A Study On The Patterns And Operation Of Risk Avoidance Of Culture Industry

As a rising industry in the21Century, the Culture Industry has become animportant part of soft power of a country. However, as Ulrich Beck put, we live in arisky society. And the "risks" in the cultural industry has been magnified in a moreobvious way. Risks in the culture industry consist of the systematic risk and thenon-systematic risk. Those risks can’t be eliminated. But under the support of a perfectcopyright protection mechanism and an open and lively industrial financing policy,there’s a chance that enterprises in culture industry can avoid those risks.Based on the analysis of the concept, connotation and characteristics of the riskand risk avoidance of cultural industry, this article tries to build up three kinds of riskavoidance patterns in culture industry: Risk Assigning Pattern, Risk ControllingPattern and Risk Transferring Pattern. And the rest of the article would discuss thethree patterns and the operation from five perspectives, including elements, operatingconditions, operating processes, operating characteristics and operating results. Riskassigning pattern uses intangible assets as the intermediary, in means of externalfinancing increase the overall number of subjects who bears the risk, and assign theuncertain risk of it by sharing uncertain returns, thus accelerate the incubation of thecultural products, reduce the loss. But it will limit the independence of cultureproduction in a certain extent. Risk controlling pattern will have a close control ofevery link of industry chain such as, selects content, establishes collaborative system,and develops derivatives, in order to improve the quality of the culture products andreduce and limit the probability and the range of loss. But this pattern will alsoincrease the cost. Risk transferring pattern uses risk-transfer strategy as the mainmeans, transfer uncertainty risk to the third party by paying determining cost, to reduceor compensate for its losses. The transferring actions are independent while helpingcultural enterprises dredge financing channels and insure the appreciation of itsproduct. But the scope and types of the risk is limited. This paper argues that, culturalenterprise should be clear about the traits of these three patterns, and then apply itthoughtfully combined with their own specific situation and bring into their subjectiveinitiative to it. Through this, the cultural enterprises can release the potential, improvethe efficiency and expand the space for development.