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A Guide to Selling Fashion Around the World Online
CheckOut 4 FASHION A guide to selling fashion around the world online The CheckOut2TheWorld alliance is brought to you by: INFINITYBLUE driving marketplace performance A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE CONTENTS Introduction ........................................................................................................ 3 Fashion by numbers ....................................................................................... 4 How do consumers buy online? ............................................................... 7 Being discovered in new markets ......................................................... 14 Getting your clothes to international customers ........................ 19 Looking after your international customers .................................. 21 Focus on China ................................................................................................ 25 Interview with Lei ......................................................................................... 27 A GUIDE TO SELLING FASHION AROUND THE WORLD ONLINE INTRODUCTION The opportunities available to retailers within the fashion industry are enormous. As the world becomes increasingly connected, it also becomes easier and cheaper to sell clothes, footwear and accessories to consumers in new countries. At the same time, as more people buy products online, the more sophisticated, streamlined and cost-effective the associated logistics become, making it faster and cheaper for sellers to reach their customers, wherever they may be. -
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index 36th Statistical Report on Internet ‘american dream’ 40, 324 Development in China 433 Analects 318 40 Kids Songs in Cartoon 279 anderson, benedict 28 5000 Years of Chinese Characters 254 anderson, Chris 46, 49 animation industry A Bite of China 248, 255, 256 and copycats 280 A Complaint Free World 316 control/censorship mechanisms across the taiwan strait and Hong 282–7, 289–90 kong film festival 487 domestic industry growth/challenges adorno, theodor 5, 17, 18, 20 277–8, 279–80, 282, 287–8, 290 Adventure Under the Sea 285 evolution of 278–80 advertising foreign animation culture 279–80, and commercialization of television 288 industry 361, 369–72 and ‘going global’ 136, 140–41, and cultural governance of mass 277–8, 287–8 media 192, 199, 200 ‘golden eras’ of 279 and digital publishing industry government policy/regulation 277–8, 388–9 280–87, 288, 289–90 and e-commerce 416–17 international industry growth 276–7, and genesis of cultural industries 5–6 279–80 and ‘going global’ 125, 131, 137, ‘managed creativity’ in 288–90 and industrialization of art 520, 522 recommendation and awards and mobile internet 402–5 systems 283–4 and online video platforms 347, 348, anti-culture process 17, 18 351–2, 355–6, 403 app-based distributors (digital and radio 5, 260, 262–3, 265, 267–8, publishing industry) 383–4 271, 272 Approval for Foreign Cultural and Advice on Further Strengthening and Artistic Performance Groups & Improving the Work of Exporting Individuals in Song & Dance 140 Cultural Products 129 apps 332, 367, 369, 382–4, 403–4, Aftershock -
Chinese Charities Evaluated Charity Name Type 1 L.O.V.E
APPENDIX A Chinese Charities Evaluated Charity Name Type 1 L.O.V.E. Non-public fundraising foundation* Founded by Li Bingbing. Environment. 2 World Wildlife Fund (WWF) INGO. Conservation, http://www.wwf.org 3 阿里地区红十字会 Government. Public fundraising foundation** Ali (Ngari Prefecture) Red Cross Medical aid/Disaster relief 4 爱心火炬基金 Government. Public fundraising foundation. Poverty Torch Foundation alleviation, http://www.sygoc.org.cn 5 保护国际 CI 组织 INGO Conservation, http://www.conservation.org.cn/ Conservation International 6 阳光文化基金会 Non-public fundraising foundation. Founded by Sun Culture Foundation Yang Lan. Arts/Culture/Philanthropy, http://www.sunculturefoundation.com/en/about.php 7 北京成龙慈善基金会 Non-public fundraising foundation. Founded by Beijing Jackie Chan Charitable Jackie Chan. Disaster relief, Foundation http://www.chengloongcishan.org/ 8 Government. Non-public fundraising foundation. 北京国际音乐节艺术基金 Arts / Culture, Beijing Music Festival Arts Foundation http://www.bmf.org.cn/jigoujianjie.html 9 北京绿化基金会 Government. Public fundraising foundation. Beijing Green Foundation Environment, http://www.greenbeijing.org/ 10 北京青少年发展基金会 Government. Public fundraising foundation. Youth, Beijing Youth Development Foundation http://www.bjydf.cn/ 11 北京市慈善协会 Government. Public fundraising foundation. Medical Beijing Charity Association aid/Poverty alleviation, http://www.bjcsh.org.cn/ 12 北京市地震局北京受灾者救助协会‘回 Government. Public fundraising foundation. Disaster 家’专项基金 relief Beijing Seismological Bureau Fund for Helping Disaster Victims Return Home 13 Private Foundation. Public fundraising foundation. 崔永元公益基金 Founded by Cui Yongyuan. Education, Cui Yongyuan Charity Foundation http://www.xiaocui.org/ 14 大学生和平大使慈善基金 Private enterprise. Public fundraising foundation. University Student Peace Ambassador Youth, http://www.cswef.org/fzjg/2013/0412/18.html Fund 15 兜兜传爱基金会 Government. Public fundraising foundation, affiliated Dou Dou Love Foundation with Chinese Red Cross. -
