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

“The book raises key questions for those interested in understanding the problematic relationship between intellectual property rights and the creative economy: the fetishisation of ‘creativity’ within discourses surrounding these rights, the contentious role of copying in artistic practice and cultural change, and tensions between cultural diversity and global intellectual property frameworks, to name but a few.... [T]his book contains a great deal that is valuable and interesting.”—Lucy Montgomery, Times Higher Education

“This volume is, to a significant extent, an attempt to recast the debate over intellectual property rights (IPR) in the context of a broadened definition of creativity and the creative acts of invention and innovation.... Readers interested in cultural analysis/critique of the "new economy" would find this text valuable.... Recommended.”—S.J. Gabriel, CHOICE Magazine

“Pang presents a nuanced and wide-ranging reflection on creativity.”—Carlos Rojas, Journal of Asian Studies

“Laikwan Pang offers readers valuable insights into the creative industries in the People’s Republic of China against the backdrop of its rise as a global actor…. [T]he discussion remains broad in scope and informative. It provides many interesting insights such as comparative references to policy choices in other countries, or the important concept of Shanzhai culture in China.”—Rostam J. Neuwirth and Zhijie Chen, International Journal of Cultural Policyi

“Pang provokes alternative readings of shanzhai culture as not
mediated exclusively by market forces, and this provides a starting point for discussions about cultural creativity, production and circulation in the global creative economy. Specialists of Chinese contemporary art, tourism, cinema and popular culture will find Pang’s framing of the historical development of these various culture industries both interesting and informative.”—Ling-Yun Tang, China Journal

“The book raises key questions for those interested in understanding the problematic relationship between intellectual property rights and the creative economy: the fetishisation of ‘creativity’ within discourses surrounding these rights, the contentious role of copying in artistic practice and cultural change, and tensions between cultural diversity and global intellectual property frameworks, to name but a few.... [T]his book contains a great deal that is valuable and interesting.”—Lucy Montgomery, Times Higher Education

“This volume is, to a significant extent, an attempt to recast the debate over intellectual property rights (IPR) in the context of a broadened definition of creativity and the creative acts of invention and innovation.... Readers interested in cultural analysis/critique of the "new economy" would find this text valuable.... Recommended.”—S.J. Gabriel, CHOICE Magazine

“Pang presents a nuanced and wide-ranging reflection on creativity.”—Carlos Rojas, Journal of Asian Studies

“Laikwan Pang offers readers valuable insights into the creative industries in the People’s Republic of China against the backdrop of its rise as a global actor…. [T]he discussion remains broad in scope and informative. It provides many interesting insights such as comparative references to policy choices in other countries, or the important concept of Shanzhai culture in China.”—Rostam J. Neuwirth and Zhijie Chen, International Journal of Cultural Policyi

“Pang provokes alternative readings of shanzhai culture as not
mediated exclusively by market forces, and this provides a starting point for discussions about cultural creativity, production and circulation in the global creative economy. Specialists of Chinese contemporary art, tourism, cinema and popular culture will find Pang’s framing of the historical development of these various culture industries both interesting and informative.”—Ling-Yun Tang, China Journal

"Making strategic use of the antagonistic role often played by China in the new global economy, Laikwan Pang raises fundamental questions about the hegemonic discourse of creativity as anchored in EuroAmerican traditions of rights, authorship, private property ownership, and reproduction. An admirably ambitious—and creative—book!"—Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films

"Laikwan Pang's thoroughly engaging study sets a new standard for analysis of the 'creative economy,' not just in China, but in every country where government officials have elevated the pursuit of creativity into industrial policy."—Andrew Ross, author of Fast Boat to China

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