chapter  7
Towards commercialisation with constrained private participation
Pages 15

After China’s accession to the WTO, the political leadership came under growing pressure to develop an internationally competitive cultural economy, and, finally, private music and film production were legally acknowledged. At the same time, however, the attempts to regain control regain control of cultural developments also intensified (see Chapter 4), which resulted in a strategy of unleashing private economic power but still constraining private participation in the cultural sector and instead strengthening the state economy. This strategy was much more effective in the film industry than in the music industry, where the informal institutional arrangements and networks had become well established. Nonetheless, in recent years, a unified institutional framework has been developing in both industries that seeks to integrate selected private economic actors in the Party-state agenda of hegemony and to constrain the influence of others.