Chinese Music Reality Shows: a Case Study
Chinese Music Reality Shows: A Case Study A Thesis Submitted to the Faculty of Drexel University by Zhengyuan Bi In partial fulfillment of the requirements for the degree of Master of Science in Television Management January 2017 ii © Copyright 2017 Zhengyuan Bi All Right Reserved. iii DEDICATION I dedicate this thesis to my family and my friends, with a special feeling of gratitude to my loving parents, my friends Queena Ai, Eileen Zhou and Lili Mao, and my former boss Kenny Lam. I will always appreciate their love and support! iv ACKNOWLEDGMENTS I would like to take this opportunity to thank my thesis advisor Philip Salas and Television Management Program Director Al Tedesco for their great support and guidance during my studies at Drexel University. I would also like to thank Katherine Houseman for her kind support and assistance. I truly appreciate their generous contribution to me and all the students. I would also like to thank all the faculty of Westphal College of Media Arts & Design, all the classmates that have studied with me for these two years. We are forever friends and the best wishes to each of you! v Table of Contents DEDICATION ………………………………………………………………………………..iii ACKNOWLEDGEMENTS…………………………………………………………………...iv ABSTRACT……………………………………………………………………………………vii Chapter 1: Introduction………………………………………………………………………..1 1.1 Introduction………………………………………………………………………………...3 1.2 Statement of the Problem…………………………………………….................................3 1.3 Background…………………………………………………………………………………4 1.4 Purpose of the study…………………………………………………………………….....5 -
Fandom, Youth and Western Pop Music in China
Fandom, Youth and Western Pop Music in China by Yuanhao Zhang B.A., Communication University of China in Nanking, 2011 Extended Essay Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art & Technology © Yuanhao Zhang 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Yuanhao Zhang Degree: Master of Arts (Communication) Title: Fandom, Youth and Western Pop Music in China Supervisory Committee: Program Director: Yuezhi Zhao Professor Stuart Poyntz Senior Supervisor Professor Zhihui Tian Supervisor Professor Institute of Communication Studies Communication University of China Date Approved: August, 8th, 2014 ii Partial Copyright Licence iii Abstract In the wake of globalization and social media, fan culture in China has undergone huge transformation. However, in the context of a socialist market economy (Fung, 2009) and state control, Chinese fan culture has shown different characteristics from elsewhere. This article attempts to provide a political and economic background that examines the development of fandom in China and investigates the relationship between young people and fan culture by looking into the practices of fan communities across western pop music. Keywords: fan culture, youth culture, popular music, China iv Table of Contents Approval ............................................................................................................................. ii Partial Copyright Licence ................................................................................................. -
Hollywood Reporter
Dadi Ent D1 CVR 021110:Berlin HC 2/8/10 12:52 PM Page 1 1 the Berlin dailyThursday, February 11, 2010 thr.com/berlin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`0CF?S 2?S;0IR<ILIOAB 0IG;HNC=!IG?>S =NCIH **0-"1*#"&-+# %0##,#0+-3,2',1 2'"#-%371 "CL?=N?><S"?HHCM$;FFIH "CL?=N?><S*??1B;FF;N!B?G?F "CL?=N?><S";H L?HH;H .?N?L!ISIN? (;MIH*IH>IH !BLCM&?OCMF?L )CG<?LFS+=!OFFIOAB ";H L?HH;H 0OMM!;G;L>; !BLCM"IOLIM 4CPC?H!;L>IH? 4;H?MM; L;H=B L;>0;C>?L )?PCH"OL;H> 2IG"IL;H (IBHHS$?LLI FFCMIH*;H? .?N?L ISF? $;GCFS0IG;H=? 1;<LCH; L?HH;H $;GCFS $;GCFS!IG?>S +;LNCH%LI<COM ;O 1N;H>11NN;H;H> 2?F$;R QQQ=OL<?HN?LN;CHG?HN=IG CurbEnt D1 021110.indd 1 2/8/10 12:10 PM day1_p1,24 n1 d:001THRD1_n1 2/10/10 11:10 AM Page 1 Q&A Chinese the director Wang Berlin Quan’an has come to a once- divided city with a story about separation. -
China Pop Love, Patriotism and the State in China’S Music Sphere
