Description
Digitalization and platformation are inevitably transforming the industrial landscape with the arrival of “industry 4.0”. The Covid-19 pandemic seems to accelerate the trend. Compared to the consumer goods manufacturing and service industries which have received the major spotlight from economic geographers, creative and cultural industries (CCIs) have been understudied, particularly the rather ‘new’ sectors, such as self-media/we-media whose market has not been adversely affected under the pandemic. Compared to the relatively traditional CCIs like performing arts and crafting in which the production and consumption are mainly ‘on-site’, whereas born under the booming digital platforms, the distributions and consumptions of these rapidly surging ‘new’ CCI sectors are primarily ‘online’. Rarely have the scholars, to date, looked into the production as well as the entire production network of these sectors. This puzzle may be more thorny but meaningful to solve with the nature of the gig economy of the CCIs. What does the production network of self-media look like? Are they altered by different digital platforms with various rules of the game? And maybe more fundamentally, how should we see the producers and consumers in the industry? In this sharing, I would like to share some throughs based on my preliminary study on Hong Kong where, under the “one country, two systems”, the “sovereignty issue” mentioned by the organizers could be more vibrant and complex.Period | 10 Dec 2022 |
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Event title | The 10th East Asian Regional Conference in Alternative Geography 2022 |
Event type | Conference |
Organiser | National Taiwan University |
Location | Taiwan, Province of ChinaShow on map |