Abstract：With the prosperous development of the cultural industry, the production of cultural creativity has become an important source of cultural innovation. Cultural innovation in the form of cultural creativity has reshaped the model of economic innovation, and the typical “technology-product” technological innovation pattern has gradually evolved into the creativity-driven“culture-technology” pattern in digital economy. Integrating the three major ideas of “cultural industry”, “creative class” and “cultural capital” in the study of cultural economy, and starting from the core theory of the structure model of innovation industry, we can see that the cultural innovation represented by cultural creative production influences economic innovation through aggregation and diffusion. Among them, aggregation is the self-reproduction of cultural innovation, and eventually contributes to the formation of the cultural innovation class. The interaction within the class is the social basis of the new culture. Diffusion is the blending of communication and economy. The communication channel, time and social system of diffusion as well as the innovation aggregation, production integration and product diversification all depend on the development of digital technology. Therefore, from the perspective of digital economy, the cultural innovation represented by cultural creative production has economic attributes, and cultural innovation is also a manifestation of the economic value increment of cultural capital.
潘道远. 从技术变革到创意驱动：数字时代经济创新范式转换的文创机理[J]. 《深圳大学学报》（人文社科版）, 2020, 37(4): 74-81.
PAN Dao-yuan. From Technological Change to Creative Drive: the Cultural and Creative Mechanism of the Paradigm Shift of Economic Innovation in the Digital Era. , 2020, 37(4): 74-81.
[1] Scott,A J.The cultural economy: geography and the creat-ive field[J].Media, Culture & Society,1999,21(6):807-817. [2] Pollard J,Mcewan C,Hughes A.Postcolonial economies[M].London:Zed Books,2011.21. [3] (澳)戴维·思罗斯比.经济学与文化[M].王志标,张峥嵘译.北京:中国人民大学出版社,2015.177. [4] (英)露丝·陶斯.文化经济学[M]. 周正兵译.大连:东北财经大学出版社,2016. [5] Cunningham S D,Banks J A,Potts J D.Cultural economy: the shape of the field[M].New York: Sage Publications, 2008.15-27. [6] Throsby,D.Modelling the cultural industries.[J].Interna-tional Journal of Cultural Policy,2008,14(3):217-232. [7] Aviles-Ochoa E,Canizalez-Ramírez P M. Cultural indus-tries and economic growth.A model to study the emergence of creative clusters[J].Economía Sociedad y Territorio, 2015,15(47):185-216. [8] Boschma R,Iammarino S.Related variety,trade linkages, and regional growth in Italy[J].Economic geography,2009,85(3): 289-311. [9] Lazzeretti L,Domenech R B, Capone F.Why Do Creative Industries Cluster: An Analysis of the Determinants of Clustering of Creative Industries[R].Barcelona: Institutd’Estudis Regionals i Metropolitans de Barcelona, 2009. [10] 李凤亮,宗祖盼.科技背景下文化产业业态裂变与跨界融合[J].学术研究,2015,(1):137-141. [11] 蔡骐. 社会化网络时代的粉丝经济模式[J].中国青年研究,2015,(11):5-11. [12] (美)伊丽莎白·科瑞德.创意城市:百年纽约的时尚、艺术与音乐[M].北京:中信出版社,2010.7. [13] (美)佛罗里达.创意阶层的崛起 [M].北京:中信出版社,2010.80. [14] Scott,A J.Creative cities: The role of culture[J].Revue d’économie politique, 2010,120(1):181-204. [15] (美)埃弗雷特·罗杰斯.创新的扩散 [M].北京:电子工业出版社,2016.7. [16] Mark S.Granovetter. The Strength of Weak Ties[J]. American Journal of Sociology, 1973, 78(6):1360-1380. [17] (澳)Terry Flew.数字社交媒体与文化创意产业[J].卢嘉杰译.深圳大学学报(人文社会科学版),2018,35(1):64-71. [18] 陈世华,黄盛泉.近亲不如远邻:网络时代人际关系新范式[J].现代传播(中国传媒大学学报),2015,37(12):129-132. [19] 张凤海,侯铁珊.技术创新理论述评[J].东北大学学报(社会科学版),2008,10(2):101-105. [20] Sao-Wen Cheng.Cultural goods creation,cultural capital formation,provision of cultural services and cultural at-mosphere accumulation[J].Journal of Cultural Economi-cs,2006,30(4):263-286.
2020, Vol. 37 
粤公网安备44030502007936号