- Michael Keane is Professor of Chinese Media and Director of the Digital China Lab at Curtin University, Perth, Wester... moreMichael Keane is Professor of Chinese Media and Director of the Digital China Lab at Curtin University, Perth, Western Australia. His research interests include China’s digital media industries, television industries, cultural and media policy, creative clusters in China and East Asia, and East Asian cultural exports. He has published 16 books on these subjects since 2002.edit
Television is a massive industry in China, yet fewer people are watching television screens. In this ground-breaking study Michael Keane shows how television content is changing, how the Chinese government is responding to the challenges... more
Television is a massive industry in China, yet fewer people are watching television screens. In this ground-breaking study Michael Keane shows how television content is changing, how the Chinese government is responding to the challenges presented by digital media, and how businesses are brokering alliances in both traditional and new media sectors. The book examines four models of content internationalisation: licencing of programs, formats, co-productions and online media. Keane outlines the process of making content in China, focusing on regulatory institutions, ownership, censorship, programs and channels, copyright, formats, and the role of media bases.
The book looks at different genres of content including serial drama, news programs, reality TV, documentary, and children’s programs. Written in an accessible style by one of world’s leading experts of China’s media, the book provides a critical account of how streamed online content is impacting on the state’s control of ideas and its management of the traditional broadcasting sector. This is the authoritative text for scholars, business and policy makers wanting to understand how the rapid evolution of Chinese media aligns with the nation’s soft power initiatives.
The book looks at different genres of content including serial drama, news programs, reality TV, documentary, and children’s programs. Written in an accessible style by one of world’s leading experts of China’s media, the book provides a critical account of how streamed online content is impacting on the state’s control of ideas and its management of the traditional broadcasting sector. This is the authoritative text for scholars, business and policy makers wanting to understand how the rapid evolution of Chinese media aligns with the nation’s soft power initiatives.
Research Interests:
""In Creative Industries in China: Art, Design and Media I provide the reader with some of the main debates over definitions of creativity and creative industries in China as well as interpretations in East Asia and developing countries.... more
""In Creative Industries in China: Art, Design and Media I provide the reader with some of the main debates over definitions of creativity and creative industries in China as well as interpretations in East Asia and developing countries. The book is an extension of my previous work, expanding well beyond ‘cultural creativity’ into emerging debates about innovation policy, copyright reform and cultural trade. I discuss shanzhai communities, cultural system reform, policy processes, cultural security, soft power, and China’s cultural innovation timeline. In regard to the overlapping domains of art, design and media I look at origins of creative endeavour, international influences, processes of commercialisation and attempts to move China’s creativity into international markets. The key themes are:
• Tensions continue to play out between political culture and commercial creativity in China;
• Policy makers, academics and even many ordinary citizens hope that the nation will become a ‘creative nation’ rather than a producer of cheap imitative products shipped to overseas markets;
• The cultural and creative industries are viewed by many Chinese scholars as the means by which China will radiate its ‘soft power’ to the world. ""
• Tensions continue to play out between political culture and commercial creativity in China;
• Policy makers, academics and even many ordinary citizens hope that the nation will become a ‘creative nation’ rather than a producer of cheap imitative products shipped to overseas markets;
• The cultural and creative industries are viewed by many Chinese scholars as the means by which China will radiate its ‘soft power’ to the world. ""
Research Interests:
""edited by Michael Keane and Wanning Sun this is a four volume set (75 chapters arranged around the following themes: • Politics and communication • Culture, identity and place • Media institutions and commercial industries • Methods... more
""edited by Michael Keane and Wanning Sun this is a four volume set (75 chapters arranged around the following themes:
• Politics and communication
• Culture, identity and place
• Media institutions and commercial industries
• Methods and approaches"
• Politics and communication
• Culture, identity and place
• Media institutions and commercial industries
• Methods and approaches"
Over the past two decades regional governments in China have stimulated the construction of hundreds of industrial clusters. Since the turn of the century the clustering model has been taken up as a means to fast-track the growth of... more
Over the past two decades regional governments in China have stimulated the construction of hundreds of industrial clusters. Since the turn of the century the clustering model has been taken up as a means to fast-track the growth of China’s cultural and creative industries by attracting talented human capital into specific districts. Some districts such as Beijing’s 798 Art Zone and Tianzifang in Shanghai are well known internationally. The clusters include contemporary art districts, media production bases, cultural quarters, and incubators. The author examines a range of cluster models in Beijing, Shanghai, Hangzhou, Shenzhen, Xian and Foshan and distinguishes between clusters that ‘attract creativity’ (zhao chuang) and those that ‘attract investment’ (zhao shang). Drawing comparison with international examples, the study demonstrates how Chinese cultural policy making, once resolutely ideological, has become pragmatic in response to the national government’s call for ‘soft power’ and regional government aspirations for high profile iconic cultural infrastructure. The cases reveal that much of the outputs of clusters are adaptations and variations of cultural products rather than original products. Taking this into account the author shows that creativity, both in China and internationally, is in fact a process of fitting new ideas to existing patterns, models and formats.