115 CHINA POP LOVE, PATRIOTISM AND THE STATE IN CHINA’S MUSIC SPHERE ANDREAS STEEN Popular culture in China is highly dynamic, involving individuals and private companies, both local and international, as well as state-governed institutions. The mass media and new communication technologies naturally play an impor- tant role in production, selection and dissemination, while also increasing in- teraction with international trends and standards. Sheldon H. Lu underscores popular culture’s importance in today’s China by emphasizing that it is “a dein- ing characteristic of Chinese postmodernity”.1 To him, three factors are crucial, namely it’s potential to undermine the censorship and “hard-line” cultural he- gemony of the Chinese Communist Party (CCP), its rise as a “major player in the commodiication process,” and “its sugar-coated apoliticism, [which] paciies the masses and represses the memory of China’s political reality” (ibid.). Popular cul- ture, therefore, is the battleground of various ideologies, forces and interests. Its ambivalent and complex entanglement with politics, society and the musical in- dustry is also addressed in the work of other scholars, such as Kevin Latham, who expresses that “understanding Chinese popular culture very often requires care- ful attention to how precisely the state is involved in and related to forms of social and cultural activity and practices. Popular culture does not exist outside of or in contrast to the state but very often in a constant and evolving dialogue with it.”2 This article looks at both conlicts and dialogue in the realm of popular music and attempts to lay out the main contours of China’s current popular music scene. -
Androgynous Beauty, Virtual Sisterhood Stardom, Fandom, and Chinese Talent Shows Under Globalization Hui Faye Xiao
5 Androgynous Beauty, Virtual Sisterhood Stardom, Fandom, and Chinese Talent Shows under Globalization hui faye xiao In the future, everyone will be world-famous for 15 minutes. —Andy Warhol, exhibition catalog (1968) [P]opular culture always has its base in the experiences, the pleasures, the mem- ories, the traditions of the people. Hence, it links with what Mikhail Bakhtin calls “the vulgar”—the popular, the informal, the underside, the grotesque. —Stuart Hall, “What Is Th is ‘Black’ in Black Popular Culture?” (1993) Th ree decades of post-1978 rapid economic growth have made China the world’s second-largest economy. Its 2002 integration into the World Trade Organization further affi rmed its place in the global capitalist order. Th e accelerating marketization and globalization of the Chinese economy have changed every aspect of contemporary Chinese society, including its gender ideology and cultural politics. Transnational capital and cultural fl ows have brought in a variety of imported television programs broad- casting to the single largest national audience in the world. Th e threat of foreign cultural invasion has propelled a reform of the Chinese television broadcasting system that, combined with an emerging Internet culture and regionalization of visual culture, aff ects its youthful audience’s per- ceptions of beauty, gender, and sexuality. In the recent frenzied competition among Chinese television stations in adapting various Euro-American reality shows into localized programs, an arguably fi rst made-in-China idol has been produced. Th e craze for the androgynous beauty of this unlikely new star has spread from mainland China to Taiwan, Hong Kong, and overseas Chinese communities mainly 104 Androgynous Beauty, Virtual Sisterhood | 105 through the medium of the Internet. -
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Advances in Social Science, Education and Humanities Research, volume 289 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018) Real Situation and Inner Image Analysis on the Urban Cultural Image of the Drama “I Am Waiting for You in Chengdu”, the First Drama of Dream Seekers’ Life in Chengdu* Zhengbo Zhang College of Chinese and ASEAN Arts Chengdu University Chengdu, China 610106 Miao Wang Hao Huang College of Chinese and ASEAN Arts College of Teachers Chengdu University Chengdu University Chengdu, China 610106 Chengdu, China 610106 Abstract—In July 2018, the first drama of dream seekers’ Chengdu University. Also, this drama was co-directed by Lu life in Chengdu “I am waiting for you in Chengdu” was Chunxiao and Li Yihang of Sichuan Normal University. The performed in Wuhou Theater and Sanhe Classic Car Museum college students of Sichuan Normal University, Sichuan in Chengdu, Sichuan Province. The continuous hot scene Conservatory of Music and other universities and colleges in completely exceeded the team’s expectations. Major domestic Chengdu participated in the performance of this drama. "I news media such as “Toutiao”, “People’s Daily’, and “West am waiting for you in Chengdu", the first drama of dream China City Daily” quickly made the response, and gave the seekers' life in Chengdu was performed in Wuhou Theater detailed reports. The drama has provoked a thousand waves. It and Sanhe Classic Car Museum in Chengdu, Sichuan has caused widespread response from all walks of life. It is the Province. And the continuous hot scene completely exceeded successful capture and theater depiction of the historical the team's expectations. -
