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创造性产业
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  “创造性产业”译为未确定词的双语例句
     The Promising Culture-creation Enterprise
     方兴未艾的文化创造性产业
短句来源
     We need a new theory of location of service industries to account for these effects, concentrating on the four key sectors of the informational economy: finance and business services, 'power and influence', creative and cultural industries, and tourism.
     为考虑这些影响,我们需要一种新的服务产业区位论,集中关注信息经济的4个主要部分所产生的影响,其中包括金融和商务服务,“权力与影响”,创造性产业和文化产业,以及旅游。
短句来源
     The culture-creation enterprise, which takes culture as content, manifesting itself in film, television, mobile phone, computer games, cartoon, caricature, music, internet, advertisement, design, even sports, museum, theme park and so on, crates fortune and job opportunities. Its vehicles include paper, electromagnetic wave, electronics, digital media, and information highway.
     文化创造性产业是以纸、电波、电子、数码媒体、信息公路等为载体,表现在影视、手机、计算机游戏、卡通片、漫画、音乐、网络、广告、设计,甚至包括体育、博物馆、主题公园等以文化为内容,具有强烈的知识产权性,又能创造财富和就业机会的产业。
短句来源
     Compared with the above mentioned nations and areas, the culture-creation enterprise in China lags behind and as a result, the enormous imports of foreign products rush into China.
     相对于上述国家与地区,我国的文化创造性产业目前处于滞后状况,结果造成外国产品大量进入中国市场。
短句来源
  相似匹配句对
     Creativity
     创造性
短句来源
     The Promising Culture-creation Enterprise
     方兴未艾的文化创造性产业
短句来源
     Research on the "Creative Destruction" Mechanism of Industry Competitiveness
     产业竞争力“创造性毁灭”机制研究
短句来源
     Industry Trends
     产业走势
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     Environmental Industry
     环保产业
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  creative industry
Multimedia Archiving of Technological Change in a Traditional Creative Industry: A Case Study of the Dhokra Artisans of Bankura,
      
Yet there is something of a paradox about music as a creative industry.
      
A brief history of the term creative industries The term creative industry denotes a pooling of quite heterogeneous industrial sectors.
      
All regions have some creative industry presence but, with one or two important exceptions, London dominates.
      
Considering we work in a creative industry, our trade media is decidedly dull.
      
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It is argued that the 'death of distance' will lead to the death of cities, but this ignores the significance of face-to-face contact and the continuing significance of agglomeration. We need a new theory of location of service industries to account for these effects, concentrating on the four key sectors of the informational economy: finance and business services, 'power and influence', creative and cultural industries, and tourism. This will need to account for the new polycentric form of major cities, and...

It is argued that the 'death of distance' will lead to the death of cities, but this ignores the significance of face-to-face contact and the continuing significance of agglomeration. We need a new theory of location of service industries to account for these effects, concentrating on the four key sectors of the informational economy: finance and business services, 'power and influence', creative and cultural industries, and tourism. This will need to account for the new polycentric form of major cities, and also for the changes in traditional central place systems that result from globalisation and the development of the informational service economy.

有观点认为,“距离的消失”将导致城市消亡,但它忽视了面对面交往的重要性和集聚持续下去的重要性。为考虑这些影响,我们需要一种新的服务产业区位论,集中关注信息经济的4个主要部分所产生的影响,其中包括金融和商务服务,“权力与影响”,创造性产业和文化产业,以及旅游。这将要求主要城市具有新的多中心形态,并且作为全球化和信息服务经济发展的结果,导致传统中心地体系发生了变化。

The culture-creation enterprise, which takes culture as content, manifesting itself in film, television, mobile phone, computer games, cartoon, caricature, music, internet, advertisement, design, even sports, museum, theme park and so on, crates fortune and job opportunities. Its vehicles include paper, electromagnetic wave, electronics, digital media, and information highway. The culture-creation enterprises in Britain, U. S., Japan and South Korea have been developing very rapidly and have occupied important...

The culture-creation enterprise, which takes culture as content, manifesting itself in film, television, mobile phone, computer games, cartoon, caricature, music, internet, advertisement, design, even sports, museum, theme park and so on, crates fortune and job opportunities. Its vehicles include paper, electromagnetic wave, electronics, digital media, and information highway. The culture-creation enterprises in Britain, U. S., Japan and South Korea have been developing very rapidly and have occupied important positions in either international or domestic market. In recent years, Hong Kong and Macao began to attach importance to it. Compared with the above mentioned nations and areas, the culture-creation enterprise in China lags behind and as a result, the enormous imports of foreign products rush into China. The Chinese cultural market has tremendous latent capacity and culture-creation enterprises will become the most potential Chinese enterprises in the future. Nevertheless, it must be the enterprises in which the leading role of national culture is the main feature.

文化创造性产业是以纸、电波、电子、数码媒体、信息公路等为载体,表现在影视、手机、计算机游戏、卡通片、漫画、音乐、网络、广告、设计,甚至包括体育、博物馆、主题公园等以文化为内容,具有强烈的知识产权性,又能创造财富和就业机会的产业。英国、美国、日本、韩国的文化创造性产业发展迅速,不论在国内、国际都占有重要市场。我国港、澳、台地区近年开始重视文化创造性产业。相对于上述国家与地区,我国的文化创造性产业目前处于滞后状况,结果造成外国产品大量进入中国市场。中国的文化市场存在着巨大的潜力,文化创造性产业也将是未来中国发展潜力最大的一个产业,但必须是以民族文化为主调的文化创造性产业

For re-writing the history of a century of Chinese films, there are still many uncertainties to deal with, such as personality, independence, historical data, theories, methodology, genres, comparative studies, etc. While the dividing of the periods is basically clear, the detail approaches need deepening, including the judgment of historical figures, the shaping and developing of new tides, the cross–period creating and the relations between olds and news, the historical viewpoints of film industrialization,...

For re-writing the history of a century of Chinese films, there are still many uncertainties to deal with, such as personality, independence, historical data, theories, methodology, genres, comparative studies, etc. While the dividing of the periods is basically clear, the detail approaches need deepening, including the judgment of historical figures, the shaping and developing of new tides, the cross–period creating and the relations between olds and news, the historical viewpoints of film industrialization, the relation between art and market, especially the artistic creation, industry and politics.

中国电影百年史的框架基本具备,但研究个性、独立性、史料性、理论依据、方法论、类型研究、比较研究等等都不能算完备。难题主要在于阶段划分基本明晰,但细部缺乏梳理;一些阶段尚未深入,许多问题有待研究;对历史人物的研究粗浅,对历史潮流的演变与形成没有深入的探讨,跨时期的创作现象和作品联系把握都不足:对电影产业性质历史状态研究和艺术与市场关系研究严重不足。强调今后电影史重写,必然注意艺术的创造性、产业性(商业性)和政治性之关系。

 
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