Abstract

The neoliberalised plan of creative industries has eroded the public value of culture and media policies and changed the cultural landscape. Neoliberal rhetoric has become pivotal to the successful ‘common-sense’ of recent decades (Harvey 2005, pp. 39–42; Hall 2011). It has not only infiltrated society but also penetrated the field of cultural policies. The British conception of creative industries, for example, was grafted onto a new cultural and creative industries project in Taiwan. The localisation of British policy discourses and the process of public acceptance—this common-sense that ‘culture is a good business’ of the same underlying neoliberal agenda—has occurred not only in Britain but also in the Taiwanese context.