Question

谁能帮我把下面篇英文文献翻译成中文 不要在线翻译或者翻译器的译文，是要自己翻译的。谢谢谢谢谢谢

Introduction: abundance without value

For would-be investors China’s huge population evokes visions of massive demographics yearning for new goods and services. Fortune magazine (October 4, 2004) illustrates how yearning is linked to earning – that is, capitalizing on the commercialization of Chinese lifestyles. It euphorically editorializes ‘The remarkable
rise of China is one of the mega-stories of our time’ (16). Impressive testimonials to peaceful evolution towards free market capitalism attract foreign investors and international marketers hoping to feature in the next stage of China’s market reforms. More cautionary stories, however, have appeared in Newsweek, which devoted a special issue (Fall/Winter 2002) to China, entitled ‘The Five Faces of China: Can Beijing
and the World Handle the Country’s Split Personality?’ Tales of unfulfilled expectations are also chronicled in Joe Studwell’s The China Dream (2002).
The business world’s preoccupation with China Unlimited ( Fortune) – and the prominence given to the Chinese Communist Party’s censorship of cultural works (see Kraus 2004) – overshadows China’s unfulfilled efforts to develop global cultural markets. This failure to compete is a problem of scale in two respects. First, the vast size of the Chinese domestic market provides little incentive for domestic producers
to target international high-value markets. Second, the fragmentation of the national market into provincial empires makes value creation (that is, the creation of powerful brands) difficult. A legacy of Communist propaganda organization, fragmentation has also resulted in ineffective distribution networks. Many small media empires do not create incentives to syndicate or trade licenses (rights). To complicate the scenario
for development, a persistence of protectionist policies in media, communications and culture reveals a tendency to emphasize the national character of production and in doing so neglects the nurturing of national champions and targeting of potentially lucrative international markets.
This article examines the financing of creative industries in the People’s Republic of China. Creative industries embrace both traditional and contemporary culture, but exportable industries are primarily content-driven. This focus on export content shifts the development argument away from the provision of infrastructure towards innovation in the global economy. The concern of this paper therefore is on the synergy between financial and creative inputs into production, distribution, and marketing of film and television. The paper also make some concluding observations about the prospects for digital content industries, and points towards a bottom-up model of development applicable across a range of creative and content industries.

Answer 1

介绍：数量没有价值
对于潜在投资者中国庞大的人口引起幻觉大规模人口渴求新的商品和服务。财富杂志（2004年10月4日）说明如何思念与收入–是，利用商业化的中国生活方式。它euphoricallyeditorializes'卓越
中国的崛起是我们时代的mega-stories”（16）。令人印象深刻的感言和平演变的自由市场资本主义吸引外国投资者和国际营销者希望在中国下一阶段的市场改革。更警世故事，然而，已经出现在新闻周刊，这特刊（秋冬2002）到中国，题为'五面中国：北京
和世界处理国家的人格分裂？故事的未实现的期望也记载在乔斯塔威尔的中国梦（2002）。
商业世界关注中国无限（财富）–和突出的中共检查文化作品（见克劳斯2004）–让中国的未完成的努力发展全球文化市场。这次失败的竞争是一个规模问题有两点。第一，规模庞大的中国国内市场的国内生产者提供小激励
为目标的国际高端市场。其次，分散在全国市场为省帝国使价值创造（即，建立强大的品牌）困难。遗留下来的宣传组织，碎片也导致无效的分销网络。许多小的传媒帝国不鼓励集团或贸易许可证（权）。复杂的情况
发展，一个持续的保护主义政策的媒体，通信和文化揭示了倾向强调民族性的生产和在这样做忽视培育国家冠军和针对潜在利润丰厚的国际市场。
本文探讨了融资的创意产业在人民共和国的中国。创意产业拥抱传统和当代文化，但出口行业的主要内容为导向。这一重点出口内容变化发展的论点从提供基础设施对创新的全球经济。本文的关注因此之间的协同作用金融创新投入生产，分配，销售电影和电视。本文还提出一些结论意见的前景，数字内容产业，和指向一个自下而上的发展模式，适用于各种创意产业与内容。