Research Interests:
This book examines China’s creative economy—and how television, animation, advertising, design, publishing and digital games are reshaping traditional understanding of culture. Since the 1950s China has endeavoured to catch-up with... more
This book examines China’s creative economy—and how television, animation, advertising, design, publishing and digital games are reshaping traditional understanding of culture. Since the 1950s China has endeavoured to catch-up with advanced Western economies. ‘Made in China’ is one approach to global competitiveness. But a focus on manufacturing and productivity is impeding innovation. China imports creativity and worries about its ‘cultural exports deficit’. In the cultural sector Chinese audiences are attracted to Korean, Taiwanese, and Japanese culture, as well as Hollywood cinema. This book provides a fresh look looks at China’s move up the global value chain. It argues that while government and (most) citizens would prefer to associate with the nationalistic, but unrealized ‘created in China’ brand, widespread structural reforms are necessary to release creative potential. Innovation policy in China has recently acknowledged these problems. It considers how new ways of managing cultural assets can renovate largely non-competitive Chinese cultural industries. Together with a history of cultural commerce in China, the book details developments in new creative industries and provides the international context for creative cluster policy in Beijing and Shanghai.
Research Interests:
The question Professor Li Wuwei investigates is not 'whether' creativity is changing China - but 'how' creativity is changing China. The outcome will have a profound impact on how China develops and its economic role in the world.... more
The question Professor Li Wuwei investigates is not 'whether' creativity is changing China - but 'how' creativity is changing China. The outcome will have a profound impact on how China develops and its economic role in the world.
Creative industries maintain and protect historical and cultural heritage, improve cultural capital, and foster communities as well as individual creativity. This leads to the improvement of cultural assets of cities, the establishment of city brands and identity, the promotion of the creative economy, and overall economic and social development. In this context, creativity is changing China forever.
Creative industries maintain and protect historical and cultural heritage, improve cultural capital, and foster communities as well as individual creativity. This leads to the improvement of cultural assets of cities, the establishment of city brands and identity, the promotion of the creative economy, and overall economic and social development. In this context, creativity is changing China forever.
Research Interests:
Cultural borrowing is exploding across the world. Creative ideas are transferred and modified in ever increasing number and complexity making new products ranging from TV shows to architectural style in new cities. But what do we really... more
Cultural borrowing is exploding across the world. Creative ideas are transferred and modified in ever increasing number and complexity making new products ranging from TV shows to architectural style in new cities. But what do we really know about the spread of creative ideas? This intriguing, engrossing, and comprehensive collection looks at the cultural and commercial dimensions of creative borrowing world wide with an international cast of contributors and case studies from India to Ireland, Canada to China.
Cultural Adaptation explores how creative ideas are packaged and nationalised to meet local taste, maps the cultural economy of adaptation in entertainment media ranging from motion pictures to mobile phones, and even probes the role of cultural recipes and formats in mutating participatory experiences of theme parks and sporting spectacles. Written in a lively and accessible manner, the book also provides insight into remaking in lifestyle and consumption cultures including fashion, food, drink, and gambling. Essential for communication, cultural, media, leisure and consumption studies scholars and students alike, this book opens up important new perspectives on how we understand global creativity.
