingly developing from traditional forms of cultural industries to emerging cultural industries. Two typical characteristics are becoming increasingly prominent, that is, the front-end is increasingly emphasizing content creativity, and the back-end is increasingly changing from "products" to "services", integrating into a series of related industries, making creativity a common feature of the national economy. The outstanding characteristics of the cultural industry in developed countries are its high degree of "relevance" and strong driving force. As a result, the main output is increasingly transformed into productive services provided to related industries. This makes the cultural industry in developed countries more and more integrated with the real economy. Integration into a social and economic life scene in the name of "experience economy". This general "mutual infiltration" between the cultural industry and the real economy is a manifestation of the maturity of the cultural industry and a symbol of the normalization of the cultural industry.

my country's cultural industry started late and has low maturity. In addition to not being able to meet the people's spiritual and cultural consumption needs well, the poor function of productive services is a prominent problem, which greatly limits the cultural industry's contribution to the transformation and upgrading of the national economy. Strategic supporting role. Here, the outstanding performance is that the "intermediate product rate" that meets the needs of the real economy is low, the degree of industrial correlation is low, and the driving force is poor. However, with the transformation of my country's economic development mode and the acceleration of industrial structure adjustment in recent years, the state's incentive policies for producer services have been continuously introduced, and the macroeconomic environment has undergone major changes. After the Third Plenary Session of the 18th CPC Central Committee, integration into the real economy has become a prominent development trend in my country's cultural industry. The "Several Opinions of the State Council on Promoting the Integrated Development of Cultural Creativity and Design Services and Related Industries" issued in March 2014 is a new beginning. This document systematically promotes the development of cultural creativity and design services and promotes their deep integration with the real economy. Deployment has clarified the key tasks for the integrated development of cultural creativity and design services with the equipment manufacturing, consumer goods industry, construction industry, information industry, tourism, agriculture and sports industries. It also proposed a series of specific policy measures. The innovative, creative and entrepreneurial role of my country's cultural industry has become increasingly evident in all aspects of economic and social life, and has embarked on the same normalized path as countries that pioneered the market economy.

Six provinces have employment in the cultural industry exceeding one million people, Beijing ranks seventh in the

Blue Book. Based on the third national economic census, it analyzes the regional structure of my country's cultural industry. Beijing, Shandong, Guangdong, Hunan, Henan, Jiangsu and Zhejiang regions rank among the top in the country whether it is the number of cultural enterprises, the number of legal entities, or the number of people employed at the end of the year; the output of the six provinces and cities of Guangdong, Jiangsu, Shandong, Shanghai, Zhejiang, and Beijing is significantly larger; and the concentration and output capabilities vary greatly among different provinces, cities and autonomous regions.

The Blue Book pointed out that at the end of 2013, Guangdong, Jiangsu, Zhejiang, Shandong, Hunan, and Henan were six provinces with more than one million employees in the cultural industry in the country, reaching 3741879, 2267728, 1709299, 1587684, and 1117868., 1055686 people, their proportion of the number of employees in the national cultural industry at the end of the year was 17.54% in turn. 10.63%, 8.01%, 7.44%, 5.24%, and 4.95%, accounting for 53.81%. If we include the four provinces and cities next in the number of employees at the end of the year, namely Beijing, Fujian, Anhui, and Shanghai, the top 10 provinces with the largest number of employees at the end of the year accounted for 69.81% of the number of employees in the national cultural industry.

Editor: Tsai