Abstract：At digital times, traffic“enclosure” and star effect coexist. Traffic“enclosure” is manifested in the behaviors of traffic owners to attract fans and expand fan groups through some channels; Star effect shows that people who are well-known, appealing or influential in the industry can get more opportunities, higher incomes and greater achievements. Traffic“enclosure” and star effect bring great challenges to the survival of cultural industries, have both resulted in the centralization of the resource allocation in cultural industries, and partially formed a superposition effect, thus solidifying the income distribution pattern that the cultural industry has formed and intensifying the centralization of resource allocation in cultural industries. In the digital era, both flow and popularity have become decisive production factors in the cultural industries, resulting in a partial concentration of the cultural industrial market to the owners of flow or popularity, and a large number of surplus cultural producers have to share the surplus market. Despite the positive policies introduced by the state, due to the policy time lag and consumer expectations, the surplus cultural producers will have to face the digital survival dilemma caused by the spiral of traffic“enclosure” and star effect for a long period of time. Under such circumstances, cultural producers need to manage risks and gain access to markets. It is necessary to carry out controlled production, and determine the direction, type and scale of cultural production according to data elements: adhere to quality orientation, build brands and influence with the quality of cultural products: achieve accurate distribution, and dominate the niche market in the niche market.
王志标. 流量“圈地”、明星效应与文化产业的数字化生存[J]. 《深圳大学学报》（人文社科版）, 2024, 41(2): 45-55.
WANG Zhi-biao. Traffic “Enclosure”, Star Effect and Digital Survival of Cultural Industries. , 2024, 41(2): 45-55.
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