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The Cultural Goods Trade of China: Scale, Structure and Policy Implications

机译：中国文化产品贸易：规模，结构和政策含义

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摘要

This paper seeks to examine the status and structure of China's trade in cultural goods during 2001-2010. Based on the United Nations commodity trade statistics database, this study investigates sources of difference in opinions among foreign and Chinese scholars. Results indicate that China's trade in cultural goods presents surplus status and its influence has been overemphasized. This study also highlight that Surplus is the "born" nature of the Chinese processing trade, not to mention 80 percent of the value-added is taken away by other countries. Other main findings includes: I. Proportion of core cultural goods is too low in total exports of Chinese goods and in cultural goods, with only about 1 percent in total and only about 20 percent in cultural goods exports. Ⅱ. There is great disparity between Chinese cultural goods exports and imports. Ⅲ. Trading partners are highly concentrated, with the United States being the largest one, which accounted for 47.2 percent of Chinese export and 27.8 percent of the import in 2010. IV. Most of China's exports of cultural goods are "hardware" rather than "content". This study also provides that policies should be established on the basis of "big culture" idea, which means to break sector and industry boundaries, strengthen the enforcement of intellectual property protection and promoting the competition of domestic cultural market.
机译：本文旨在研究2001-2010年中国文化产品贸易的现状和结构。基于联合国商品贸易统计数据库，本研究调查了中外学者之间意见分歧的根源。结果表明，中国的文化产品贸易呈现过剩状态，其影响被过分强调。这项研究还强调，顺差是中国加工贸易的“天生”性质，更不用说其他国家带走了80％的增加值。其他主要发现包括：一，核心文化产品在中国商品和文化产品出口总额中的比例太低，仅占总数的1％，在文化产品出口中仅占20％。 Ⅱ。中国文化产品进出口之间存在巨大差异。 Ⅲ。贸易伙伴高度集中，美国是最大的贸易伙伴，2010年占中国出口的47.2％，进口的27.8％。中国文化产品的出口大部分是“硬件”而不是“内容”。这项研究还提出，应该在“大文化”理念的基础上制定政策，这意味着打破行业和行业界限，加强知识产权保护的执行力度，并促进国内文化市场的竞争。

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