Although the Cultural Industry Revitalization Plan and the Central Committee's Decision on Deepening the Reform of Cultural System to Promote the Great Development and Prosperity of Socialist Culture are two programmatic policies and regulations that systematically expound China's cultural industry policy, there are still many places that do not conform to the basic theory of industrial policy and lack rigor and systematicness. This kind of malpractice is common in many cultural industry policy texts.
2. The industrial policy is incomplete, and the lack of policy still exists. The specific manifestations are: First, the lack of national cultural industry policies and regulations. At present, China's cultural industry urgently needs an authoritative cultural industry promotion law to lead the development of cultural industry.
But so far, China has not promulgated such a law. On the other hand, other countries that attach great importance to the development of cultural industries, such as South Korea, have promulgated the Law on Revitalizing Cultural Industries and the Basic Law on Revitalizing Cultural Industries, while Japan has promulgated the Basic Law on Revitalizing Cultural Arts.
Second, the legal texts of cultural industries are seriously lacking. Most of China's cultural industry policy texts remain at the level of normative documents, and few policies rise to the level of administrative regulations and departmental rules. Except for a few laws such as Copyright Law, Patent Law and Advertising Law, there are almost no other industrial policies that have risen to the legal level.
Third, there is a lack of policies in the management of specific cultural industries, which is more prominent in emerging formats, especially in the fields of film grading system, development and protection of film follow-up products, and digital publishing industry.
3. Weak support and protection of cultural industries. Undoubtedly, the cultural industry has great development potential, which is of great significance for promoting the healthy development of the national economy and safeguarding the national cultural security. At the same time, however, China's cultural industry only accounts for about 3.5% of GDP, which is still a "naive industry" and still in the primary stage of industrial development, and needs to be strengthened in support and protection.
However, at present, a series of cultural industry policies promulgated by the party and the government have not given enough support and protection to the cultural industry, mainly in the following aspects:
First, the cultural industry support is weak. Many countries in the world, such as France, Britain, Australia, Japan and South Korea, mostly support and encourage the development of cultural industries through direct government subsidies, special funds and development funds. At present, our government has also implemented various support and subsidy policies for some cultural industries. However, compared with France, Britain, Australia, Japan, South Korea and other countries, there is still a big gap in subsidy amount, subsidy method and subsidy structure. In addition, our government's credit and tax policies are not enough to support the development of cultural industries.
Second, the protection of domestic cultural industries by industrial policies is not enough. Generally speaking, the protection of related industries by a country's industrial policy can be divided into two aspects: restricting imports and restricting foreign investment. At present, China's cultural industry policy has obvious shortcomings in the restrictions on foreign cultural products and foreign investment. In recent years, the Chinese government has issued some policies, which have made specific and clear provisions on various matters of foreign capital entering China's cultural industry, but some contents are still debatable, which is very unfavorable to maintaining China's cultural security. It can be said that at present, China's cultural industry policy can not build a barrier to effectively protect the national cultural industry.
4. There are many policy subjects and lack of coordination of industrial policies. The competent departments of China's cultural industry include Publicity Department of the Communist Party of China, Ministry of Culture, Ministry of Industry and Information Technology, State Administration of Radio, Film and Television, Tourism Bureau, General Administration of Sports, General Administration of Press and Publication, etc. It is easy to lead to unhealthy phenomena such as competing for power and profits, shirking each other, and being involved in various political affairs, which seriously restricts the development of related industries.
This is particularly evident in the online game industry. The competent department of online games involves the Propaganda Department of the CPC, the Ministry of Culture, the Ministry of Industry and Information Technology, the General Administration of Sports, the State Administration of Radio, Film and Television, the General Administration of Press and Publication and other units. The Ministry of Industry and Information Technology is in charge of the technical development of online games, the Ministry of Culture has the right to approve the cultural operation of online games, the State Administration of Radio, Film and Television is in charge of the publication of online games, and the State Sports General Administration is in charge of the e-sports part of online games. The State Administration of Radio, Film and Television (SARFT) and the General Administration of Press and Publication (GAPP) think that they are the competent authorities for the examination and approval of online games, while the Ministry of Culture emphasizes that online games cannot formally enter the market without the examination of the Ministry of Culture, and the Ministry of Industry and Information Technology is unwilling to stand aside and put online games into the electronic information industry for management. This kind of bad policy environment often leads to the difficulty of unifying or even conflicting cultural industry policies, which makes the cultural industry suffer rather than benefit.
5. Policy changes are too frequent, and industrial policies lack stability. All industrial policies are formed under certain historical conditions. When historical conditions change, relevant policies must also change, and cultural industry policies are no exception. However, if the cultural industry policy changes frequently, even constantly, it will make cultural industry managers and practitioners at a loss. Therefore, the cultural industry policy must remain relatively stable within a certain period of time. Only in this way can we promote the development of China's cultural industry. Since the reform and opening up, China has formulated thousands of cultural industry policies. Among them, some policies have maintained good stability. However, many policies have changed too frequently, which makes the managers and practitioners of the cultural industry at a loss. This disadvantage is particularly obvious in emerging cultural formats such as the Internet and animation.
At the same time, many cultural industry policies are still stuck in slogans, lacking pertinence and operability. These problems have seriously restricted the development of China's cultural industry.