NATIONAL CHENG KUNG UNIVERSITY, TAINAN, TAIWAN
BANYAN
Volume 12 Issue 10 - March 5, 2010
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Commentary
Yue-Dian Hsu
What is the Cultural Cost of Cultural Creativity Enterprises?
Chi Wang
A Surprise from Berlin – Duo Dong-West
The Big Finale for 2009 NCKU Environment and Art Festival
Article Digest
Ching-Fu Chen
Economic growth and energy consumption revisited—Evidence from linear and nonlinear Granger causality
Jyh-Ming Ting
Influences of ZnO seed layer characteristics on the synthesis of ZnO nanowires
Wen-Chau Liu
Transient response of a transistor-based hydrogen sensor
Chang-Wen Chen
Analysis and detection of patient-ventilator asynchrony via a computerized algorithm
News Release
NCKU Press Center
NCKU Prof. Yau-Hwang Kuo Developed Smart Interactive TV Platform, Delays Mental Aging and Provides Home Safety for the Elders
NCKU Press Center
UW-NCKU Bilateral Workshop in Nano/Bio-Photonics Held at National Cheng Kung University
Banyan Forum
Opportunities
Activities
Editorial Group
What is the Cultural Cost of Cultural Creativity Enterprises?
Yue-Dian Hsu1,*, Her Lin2
1Distinguished Professor and Chairperson, Department of Law, National Cheng Kung University
2Doctorate Student, Department of Law, National Cheng Kung University
The original Chinese article has been published in the China Times on January 12th, 2010.
Dr. Yue-Dian Hsu
The media industry, one of the sectors that the Cultural Creativity Enterprises Development Law is designated to promote, is facing protests from residents in Wanhua District (Wanhua is Báng-kah, rendered as “Monga” in Taiwanese) in Taipei, owing to their once dominant “radical” gangster culture being vividly depicted in the movie “Monga.” They worried that the movie's violence and pornography plots will stigmatize Wanhua.   

The worldwide hit Avatar has brought in huge revenues for the United States. For how many bicycles manufactured can Taiwan beat that record of output value? Still, such calculation leaves the numerous commercial opportunities evolved from the total cultural impacts (such as lifestyle and consumer behavior change) induced by exporting commodities from the strong culture unaddressed. From this instance, we can infer that the cultural creative enterprises can produce huge revenues, and hence, contrary to the declining traditional industries, their logic of using culture and creativity as economic elixirs is being more appreciated nowadays.      

The Cultural Creativity Enterprises Development Law was passed a few days ago. Apart from its prospect to catalyze enterprise development, we are more concerned with how this Law actually regards culture. The phrase “cultural creativity enterprises,” under closer inspection, reveals that both “culture” and “creativity” are merely adjectives to “enterprise.” Moreover, culture, in this case, seems regarded as material and cost for enterprise development. Inevitably, one doubts whether enterprises will unduly influence cultural development? Which is more important, culture or enterprise?   

In this regard, the newly passed Law leaves the above questions unanswered. Moreover, it does not elucidate a cultural vision for Taiwan. The Law is like a blank check, with only nominal categories of various cultural creativity enterprises, and no words are said about the essence of cultural creativity. Does the authority just view “culture” and “creativity” as a new engine for Taiwan's enterprises? Can culture be reduced as a means to economic development and transmogrified accordingly?    


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