發(fā)布時間：2019-05-09 06:22

【摘要】：文化產(chǎn)業(yè)作為21世紀(jì)的朝陽產(chǎn)業(yè)，已經(jīng)成為國家軟實(shí)力的重要組成部分。然而，正如烏爾里希·貝克所提出的，我們生活的社會是一種風(fēng)險社會，而風(fēng)險在文化產(chǎn)業(yè)中得到更大的呈現(xiàn)。這些風(fēng)險既包括系統(tǒng)性風(fēng)險，也包括非系統(tǒng)性風(fēng)險。盡管文化產(chǎn)業(yè)的風(fēng)險不可能消除，但只要建立完善的版權(quán)保護(hù)制度，構(gòu)建健全的產(chǎn)業(yè)融資體系，文化產(chǎn)業(yè)的風(fēng)險是可以規(guī)避的。 本文在分析文化產(chǎn)業(yè)風(fēng)險以及文化產(chǎn)業(yè)風(fēng)險規(guī)避的概念、內(nèi)涵以及特征的基礎(chǔ)上，系統(tǒng)構(gòu)建了文化產(chǎn)業(yè)風(fēng)險規(guī)避的三種模式：風(fēng)險分擔(dān)模式、風(fēng)險控制模式和風(fēng)險轉(zhuǎn)嫁模式。并從構(gòu)成要素、運(yùn)行條件、運(yùn)行過程、運(yùn)行特征和運(yùn)行效果等五個方面，具體分析了三種風(fēng)險規(guī)避模式及其運(yùn)行。其中：風(fēng)險分擔(dān)模式是以無形資產(chǎn)作為可流通的風(fēng)險中介、以外源融資為主要手段，通過增加承受風(fēng)險的經(jīng)濟(jì)主體數(shù)量，分享不確定收益來轉(zhuǎn)換自身的不確定性風(fēng)險，進(jìn)而加速文化產(chǎn)品的孵化，減少文化企業(yè)的損失，但會在一定程度上限制文化生產(chǎn)的獨(dú)立性；風(fēng)險控制模式是通過對產(chǎn)業(yè)鏈的各個環(huán)節(jié)實(shí)施控制，篩選內(nèi)容、建立協(xié)作體系、開發(fā)衍生品，以提高文化產(chǎn)品質(zhì)量、降低風(fēng)險概率、限制風(fēng)險范圍，但也將相應(yīng)增加文化生產(chǎn)的成本；風(fēng)險轉(zhuǎn)嫁模式是以保險類風(fēng)險轉(zhuǎn)嫁策略為主要手段，預(yù)先承擔(dān)確定額度的成本，將不確定性的風(fēng)險轉(zhuǎn)嫁給第三方，從而減少或彌補(bǔ)自身的損失，疏通文化企業(yè)的融資渠道，實(shí)現(xiàn)其產(chǎn)品的保價增值，但其轉(zhuǎn)嫁行為具有獨(dú)立性，轉(zhuǎn)嫁范圍具有局限性。本文認(rèn)為，文化企業(yè)合理規(guī)避文化產(chǎn)業(yè)的高風(fēng)險，應(yīng)充分了解三種模式的特點(diǎn)，并結(jié)合企業(yè)情況予以運(yùn)用，充分發(fā)揮主觀能動性，最大限度地釋放發(fā)展?jié)摿Γ�，拓展發(fā)展空間，從而提高生產(chǎn)效率。
[Abstract]:As a sunrise industry in the 21st century, cultural industry has become an important part of national soft power. However, as Ulrich Baker points out, the society we live in is a risk society, and risk is more present in the cultural industry. These risks include both systemic and non-systemic risks. Although the risk of cultural industry can not be eliminated, as long as the establishment of a perfect copyright protection system and a sound industrial financing system, the risk of cultural industry can be avoided. Based on the analysis of the concept, connotation and characteristics of cultural industry risk aversion, this paper systematically constructs three modes of cultural industry risk aversion: risk sharing model, risk control mode and risk transfer mode. Three kinds of risk aversion modes and their operation are analyzed from five aspects: constituent elements, operation conditions, operation process, operation characteristics and operation effect. Among them, the risk sharing model takes intangible assets as the circulating risk intermediary and foreign financing as the main means to convert its own uncertain risk by increasing the number of economic subjects taking the risk and sharing the uncertain income. Then accelerate the incubation of cultural products, reduce the loss of cultural enterprises, but to a certain extent limit the independence of cultural production; The risk control mode is to control each link of the industrial chain, screen the content, establish the cooperative system and develop derivatives, in order to improve the quality of cultural products, reduce the risk probability and limit the risk range. But it will also increase the cost of cultural production. The risk transfer mode takes the insurance risk transfer strategy as the main means, bears the cost of determining the quota in advance, passes on the uncertain risk to the third party, thus reduces or makes up for its own loss, and dredges the financing channel of the cultural enterprise. Realize the value-added value of its products, but its transfer behavior is independent, the scope of transfer has limitations. This paper holds that cultural enterprises should fully understand the characteristics of the three models, give full play to their subjective initiative, release their development potential and expand their development space in order to give full play to the subjective initiative in order to avoid the high risks of the cultural industry reasonably, and to fully understand the characteristics of the three models, combined with the situation of the enterprises. In order to improve the efficiency of production.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：G124

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