An Dual Marginal Study On The Export Of China's Cultural Products

With the acceleration of the process of global integration,the cultural industry as the"sunrise industry" in the 21st century has become one of the most prosperous industries in the world.Countries are competing to encourage the export of cultural products and expand the scale of cultural industry trade,thus promoting the development of the national economy,enhancing the country's "soft power" and further expanding its international influence.However,China is lagging behind in the development of cultural industries.Compared with developed countries,China's cultural industry is weak and its competitiveness is in a weak position.In order to promote the development of China's cultural industry and cultural trade,relevant domestic policies have been introduced one after another,providing policy support for solving problems in the export of China's cultural products.Based on this background,this paper conducts a dual marginal study on the export of China's cultural products,and attempts to provide effective suggestions for China to improve the export model of cultural products and optimize the export structure,and provide a theoretical reference for the goal of "cultural industry becoming the pillar industry of the national economy".Through the collating of domestic and foreign papers,the heterogeneous firm trade theory is the theoretical basis for studying the dual margins of a country's trade.However,although scholars have decomposed the export of cultural products from the perspective of the dual margins in recent years,there are still many different opinions on the factors affecting exports.Because cultural products have both economic and cultural attributes,the influencing factors are more complicated than ordinary commodities.They must consider not only economic factors such as economic scale and trade cost,but also cultural factors such as religion and language.The existing research is not enough to explain the dual marginal characteristics of China's cultural products export.In view of the great expansion space and research value of this problem,based on the existing research and the heterogeneous firm trade theory framework,this paper collects and sorts the product data of HS07 six-digit classification and carries out this problem combining qualitative analysis,empirical analysis,and comparative analysis methods.The main contents is as follows.Firstly,from the macro level,we analyze the import and export scale,export structure and characteristics of China's cultural products,and find that although the export of China's cultural products shows a general growth trend,its trade structure and layout are not reasonable.Labor-intensive products with lower added value account for a higher proportion of exports,and exports of technology-intensive products with higher added value account for a lower proportion.This makes the contribution of cultural product exports to economic growth very limited,and the competitiveness of products in the international market is relatively weak.In addition,the export of cultural products is mainly concentrated in developed countries and regions headed by Hong Kong and the United States.The export share of emerging markets is relatively small.The imbalance of trade layout makes China's cultural products export too dependent on the demand of some markets.In the event of the financial crisis,the export of China's cultural products may be difficult to resist effectively.Therefore,China should accelerate the upgrading of cultural industry,optimize the export structure of products,improve the quality of products,and solve the above problems through government policy support and structural adjustment of the industry.Then,through the HK index method,the cultural product export data is subjected to dual marginal decomposition,and the export of China's cultural products is interpreted from the perspective of intensive margin and extensive margin.The results show that whether it is for the world or a single country,the growth in the intensive margin is the main driving force for the growth of China's cultural products,and the growth in the extensive margin is relatively less important for exports.This "extensive" growth mode lacks stability and is vulnerable to external environmental shocks such as the financial crisis and the global economic downturn,which is not conducive to the healthy and sustainable development of cultural products trade.Therefore,China should continuously increase the intensity of cultural product innovation and enrich the types of exports,thus achieving the growth in extensive margin of cultural products export.Finally,this paper takes 37 main trading partners as samples,and uses the extended gravity model which is added the main explanatory variables(cultural distance)and other explanatory variables(bilateral economic scale,geographical distance,productivity of China's cultural products,trade freedom,financial crisis and common language),and finally do the regression of the intensive margin and the extensive margin of China's cultural products exprot in 2007-2016 respectively.The results show that the cultural distance has an inconsistent impact on the dual margins of China's cultural products export.The greater the cultural distance,the more significant growth of the intensive margin,and the extensive margin growing negatively.Other explanatory variables also have different effects on the dual margins of China's cultural products exports.To this end,to reduce the inhibitory effect of cultural distance on the export of China's cultural products,it is necessary to deepen the cultural exchanges between China and its trading partners,foster mutual cultural identity,and thus promote the export of cultural products.In addition,this paper believes that the development of cultural industry should conform to the implementation process of the "One Belt,One Road" initiative and explore new opportunities for export of cultural products in countries along the route,thus deepening the all-round development of cultural products exports and realizing the transformation of China from a "big cultural country" to a "powerful cultural country".