In Chinese, the term wanghong refers to creators, social media entrepreneurs alternatively known as KOLs (key opinion leaders) and zhubo (showroom hosts), influencers and micro-celebrities. Wanghong also refers to an emerging media ecology in which these creators cultivate online communities for cultural and commercial value by harnessing Chinese social media platforms, like Weibo, WeChat, Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts of cultural, creative, and social industries, the book maps the development of wanghong policies and platforms, labor and management, content and culture, as they operate in contrast to its non-Chinese counterpart, social media entertainment, driven by platforms like YouTube, Facebook, Instagram, and Twitch. As evidenced by the backlash to TikTok, the threat of competition from global wanghong signals advancing platform nationalism.

The paradoxical relationship between Chinese creative workers and the state Chinese Creator Economies dives into the paradoxical lives lived by creative professionals in emerging economies across China. Jian Lin contextualizes the socioeconomic conditions in which cultural production takes place and pushes back against the dominant understanding of Chinese media as a centralized, state-controlled apparatus by looking at how individual creative workers grapple with governance and precarity in the Chinese cultural industries and develop their bilateral subjectivities within the politico-economic system of Chinese media. Drawing on intensive empirical research conducted on creative labor practices across television, journalism, design, and social media, Chinese Creative Economies looks at both Chinese and foreign-born content creators, exploring the tensions between Beijing’s limits on individual creativity, and its aspirations to become a global hub for cultural production. Lin maintains that it is the production of bilateral creatives that generates and maintains hope for the future of those who live and work within the cultural economies of China.

The aims of this Atlas are to introduce the clinical applications of perforator flaps in plastic surgery and skin replacement. After a brief introduction of the concept and surgical rationale of perforator flaps, the book presents 24 different flaps from donor sites including upper limb, lower limb and the trunk. It shows the surgical dissection techniques of each flap step by step, from vascular anatomy, flap design and elevation to harvest and transfer. The book is composed of operative pictures, drawings and concise interpretation. Written by a group of micro surgeons and hand surgeons working in the fields of orthopedic, trauma, hand, plastic and reconstructive surgery, this Atlas offers a valuable reference work for medical researchers and doctors in microsurgery, orthopedic surgery and plastic and reconstructive surgery.

In Chinese, the term wanghong refers to creators, social media entrepreneurs alternatively known as KOLs (key opinion leaders) and zhubo (showroom hosts), influencers and micro-celebrities. Wanghong also refers to an emerging media ecology in which these creators cultivate online communities for cultural and commercial value by harnessing Chinese social media platforms, like Weibo, WeChat, Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts of cultural, creative, and social industries, the book maps the development of wanghong policies and platforms, labor and management, content and culture, as they operate in contrast to its non-Chinese counterpart, social media entertainment, driven by platforms like YouTube, Facebook, Instagram, and Twitch. As evidenced by the backlash to TikTok, the threat of competition from global wanghong signals advancing platform nationalism.

The paradoxical relationship between Chinese creative workers and the state Chinese Creator Economies dives into the paradoxical lives lived by creative professionals in emerging economies across China. Jian Lin contextualizes the socioeconomic conditions in which cultural production takes place and pushes back against the dominant understanding of Chinese media as a centralized, state-controlled apparatus by looking at how individual creative workers grapple with governance and precarity in the Chinese cultural industries and develop their bilateral subjectivities within the politico-economic system of Chinese media. Drawing on intensive empirical research conducted on creative labor practices across television, journalism, design, and social media, Chinese Creative Economies looks at both Chinese and foreign-born content creators, exploring the tensions between Beijing’s limits on individual creativity, and its aspirations to become a global hub for cultural production. Lin maintains that it is the production of bilateral creatives that generates and maintains hope for the future of those who live and work within the cultural economies of China.

Migration is a phenomenon that has been with humans since the earliest times. But it has become a topic of politico-legal philosophy only recently, and thanks to liberalism, for, as far as we in the contemporary world are concerned, it is liberalism that has continuously advocated that one is entitled to live the way of life that one thinks is fit for one's own life. Multiculturalism arises from the claim that immigrants (ethnic minorities) have their own ways of life that should be respected. It should be based on liberalism. The thesis is an attempt to delineate what the author has in mind about liberal multiculturalism. We shall find that liberalism has a built-in tendency to tolerate or respect 'alien' cultures or cultural practices. Multiculturalism, then, cannot allow any way of life to be at odds with its core: free and equal individuals. In a liberal multicultural society all people should support this principle. Other than that, anyone is free to engage in any activity or way of life. Multiculturalism, in one word, is liberalism in self-reflection.