Cultural Adaptation explores how creative ideas are packaged and nationalised to meet local taste, maps the cultural economy of adaptation in entertainment media ranging from motion pictures to mobile phones, and even probes the role of cultural recipes and formats in mutating participatory experiences of theme parks and sporting spectacles. Written in a lively and accessible manner, the book also provides insight into remaking in lifestyle and consumption cultures including fashion, food, drink, and gambling. Essential for communication, cultural, media, leisure and consumption studies scholars and students alike, this book opens up important new perspectives on how we understand global creativity.
Research Interests:
This collection of essays brings together the first comprehensive study of TV drama in China. Examining in depth the production, distribution and consumption of TV drama, the international team of experts demonstrate why it remains the... more
This collection of essays brings together the first comprehensive study of TV drama in China. Examining in depth the production, distribution and consumption of TV drama, the international team of experts demonstrate why it remains the pre-eminent media form in China. The examples are diverse, highlighting the complexity of producing narrative content in a rapidly changing political and social environment. Genres examined include the revisionist Qing drama, historical and contemporary domestic dramas, anti-corruption dramas, "pink" dramas, Red Classics, stories from the Diaspora, and sit-coms. In addition to genres, the collection explores industry dynamics: how TV dramas are marketed and consumed on DVD, and China's aspirations to export its television drama rights. The book provides an international and cross-cultural perspective with chapters on Taiwanese TV drama in China, the impact of South Korean drama, and trans-border production between the Mainland and Hong Kong.
Ying Zhu is a professor of media culture and co-coordinator of the Modern China Studies Program at the College of Staten Island, the City University of New York.
Michael Keane is an associate professor and senior research fellow at the Australian Research Council Centre of Excellence for Creative Industries and Innovation at Queensland University of Technology.
Ruoyun Bai is an assistant professor in the Department of Humanities (Scarborough) and the Centre for Comparative Literature at the University of Toronto.
Ying Zhu is a professor of media culture and co-coordinator of the Modern China Studies Program at the College of Staten Island, the City University of New York.
Michael Keane is an associate professor and senior research fellow at the Australian Research Council Centre of Excellence for Creative Industries and Innovation at Queensland University of Technology.
Ruoyun Bai is an assistant professor in the Department of Humanities (Scarborough) and the Centre for Comparative Literature at the University of Toronto.
Research Interests:
Challenging assumptions that have undermined critiques of globalization and combining cultural theory with media industry analysis, Keane, Fung and Moran give a groundbreaking account of television on the post-broadcasting era, and how... more
Challenging assumptions that have undermined critiques of globalization and combining cultural theory with media industry analysis, Keane, Fung and Moran give a groundbreaking account of television on the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in east Asia. In this first comprehensive study of television program adaptation across cultures, the authors argue that adaptation, transfer and recycling of content are multiplying to the point of marginalizing other economic and cultural practices. they also show that significant remodeling of local TV production practices occur when adaptation is genuinely responsive to local values. examples of East Asian format adaptations include Survivor, Who Wants to be a Millionaire, the Weakest Link, Coronation Street, and Idol.
Research Interests:
This book explores the trade in television program formats, which is a crucially important ingredient in the globalisation of culture, in Asia. It examines how much traffic there is in program formats, the principal direction of flow of... more
This book explores the trade in television program formats, which is a crucially important ingredient in the globalisation of culture, in Asia. It examines how much traffic there is in program formats, the principal direction of flow of such traffic, and the economic and cultural significance of this trade for the territories involved, and for the region as a whole. It shows how new technology, deregulation, privatisation and economic recession have greatly intensified competition between broadcasters in Asia, as in other parts of the world, and discusses how this in turn has multiplied the incidence of television format remakes, with some countries developing dedicated format companies, and others becoming net importers and adapters of formats.
How Creativity is Changing China CHINA ECONOMIC SALON #3 Friday 19th August In the 3rd of our salons with visiting ‘cultural and creative industries’ economists from the PRC, we examined the key propositions of Li Wuwei’s new book: How... more
How Creativity is Changing China
CHINA ECONOMIC SALON #3
Friday 19th August
In the 3rd of our salons with visiting ‘cultural and creative industries’ economists from the PRC, we examined the key propositions of Li Wuwei’s new book: How Creativity is Changing China. In the English version of the book Li argues persuasively that China should transform its economic structure from labour-intensive industries to new sectors that are more capital, human capital and knowledge intensive. Among these sectors he pays particular attention to creative industries. In the wake of the current rebound of the GFC this raises the questions of how such industries might transform social conditions in developing countries (including India, Brazil). Will stimulation of CI sectors and associated regional policy induce consumers to change their behaviour, to worry less about saving for the future in the absence of social welfare provisions? Is the lowering value of Chinese exports and the shutting down of foreign invested export processing factories due to the GFC contributing to a behavioural shift? Will China move to export its culture (high value sectors) more effectively as a trade off for a shift from manufacturing? How might the challenge of reducing energy and carbon intensity factor into the transformation of developing countries like China, India and Brazil? These are some questions we discussed in the session.
