動畫類英文文獻
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The needs of the development of the Chinese animation
Why the development of cultural industries such as animation and game? Who is the model for the development of animation and game industry in China? By following the survey report in Japan and the U.S. can be seen, animation, games and other cultural industries to each country to bring much benefit. Not ugly, social progress, to a certain period of time, the development of cultural industries is inevitable.
Japan's animation industry can be described as a model, and therefore the reference object and catch up with the target of China's animation industry. However, reporters found that a series of data on the Japanese animation industry is also confusing, especially back in five or six years ago, a number of widely cited data today seems very absurd.
In many articles in 2006, reporters found that when the output value of the global animation industry between $ 200,000,000,000 to $ 500,000,000,000, the annual output value of Japan's animation industry to reach 230 trillion yen, Japan's second-pillar industry. " According to the 2010 release in Japan this year Japan's gross domestic product ***GDP*** at current prices of479.1791 trillion yen, while Japan's economic growth in recent years is not, you can estimate when the Japanese animation industry, the proportion of GDP is likely to exceed 50%!
The most popular data is the Japanese animation industry share of GDP over 10%, this estimate, the Japanese anime industry output should be about 48 trillion yen, which is $ 800,000,000,000. Which is basically the global animation industry and its industrial output value of derivatives and the United States topped the list where the shelter?
According to the Japan Association of digital content, the White Paper 2004 "of the" digital animation industry as an important part of Japanese culture and creative industries, the output value in 2004 reached 12.8 trillion yen, accounting for Japan's gross domestic product 2.5%, Imaging Products 4.4 trillion yen, 1.7 trillion yen of the music products, books and periodicals published 5.6 trillion yen, 1.1 trillion yen of the game, more than agriculture, forestry, aquatic production value of 10 trillion yen. And
communications, information services, printing, advertising, appliances and other aggregate, it is up to the scale of 59 trillion yen. Only in this way the scope of the animation industry generalized, so as to achieve 10% of the proportion of domestic widespread.
The integration of information seems relatively reasonable, "White Paper on digital content 2004 to data released, with some reference value, that is, Japan's animation industry's share of GDP should be between 2-5%. This way, the domestic animation industry is also a lot less pressure, but the runner-up position in the global animation industry, is the total GDP has exceeded Japan's, China is still beyond the reach of being the so-called efforts will be necessary.
About 20% of GDP of the U.S. cultural industries, especially following a set of data appear most frequently in a variety of articles: 2006 U.S. GDP was $ 13.22 trillion, the cultural industries for the $ 2.64 trillion; cultural products occupy 40% of international market share. The United States controlled 75 percent of global production and production of television programs; the American animation industry output accounted for almost 30% of the global market to reach $ 31 billion; film production in the United States accounted for 6.7 percent of the world, but occupied 50% of the world screening time; In addition, the total size of the sports industry in the United States is about $ 300 000 000 000, accounting for 2.3% of GDP which only NBA a $ 10 billion. However, we can see that this so-called American culture industry output is included, including sports and related industries, its scope is greater than the domestic cultural industry classification.
Last article published on the web on the proportion of cultural industry in the United States, the earliest dating back to the Economic Daily News October 27, 2000 published in the Chinese culture, industry, academic Yearbook ***1979-2002 Volume*** cultural entrepreneurship space is there much ". Mentioned According to statistics, 18-25 percent of the U.S. cultural industries accounted for the total GDP, the 400 richest American companies, there are 72 cultural enterprises, the U.S. audio and video have been more than the aerospace industry ranks exports trade first. " Since then, the concept of "cultural industries" in the Research Office of CPC Central Committee from 2002 release of "2001-2002: China Cultural Industry Development Report", the official presentation of its background "article is the first official document reference the data. Now, the "Economic Daily News, the data from where
has been untraceable, however, has passed 10 years, the data are still widely various articles and government documents referenced, just a little floating, such as to 1/3 or dropped to 12%, the value ratio of 72 cultural enterprises "in the past 10 years has never been subject to change. At least the data, has 11 years, there is a problem.
The definition of cultural industries, the classification system, statistical methods and cultural enterprises related to the composition. Culture Research Center of the Chinese Academy of Social Sciences, deputy director Zhang Xiaoming, in an interview with reporters: "to a large extent, today's American culture industry is more from multinational companies to operate these multinational corporations majority of United States as the main body. This seems to be one kind of paradox: American culture industry backed by multinational companies to benefit from all over the world, but the ultimate holding company lies in the hands of the merchants of other countries, although the country is still the biggest beneficiary the United States during the GDP statistics still this part of the cross-cultural enterprises to join them. It is reported that, among the most powerful movie studios of Hollywood, Columbia TriStar is a subsidiary of Sony Corporation of Japan, parent company of Fox ***Fox*** is Australia's News Corporation. Especially in the popular music industry sector, in addition to the WEA, the more money earned in the U.S. market is the Sony of Japan, the Netherlands, Polygram, BMG in Germany, the United Kingdom Thorn EMI companies.
China in recent years to increase the development of cultural industries such as animation and game, the seventh international animation festival, the statistics of the number of Chinese animation turnover super-Japan, to become the first in the world. We need more quality to support domestic animation to the world.
