With entertainment as its principle part, the cultural market began to develop in the early 1980s and became to be the first sign of cultural industries in Shenzhen. Some cultural enterprises developed in the background of the "Spiritual Civilization Construction" from the late 1980s to the early 1990s and printing, videos, cultural tourism, animation and cartoon started to grow up in Shenzhen. The government began to pay some attentions to cultural industries in the early 1990s and the scale of cultural industries in Shenzhen had grown up with the development of some important sectors. In the context of "Famous Modern Cultural City Construction" in the late 1990s, Shenzhen developed cultural industries further, cultural industries had produced economic benefits properly, the industrial structure had became pluralistic and the cultural industries developed intensively on a large scale, but faced many problems. Cultural industries in Shenzhen has met a new epoch since 2000 because of the implementation of the strategy of "Found the City on a Cultural Basis" and the orientation of cultural industries as the fourth economic support industry, not only both of its competitiveness and general strength and its economic contribution rate has enhanced a lot, but also cultural industries in Shenzhen leads mainland relatively. Some distinguishing features have been taken shape in printing, media, entertainment, cultural tourism, animation and cartoon, advertising, art and crafts, design, even though there are many problems and challenges in these fields. The development of cultural industries in Shenzhen could not do without the Hong Kong factor. Although the ideas of the development of cultural industries are different in Shenzhen and Hong Kong, they could cooperate closely. The "shop in the front and factory at the back" operation model had been and will still be the most practical cooperative model for two sides and printing, design, digital entertainment and cultural entertainment may be the most potential cooperative fields. In Conclusion, cultural industries in Shenzhen is moving from the fringes to the mainstream; cultural industries in Shenzhen had developed in a unique way; the general developmental level of cultural industries in Shenzhen still lags other industries; the development of cultural industries in Shenzhen has not been supported strongly by the whole society; the fundamental contradiction of cultural industries in Shenzhen is between cultural industries' economic attribution and ideological attribution and will continue to be the context of the development of cultural industries in Shenzhen; the government has controlled the upstream of the cultural industries chain, so the development of cultural industries in Shenzhen must take full advantage of the government resources; cultural industries in Shenzhen should focus on "industries" now; cultural industries in Shenzhen should take the Hong Kong factor seriously and make full use of it. / 王為理. / 呈交日期: 2005年8月. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 244-268). / Cheng jiao ri qi: 2005 nian 8 yue. / Adviser: Kwok Siu-tong. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2711. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest dissertations and theses, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 244-268). / Wang Weili.

Rapid advancement in technology and increased trade across national borders led to an international trend towards valuing technology and knowledge-based assets. Consequently, there is a growing recognition that adequate intellectual property protection of all forms - patents, trademarks, copyrights, and trade secrets ?? are necessary in order to sustain a firm??s competitive advantage created by these assets. The importance of protecting intellectual property rights is particularly crucial in cultural industries such as music industry. By examining the link between the operation of multinational recording companies and the institutional environment of copyright in Korea, this thesis attempts to demonstrate the role of MNEs in shaping the institutional environment of the host country. \r\n\r\nThe institutional perspective provides the theoretical foundation for this thesis. The focus of the institutional theorists in International Business so far has been limited to the unidirectional flow of influence in the host country institution and MNE link ?? MNE as an organisation shaped by host country institution. By examining three aspects of copyright institution of Korea ??regulative, industrial and cognitive aspects- we contend that institutional environment is not static, but evolves dynamically over time and the evolution reflects the dual institutional pressure. That is, institutions both affect and are affected by MNEs.

Rapid advancement in technology and increased trade across national borders led to an international trend towards valuing technology and knowledge-based assets. Consequently, there is a growing recognition that adequate intellectual property protection of all forms - patents, trademarks, copyrights, and trade secrets ?? are necessary in order to sustain a firm??s competitive advantage created by these assets. The importance of protecting intellectual property rights is particularly crucial in cultural industries such as music industry. By examining the link between the operation of multinational recording companies and the institutional environment of copyright in Korea, this thesis attempts to demonstrate the role of MNEs in shaping the institutional environment of the host country. \r\n\r\nThe institutional perspective provides the theoretical foundation for this thesis. The focus of the institutional theorists in International Business so far has been limited to the unidirectional flow of influence in the host country institution and MNE link ?? MNE as an organisation shaped by host country institution. By examining three aspects of copyright institution of Korea ??regulative, industrial and cognitive aspects- we contend that institutional environment is not static, but evolves dynamically over time and the evolution reflects the dual institutional pressure. That is, institutions both affect and are affected by MNEs.

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 315-349). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29537

Thesis (M. Phil.)--University of Hong Kong, 2009. / Includes bibliographical references (leaves 115-120). Also available in print.

published_or_final_version / Sociology / Master / Master of Philosophy

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Depuis les années 2000, l’émergence de nouveaux acteurs issus des industries de lacommunication a été suivie de profonds bouleversements au sein des industries de la musique. L’hypothèse développée dans cette recherche suggère que, par l’intermédiaire d’un mouvement d’influence réciproque des musiciens et des acteurs de la musique, s’opère un déplacement vers la création du centre de gravité de l'industrialisation de la musique. L’adaptation des logiques socioéconomiques des musiciens, en phase avec les stratégies industrielles des acteurs de l’intermédiation numérique, indique la montée en importance des dimensions de rationalisation et d’idéologisation au sein des mondes de la musique. La démarche méthodologique adoptée s’appuie sur une analyse des discours et des pratiques socio-économiques des musiciens, au moyen d’une série d’entretiens semi-directifs réalisés en France et au Royaume-Uni. Les résultats de ces analyses mettent notamment en lumière chez les « musiciens connectés » étudiés, la disparité des pratiques, des compétences et des représentations à l’égard des activités de diffusion et de communication sur internet. Les disparités de ces pratiques font alors ressortir les enjeux relatifs à la construction de la figure contemporaine du musicien. Mots-clés : théories des industries culturelles, industries de la musique, industries de la communication, internet, Web 2.0, genres musicaux, pratiques communicationnelles, compétences, représentations sociales, rock, musiques électroniques, France, Royaume-Uni. / Since the 2000s and the emergence of new players from the communication industries, profound changes have occurred within the music industry. The hypothesis developed in this research suggests that, following a movement of mutual influence between musicians and economic players, there has been a shift in emphasis towards the industrialization of music, which is now concerning the creation itself. The adaptation of the musicians’ socio-economic logics, in line with the industrial strategies of the actors of the digital world, indicates the growing importance of rationalization and ideologization in the music worlds. The methodological approach is based on the analysis of discourses and socio-economic practices of musicians, using semi-structured interviews made in France and the United Kingdom. The results of these analyses highlights the the great disparity of the practices, skills and representations of these ‘connected musicians’, with regard to dissemination and communication activities on the internet. These practices’ disparities outlines the issues relating to the construction of the musician’s contemporary figure.

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

Thesis (Ph. D.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 338-369). Also available online.