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Creativity ClassArt School and Culture Work in Postsocialist China$
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Lily Chumley

Print publication date: 2016

Print ISBN-13: 9780691164977

Published to Princeton Scholarship Online: January 2018

DOI: 10.23943/princeton/9780691164977.001.0001

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Creative Human Capital

Creative Human Capital

Chapter:
(p.1) 1 Creative Human Capital
Source:
Creativity Class
Author(s):

Lily Chumley

Publisher:
Princeton University Press
DOI:10.23943/princeton/9780691164977.003.0001

This chapter illustrates how artists (yishujia) and designers (shejishi) occupy newly prominent positions in China, as model producers, consumers, and citizens/subjects. As paragons of the “creative class,” artists and designers often figure as models for aspirational fantasies in television series and movies aimed at young audiences. Chinese publics are now more often invoked and addressed as consumers (xiaofeizhe) or citizens (guomin, shimin) rather than workers or producers. But members of the “creativity industries” (chuang yi chanye) are represented as elite producers of value in bureaucratic discourses and policies that extol the importance of cultural industries. Here, the chapter outlines the four major themes underscoring this phenomenon—creative practice, self-styling, aesthetic community, and postsocialism.

Keywords:   creative human capital, artists, designers, creative class, creativity industries, cultural industries, creative practice, self-styling, aesthetic community, postsocialism

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