NAVIGATING CULTURAL INFLUENCE IN CHINA’S POST-WORLD TRADE ORGANISATION ERA: CONCEPTUALISING SOCIALIST CULTURAL MARKET

Lei Sun; Simon J. McKirdy; Yahan Mao

doi:10.29121/shodhkosh.v7.i5s.2026.7384

Authors

Dr.Lei Sun Department of General Education, Hebei College of Science and Technology, Tangshan City, Hebei Province, China
Simon J. McKirdy Deputy Vice Chancellor Global Engagement, Murdoch University, Perth, Western Australia
Yahan Mao Department of Art History, Visual Art and Theory, The University of British Columbia, Vancouver, Canada

DOI:

https://doi.org/10.29121/shodhkosh.v7.i5s.2026.7384

Keywords:

Socialist Cultural Market, Social Effects, Economic Returns, State-Owned Enterprises, China

Abstract [English]

This article examines the historical contexts that shaped the theory of the socialist cultural market in the late 1990s, when Chinese cinema experienced a dramatic decline. It offers insights for English-language theoretical and analytical studies on cultural and industrial governance, both in China and beyond. Through an analysis of academic literature and original policy documents, the study traces the chronological development of the socialist cultural market theory, considering its industrial challenges, historical background, and political necessities. Central to this model is the emphasis on “social effects”, which are coordinated with “economic returns” within a stateregulated, yet relatively open and competitive market setting. Within this system, stateowned enterprises and their cultural products play a leading role, while private and foreign entities also participate. This cultural governance framework helps explain the evolution of cultural policies and sectors—such as film, television, and publishing— across both offline and online domains.

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