A Study on Development Strategies of Tourism Cultural and Creative Industry

A Study on Development Strategies of Tourism Cultural and Creative Industry

Xiaoquan Niu (Gullivers Travel Associates, China)
DOI: 10.4018/978-1-61520-867-8.ch005
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Nowadays tourism activities tend to be increasingly personalized and diversified. Tourism industrial chain can be enriched and the development of tourism industry can be diversified when cultural and creative elements are added to tourism fields. This study takes cultural and creative tourism as the theme, and studies the characteristics and planning framework of cultural and creative tourism, and finally put forward development strategies of tourism cultural and creative industry including building tourism creative zone, combining tourism image slogan with creative elements, emphasizing creative design and marketing in terms of traveling souvenirs, adding the creative elements to tourism festivals and activities, developing tourism market through popular film and television hot spots and performance arts, innovating through combining tourism and other states of matter.
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The research focus of New Endogenous Economic Growth Theory is that which kind of mechanism is needed to guarantee the sustainability of economic growth, that is, to overcome diminishing element returns, and achieve incremental element returns. According to the different understanding on this issue, the influential standpoints of New Endogenous Economic Growth Theory can generally be divided into three categories: First, Romer (1986)’ endogenous growth model stressing spillover effects of production factors; Second, Lucas (1988)’ theory of human capital accumulation; third, monopolistic competition and theoretical R&D, such as Grossman and Helpman horizontal innovation model (1991), as well as Aghion and Howitt (1992) vertical innovation model (1992). The foundation of creative economy theory is based on the economic theory of endogenous growth theory, and claims to find the new sustainable economic growth engine. Knowledge and creativity replace natural resources and tangible labor productivity becoming the main resource of wealth creation and economic growth (Florida, 2005).

Along with the advent of innovative economic times, brain and creativity-intensive industries have gradually replaced the status of land and labor-intensive industries in the national economy. Nowadays, investment-driven economy has reached the end, we must move toward innovation-driven economy and knowledge-driven economic areas which need new creative ideas and new knowledge to promote. Romer (1986) pointed out that new creative ideas created endless new opportunities for new products, new markets and new wealth. Therefore, new creative ideas are the original driving force to promote the growth of national economy.

After 1990, many scholars focus on the role of cultural industries in the economy (Basset, 1993; Bianchini and Parkinson, 1993; O’Connor, 2000; Wynne, 1992), and cultural industries have become an important research topic in terms of international city and regional development (Wynne, 1992; O'Connor, 1998). The academics discuss on cultural industries’ connotation, scope, development strategies, and spatial development from theory to practice (Scott, 1997, 2004; Power, 2002; Pratt, 2004). The concept of creative industry was proposed by English in 1997, the basic definition of creative industries is as follows: Creative Industry (CI) is the industry which derives from individual originality, skill and talent, creates job opportunities, and makes fortune by generating and using intellectual property. Caves (2000) mentioned creative industries in his work “Creative Industries: Contracts between Art and Commerce” that the creative industry was those industries which could produce productions and services with art or creativities. United Nations Educational, Scientific and Cultural Organization (UNESCO) (2000) claims that cultural industries can be applied to those industries which undergo the creation, production and commercialization based on immaterial culture as essential content.

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