Examines the far-reaching implications of intellectual property rights protections in a nation that until the early 1980s forbid all ownership of private property, whether tangible or intellectual.
Examines the far-reaching implications of intellectual property rights protections in a nation that until the early 1980s forbid all ownership of private property, whether tangible or intellectual.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Laikwan Pang is Professor of Cultural Studies and Religious Studies at the Chinese University of Hong Kong. She is the author of The Distorting Mirror: Visual Modernity in China and Cultural Control and Globalization in Asia: Copyright, Piracy, and Cinema.
Inhaltsangabe
Acknowledgments vii Introduction 1 Part I. Understanding Creativity 1. Creativity as a Problem of Modernity 29 2. Creativity as a Product of Labor 47 3. Creativity as a Construct of Rights 67 Part II. China's Creative Industries and IPR Offenses 4. Cultural Policy, Intellectual Property Rights, and Cultural Tourism 89 5. Cinema as a Creative Industry 113 6. Branding the Creative City with Fine Arts 133 7. Animation and Transcultural Signification 161 8. A Semiotics of the Counterfeit Product 183 9. Imitation or Appropriation Arts? 203 Notes 231 Bibliography 261 Index 289
Acknowledgments vii Introduction 1 Part I. Understanding Creativity 1. Creativity as a Problem of Modernity 29 2. Creativity as a Product of Labor 47 3. Creativity as a Construct of Rights 67 Part II. China's Creative Industries and IPR Offenses 4. Cultural Policy, Intellectual Property Rights, and Cultural Tourism 89 5. Cinema as a Creative Industry 113 6. Branding the Creative City with Fine Arts 133 7. Animation and Transcultural Signification 161 8. A Semiotics of the Counterfeit Product 183 9. Imitation or Appropriation Arts? 203 Notes 231 Bibliography 261 Index 289
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