[1] Marilyn Hugh著, Andrea Jane譯
外文資料翻譯-中文部分
中國動畫發展的需求
中國為什麼要發展動漫遊戲等文化產業?中國發展動漫遊戲產業的榜樣是誰?通過下面對日本與美國的調查報告可以看出來，動漫遊戲等文化產業給每個國家帶來了多大的利益。不難看出來，當社會進步到一定的時期，文化產業的發展是必然的。
日本的動漫產業可謂成功的典範，因此也成了中國動漫產業的參考物件和追趕目標。然而記者發現，關於日本動漫產業的一系列資料也是混亂不堪，尤其是追溯到五六年前，一些被廣泛引用的資料在今天看來甚為荒謬。
如記者在2006年的不少文章中發現，當年“全球動漫產業的產值在2000億美元到5000億美元之間，而日本的動漫產業年產值達到230萬億日元，成為日本第二大支柱產業”。根據日本今年釋出的2010年日本國內生產總值按當年價格計算為4791791億日元，而日本近年來經濟增長幅度不大，可估算當時日本動漫產業佔GDP比重可能超過50%!
而目前最為流行的資料便是“日本動漫產業所佔GDP比重超過10%”，以此估算，日本動漫產業產值應約在48萬億日元，也就是8000億美元。而這已基本是全球動漫產業及其衍生品產業產值之和，這讓居於榜首的美國何處容身?
根據日本數碼內容協會《數碼內容白皮書2004》的統計，以動漫產業為重要組成部分的日本文化創意產業，2004年的產值達到12.8萬億日元，約佔日本當年國內生產總值的2.5%，其中影像產品4.4萬億日元，音樂產品1.7萬億日元，圖書報刊出版5.6萬億日元，遊戲1.1萬億日元，超過了農林水產品產值10萬億日元。如果與相關的通訊、資訊服務、印刷、廣告、家電等合計起來，更是高達59萬億日元的規模。只有這樣把動漫產業範疇廣義化，方能達到目前國內廣泛流傳的10%的比例。
綜合各種資料看來，目前《數碼內容白皮書2004》釋出的資料相對比較合理，具有一定參考價值，也就是說，日本的動漫產業所佔GDP比例應在2%至5%之間。這樣說來，國內動漫產業也少了很多壓力，但其在全球動漫產業中的亞軍位置，是目前GDP總量已超日本的中國仍難以望其項背的，正所謂尚需努力。 美國文化產業的產值約佔GDP的20%左右，尤其是以下一組資料最頻繁的在各種文章中出現：2006年美國的GDP是132200億美元，文化產業的產值為26400億美元;美國的文化產品佔據著40%的國際市場份額。其中美國控制了全球75%的電視節目的生產和製作;而美國動畫業的產值幾乎佔據全球市場的
30%，達到310億美元;美國的電影產量佔全球的6.7%，卻佔領了全球50%的放映時間;此外美國的體育產業總規模約為3000億美元，約佔GDP的2.3%，其中僅NBA一項就達到了100億美元。不過也可以看出，這個所謂的美國文化產業產值是包含體育及其相關產業在內的，其範疇大於目前國內的文化產業分類。 最後在《中國文化產業學術年鑑》***1979-2002年卷***中發現，目前網路上發表的關於美國文化產業比例問題的文章，最早可追溯到《經濟日報》2000年10月27日發表的《文化創業空間究竟有多大》一文。文中提到，據統計，當時“美國文化產業的產值已佔GDP總量的18%至25%，400家最富有的美國公司中，有72家是文化企業，美國音像業已超過航天工業居出口貿易的第一位”。此後，由2002年中共中央辦公廳調研室釋出的《2001-2002年：中國文化產業發展報告》中的《“文化產業”概念的正式提出及其背景》一文是第一次有官方檔案引用這一資料。現如今，《經濟日報》的資料來源自何處已不可考，然而已過10多年，這個資料卻仍廣泛被各類文章和政府檔案所引用，只是出現稍許浮動，如提高到1/3或下降到12%，但“72家是文化企業”的數值比率在這10多年卻從未有所變動。至少這個資料，在已過了11年的今天，是有問題的。
美國對於文化產業的定義、分類體系、統計方式和文化企業組成有關。中國社會科學院文化研究中心副主任張曉明在接受記者採訪時介紹：“在很大程度上，如今的美國文化產業更多是由跨國公司來運作的，而這些跨國公司的大部分又都不以美國為主體。這似乎是一種悖謬：美國文化產業既然背靠跨國公司從全世界獲利，但最終控股的公司卻掌握在其他國家商人的手中，雖然對國家而言美國仍是最大的受益者。”而美國在進行GDP統計時仍會把跨國文化企業這一部分加入其中。據悉，在好萊塢最具實力的電影製片廠之中，哥倫比亞三星是日本Sony公司的子公司，而福克斯***Fox***的母公司則是澳大利亞的新聞集團。在流行音樂產業部門更是如此，除了美國的WEA公司之外，更多在美國市場上賺取鈔票的是日本的Sony、荷蘭的Polygram、德國的BMG、英國的Thorn EMI公司等。
中國在近幾年加大對動漫遊戲等文化產業的發展，第七屆國際動漫節統計出中國動漫的數量成交額超日本，成為世界第一。我們需要更多的精品來支援國產動漫走向全世界。
參考文獻：
[1] Marilyn Hugh著, Andrea Jane譯