Modern China's Idols: Heroes, Role Models, Stars and Celebrities
Modern China’s Idols: Heroes, Role Models, Stars and Celebrities Elaine Jeffreys, University of Technology Sydney This paper examines a virtual commemorative artefact called ‘The Search for Modern China’ to consider the evolution of celebrity in the People’s Republic of China (PRC). The website was launched in late September 2009 by Sohu.com, China’s biggest Internet media company, to commemorate the sixtieth anniversary of the founding of the PRC under the leadership of the Chinese Communist Party (CCP) on 1 October 1949 (‘Zhuixun xiandai Zhongguo’ 2009). As with other commemorative sites, including ‘60th Anniversary’ (2009) on People’s Daily Online, which is the official media voice of the CCP, the website provides links to webpages that celebrate the history and combined achievements of the Party and ‘the people’ in realizing China today—a modern superpower. Unlike other sixtieth anniversary websites, it incorporates a celebrity section called ‘Evolution of the Idol’ (‘Ouxiang jinhualun’ 2009, hereafter Idol). The Idol website presents a narrative describing the evolution of celebrity in the PRC as shaped by six decades of social change, and shifting along with China’s post–1978 adoption of market-based economic reforms from the collective admiration of socialist heroes towards the alienated adoration of commercial celebrities. Idol subsequently calls on China’s netizens to confirm or challenge this introductory and degenerative account of fame and fandom. Each generational decade of the PRC’s sixty-year history is represented by a webpage containing a statement about the nature of idol worship during that period and images of selected idols. Visitors can click on each image to read PORTAL Journal of Multidisciplinary International Studies, vol. -
Distinction in China— the Rise of Taste in Cultural Consumption
The London School of Economics and Political Science Distinction in China— the rise of taste in cultural consumption Gordon C. Li A thesis submitted to the Department of Sociology of the London School of Economics and Political Science for the degree of Doctor of Philosophy, London, May 2020 Distinction in China—the rise of taste in cultural consumption 2 Declaration I certify that the thesis I have presented for examination for the Ph.D. degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgment is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 90,363 words. Distinction in China—the rise of taste in cultural consumption 3 Abstract This research studies how cultural consumption draws cultural distinctions in the most developed megacities in China. This research examines the pattern of music consumption to examine distinction—which types of music are used, how they are used, who are using them, and what are the sources of those tastes. Although some theories, such as the cultural omnivore account, contend that the rise of contemporary pop culture implies a more open-minded pursuit of taste, this research argues that popular culture draws distinction in new ways. -
June 28, 2016 Page 1 of 21 CEPF Final Project Completion Report
CEPF Final Project Completion Report Instructions to grantees: please complete all fields, and respond to all questions, below. Organization Legal Name Freeland Foundation Project Title iTHINK, A Joint Campaign Platform to Tackle Wildlife Consumption CEPF GEM No. 64071 Date of Report March 31, 2017 CEPF Hotspot: Indo-Burma Strategic Direction: 2. Demonstrate innovative responses to illegal trafficking and consumption of wildlife 2.4 Support Campaigns, Social Marketing, Hotlines and Other Long-term Communication Programs to Reduce Consumer Demand for Wildlife and Build Public Support for Wildlife Law Enforcement Grant Amount: USD 250,000.00 Project Dates: 2014/3/1 - 2017/1/31 1. Implementation Partners for this Project (list each partner and explain how they were involved in the project) Freeland: Freeland managed the project and provided oversight through the grant. Freeland was specifically responsible for compiling reports, organizing workshops, providing feedback and insights to all partners and creating and refining the iTHINK toolkit Beijing Normal University (BNU): BNU supported the project by raising awareness in China at local universities and online through the Weibo microblogging platform. BNU also engaged Key Opinion Leaders to engage youth and students at universities across Southern China. Education for Nature-Vietnam (ENV): ENV focused on raising awareness in Vietnam through community outreach programs. ENV supported KOL engagement and worked on policy review with the Vietnamese government. International Fund for Animal