"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 "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 “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
“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
Journal of Cultural Policy
“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
The China Journal