Salon was introduced by Michael Keane
Speakers: Guo Yong (QUT: Xi’an Jiaotong University), Dr Lucy Montgomery (CCI), and Dr Jason Potts (CCI)
CHINA ECONOMIC SALON #3
Friday 19th August
In the 3rd of our salons with visiting ‘cultural and creative industries’ economists from the PRC, we examined the key propositions of Li Wuwei’s new book: How Creativity is Changing China. In the English version of the book Li argues persuasively that China should transform its economic structure from labour-intensive industries to new sectors that are more capital, human capital and knowledge intensive. Among these sectors he pays particular attention to creative industries. In the wake of the current rebound of the GFC this raises the questions of how such industries might transform social conditions in developing countries (including India, Brazil). Will stimulation of CI sectors and associated regional policy induce consumers to change their behaviour, to worry less about saving for the future in the absence of social welfare provisions? Is the lowering value of Chinese exports and the shutting down of foreign invested export processing factories due to the GFC contributing to a behavioural shift? Will China move to export its culture (high value sectors) more effectively as a trade off for a shift from manufacturing? How might the challenge of reducing energy and carbon intensity factor into the transformation of developing countries like China, India and Brazil? These are some questions we discussed in the session.
Salon was introduced by Michael Keane
Speakers: Guo Yong (QUT: Xi’an Jiaotong University), Dr Lucy Montgomery (CCI), and Dr Jason Potts (CCI)
No one doubts the economic importance of the creative industries to the UK. At 6.2 per cent of the economy, and growing at twice the rate of other sectors, they are proportionately the largest of any in the world. But there is some... more
No one doubts the economic importance of the creative industries to the UK. At 6.2 per cent of the economy, and growing at twice the rate of other sectors, they are proportionately the largest of any in the world.
But there is some evidence that the UK’s creative industries support innovation and growth in other parts of the economy too. The significance of these spillovers has only recently begun to be examined rigorously. And we know next to nothing about their geographical dimensions.
This gap in our understanding is what NESTA set out to address in Creative Clusters and Innovation, the outcome of a two-year collaboration with Birmingham and Cardiff Universities. The study adopts the concept of creative clusters as a starting point to examine the role that creative industries play in local and regional innovation systems. Its publication accompanies an online platform we have developed for users to examine creative industry concentrations at a fine level of detail in their localities.
But there is some evidence that the UK’s creative industries support innovation and growth in other parts of the economy too. The significance of these spillovers has only recently begun to be examined rigorously. And we know next to nothing about their geographical dimensions.
This gap in our understanding is what NESTA set out to address in Creative Clusters and Innovation, the outcome of a two-year collaboration with Birmingham and Cardiff Universities. The study adopts the concept of creative clusters as a starting point to examine the role that creative industries play in local and regional innovation systems. Its publication accompanies an online platform we have developed for users to examine creative industry concentrations at a fine level of detail in their localities.
Research Interests:
Research Interests:
POWER SERIES FOR STATIONARY DISTRIBUTIONS OF COUPLED PROCESSOR MODELS* ... GERARD HOOGHIEMSTRAt, MICHAEL KEANEt, AND SIMON VAN DE REE:1 ... Abstract. For the coupled processor model with exponential service times, an approach is ...
