"Button phenomenon" should be vigilant

Non-terminal products of intermediate products, non-independence of low-end products, and unbranded processed products – how can the cultural industry's deep-seated malady be eliminated?
Lighters are manufactured, but some lighters are not as valuable as foreign matches. Buttons are manufactured but buttons are used abroad to make branded clothing. This is a feature of many “Made in China” in the real economy: OEM processing for foreign countries. The export is a small part like a button, and high added value is earned abroad.
In the field of cultural manufacturing, in the past two years there have also been cases of lack of self-owned brands, the export of "parts", and "wedding for others". This is known as the "button phenomenon" of the cultural industry.
In the global financial crisis, changing the "button phenomenon" of the cultural industry has reached a time when it is necessary to break the subject.
"A piece of gold has sold the price of copper!" Two years ago, a repertoire created by a domestic excellent circus troupe in cooperation with the Canadian Cirque du Soleil was arranged annually by foreign parties for more than 300 performances, each at a box office of more than 100,000 U.S. dollars. The performance fees that the domestic acrobatic team gets every year are only more than 600,000 US dollars.
"A piece of gold, but the price of copper was sold!" said Cao Xiaoning, general manager of Tianchuang International Performing Arts Co., Ltd. "The Cirque du Soleil has gained high added value with its world-famous brand, and we have worked hard to create excellent repertoire. It only earned a lot of hard work."
The Hollywood animation blockbusters, such as “Taishan Taishan”, “Toy Story”, etc., have all been processed and produced in Shenzhen and other places in China, and processing by orders has become the main business of most animation production companies in China. Chen Shaofeng, deputy dean of the Institute of Cultural Industries at Peking University, said that although the annual production capacity of Chinese animation has reached 130,000 minutes, many companies have very low returns.
In Shenzhen Jade Digital Corporation, which has a history of animation production for many years, a person in charge of the business said that Chinese animation production was considered to be incapable of technical equipment and its level was poor. In fact, China now has the technology and talents to produce world-class animation products. However, it still only works for foreign workers and is at the end of the value chain.
Yu Shuyu, a professor at the National School of Administration, said that the phenomenon of patching is common in films and performing arts. One is that the director and the actor are Chinese, the investors and sellers are foreign cultural companies, and the profits are mainly taken away from abroad; one is only available in China. Some "parts" of program material, programming and marketing are foreign companies, and domestic companies have low returns.
The information provided by the cultural department shows that due to the impact of the international financial crisis, the demand for international cultural markets has decreased, cultural and foreign trade has been constrained, exports have shrunk, and the crisis of cultural “buttons” has become more prominent.
Zhang Yu, general manager of China Outward Performing Arts Co., Ltd said: "In the absence of a crisis, these low-end products will be sold out; the crisis will come, and some may not even earn a meagre processing fee."
Zhang Changcheng, director of the Beijing Modern Dance Company, which learned to be a “self-owned brand”, said that the export of cultural products in China was too fragmented, too many “Mapo Tofu”, and “Manchu Hanban” too few.
Modern media researcher Zhang Yixuan said that Chinese TV programs have low prices and limited competitiveness in the international market, and many programs can only be provided as a single material to the partners. The scattered output of cultural products is only a tool for others. It can only sell the price of “machine parts” and cannot sell the entire machine. Because they do not have the “right to speak”, foreign cultural companies often purchase the Chinese cultural products.
Sun Jianjun, president of Peking Taihe Global Media, who has directed Beijing 2008, said that cultural exports must not be "sold" or "selling" but must be learned to be "self-owned brands and dishes."
Cultural products "sell" or "selling" has become a pain for some production units. A year ago, a program organized by the Chinese Acrobatic Troupe won a prize at home but was sold cheaply to foreign countries. “The foreign players are playing karate. Only the directors and management staff use Chinese actors and individual programs to assemble their own 'big productions' and earn high profits,” said Sun Lili, head of the Chinese Acrobatic Troupe.
The cultural industry believes that although the “button phenomenon” is highlighted by the financial crisis, the deep disadvantages of Chinese cultural products are behind it: the non-terminal products of intermediate products, the non-autonomy of low-end products, and the unbranded products. This problem of “dressing people” will be exposed sooner or later even without a financial crisis.
In the investigation of the status quo of the cultural industry, Ningbo City found that from the perspective of the added value of the local cultural industry, the production enterprises were concentrated in the process of copying, and there was a general lack of upstream originality, a low level of intensive production in the middle reaches, and a weak downstream marketing capability. The soft underbelly, therefore, is at the end of the value chain and has a low contribution to the national economy. Create national "cultural industry predators"
Earlier this year, China Wind, a multi-cultural stage show co-operated by the China Animation Company and the Shandong Acrobatic Troupe, began to go abroad to perform commercial tours in nearly 70 North American cities. This "Made in China" is not only "bulk sale", but instead uses the international cultural elements of the American Philharmonic Orchestra chief performers for my own use. Zhang Yu said that when the market is booming, excellent products, products that do not slip, and poor products can be sold; now the foreign market is sluggish, and mediocre products are blocked outside the gates. Some low-and-small production units will Gradually eliminated, the real anti-risk ability is "self-owned brand" "Manchuhanban", such products have the right to pricing and discourse, but will go against the trend.
Zhang Yu proposed to change the “ant tactics” that had been used in the past to combat individual soldiers and implement the “three-dimensional combat” to go out; change the way they used to go to each other to go out and formulate rules of the game; "The predators of the cultural industry" integrate various kinds of resources at home and abroad and form powerful national industrial giants and market players. Some researchers in the cultural industry believe that the state should pay attention to the intellectual property rights of cultural products and change the situation in the past that only sold finished products and ignored the trade of intellectual property rights. According to statistics, in the past two years, there were only 2,000 kinds of copyrights exported by the country and tens of thousands of copyrights were introduced. It is recommended that relevant national authorities and industry associations jointly establish a certification institution for intellectual property rights in cultural products, and enhance the industrial level through the development of intellectual property rights assessment.

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