|
注释： ①Morawetz, N., Hardy, J. Haslam C. and Randle, K. ,Finance, policy and industrial dynamics——the rise of co-productions in the film industry, Industry and Innovation, September 2007, 14(4):421-443. ②Laikwan Pang, Postcolonial Hong Kong cinema; Utilitarianism and(trans)local, Postcolonial Studies, 2007, 10(4):413-430. ③Stephen, Teo. Local and Global Identity: Whither HongKong cinema? Senses of Cinema. Available online at http://archive.sensesofcinema,com/contents/00/7/hongkong.html(13.12.08). ④Bridgewater, P. ,Salvatore A. and Scott, J. Biological diversity and cultural diversity: the heritage of nature and culture through the looking glass of Multilateral Agreements[J].International Journal of Heritage Studies. Vol. 13, No. 4-5, July-September 2007:405-419. ⑤[美]泰勒·考恩《创造性破坏：全球化与文化多样性》，王志毅译，世纪出版集团、上海人民出版社2007年版，第24—25页。 ⑥Zhihong Gao, Serving a stir-fry of market, culture and politics-on globalization and film policy in Great China, Policy Studies, Vol. 30, No. 4, September 2009, 423-438. ⑦Jameson, F. Globalization and strategy[J].New Left Review, 2000, July/August: 49-68. ⑧Wasser, F. Is Hollywood America? The trans-nationalization of the American film industry[J]. Critical Studies in Mass Communication, 1995,12:423-437. ⑨Georgette Wang and Emilie Yueh-yu Yeh, Globalization and hybridization in cultural products: The cases of "Mulan" and "Crouching Tiger, Hidden Dragon", International Journal of Cultrual Studies, 2005, 8(2): 175-193. ⑩Adu-Febiri, Francis. The destiny of cultural diversity in a globalized world[J].Review of Human Factor Studies. June 2006, 12(1):30-64. (11)王一川《灵活的中式类型片模式——2008年中国内地电影的类型互渗现象》，《北京电影学院学报》2009年第2期，第25—29页。 (12)王凤彬《供应链网络组织与竞争优势》，中国人民大学出版社2006年版，第19—20页。 (13)Normann, R, Ramirez, R. From Value chain to Value Constellation: Designing Interactive Strategy[J].Harvard Business Review, 1993, July-August ：65-77. (14)Hagel III, John and Marc Singer, "Unbundling the Corporation", Harvard Business Review, March-April, 1999,p133—141. (责任编辑：admin) |