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests: Applied Ethics, Health Promotion, Social Justice, Medical Ethics, Public Health, and 13 moreHumans, Food Labeling, Freedom, United States, Food Legislation, Food habits, Public health systems and services research, Trans Fatty Acids, Health Care Costs, Nutrition Policy, Choice Behavior, Personal autonomy, and Dietary fats
Research Interests:
Abstract: viiAcknowledgmentsFirst and foremost, I would like to thank Michiel van Lambalgen, who gave mea position as a Logic PhD student, kept on supporting me and being interestedeven when I wandered into completely dierentelds of... more
Abstract: viiAcknowledgmentsFirst and foremost, I would like to thank Michiel van Lambalgen, who gave mea position as a Logic PhD student, kept on supporting me and being interestedeven when I wandered into completely dierentelds of mathematics, and whenI went through a motivational crisis, found people I could work with on my ownterms. Without him, this thesis would not have been written.
Research Interests:
Research Interests:
Research Interests:
We obtained deep V (F555W) and I (F814W) images of the central region of the Leo I dwarf spheroidal (dSph) galaxy using WFPC2 aboard HST. These data reach to I = 26.5 and clearly reveal for the first time the turnoff of the youngest stars... more
We obtained deep V (F555W) and I (F814W) images of the central region of the Leo I dwarf spheroidal (dSph) galaxy using WFPC2 aboard HST. These data reach to I = 26.5 and clearly reveal for the first time the turnoff of the youngest stars in the galaxy. We have used a variety of isochrones to conclude that the bulk of the stellar population of the galaxy is composed of stars as young as 3 Gyr, in excellent agreement with much shallower ground-based observations by Lee et al. (1994, AJ, 106, 1420). Careful analysis of the Leo I photometry also reveals a significant (10%) contribution from stars older than 12 Gyr, but little evidence for any star formation between the 3 and 12 Gyr populations. Leo I has clearly experienced two distinct bursts of star formation, similar to the history of formation in other (most?) dwarf galaxies in the Local Group. We discuss this star formation history in terms of the luminosity and color evolution of Leo I, with emphasis on the possibility that it may have resembled the so-called faint blue galaxies identified in deep galaxy surveys.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
ABSTRACT
Research Interests:
Research Interests:
Research Interests:
... Michael Keane and Anthony A. Smith, Jr. ∗ PRELIMINARY AND INCOMPLETE ... it is easy to evaluate. Indirect inference holds out the promise that it will be practical to estimate any economic model from which it is practical to simulate... more
... Michael Keane and Anthony A. Smith, Jr. ∗ PRELIMINARY AND INCOMPLETE ... it is easy to evaluate. Indirect inference holds out the promise that it will be practical to estimate any economic model from which it is practical to simulate data, even if construction of the likelihood or ...
Research Interests:
Research Interests: Agriculture and Gramineae
Research Interests:
Research Interests:
Research Interests:
ABSTRACT
Research Interests:
Research Interests:
ABSTRACT The dairy industry in many countries involves a combination of seasonal milk production and comparatively even milk products consumption. This leads to substantial seasonal inventories of milk products. Using a transportation... more
ABSTRACT The dairy industry in many countries involves a combination of seasonal milk production and comparatively even milk products consumption. This leads to substantial seasonal inventories of milk products. Using a transportation model, optimal seasonal inventories are estimated under three scenarios, highly seasonal production as in Ireland, comparatively even production as in the remainder of the EC and a market which is supplied by both types of producers such as the UK butter market. It is shown that by being able to sell in an international market which is also supplied by other countries with contrasting seasonal production patterns, such as the UK butter market, Irish inventory levels could be reduced by up to 70 per cent.
Chordomas are rare, slow-growing malignant bone tumours arising from cellular remnants of the notochord. These tumours are locally invasive but have also a metastastic potential.Chordomas are characterized by the presence of physaliferous... more
Chordomas are rare, slow-growing malignant bone tumours arising from cellular remnants of the notochord. These tumours are locally invasive but have also a metastastic potential.Chordomas are characterized by the presence of physaliferous cells in a myxofibrillary stromal background. In cytological aspirates, these characteristic cells are usually absent, revealing only clusters of cells with varying degrees of vacuolation. This makes definitive diagnosis of chordoma difficult as the tumor can mimic other myxoid neoplasms including renal cell carcinomas and well-differentiated chondrosarcomas. In such situations, a confident diagnosis of chordoma requires comparison with histology of the primary tumor.We describe the first case of metastatic chordoma diagnosed by endobronchial ultrasound-guided transbronchial needle aspiration (EBUS-TBNA).