Creative Commons and the Creative Industries
Terry Flew*
To appear in Media and Arts Law Review, Vol. 10, No. 4, December 2005.
ABSTRACT
This paper explores the growing significance of legal questions to innovation and creative practice in what are now being termed the creative industries.
Noting that the case for strong copyright protection as the cornerstone of innovation is highly contested, it explores the significance of Creative Commons licences as an alternative to Digital Rights Management and copyright law. It also introduces the case studies of music, online computer games, and ‘remix culture’ that are covered in this special issue of Media and Arts Law Review.
* Associate Professor Terry Flew is the Head of Media and Communication in the Creative Industries Faculty at the Queensland University of Technology, Brisbane, Australia. He is the author of New Media: An Introduction (OUP, 2005) and Understanding Global Media (Palgrave, 2006 (forthcoming)). He can be contacted at t.flew@https://www.doczj.com/doc/7e11831761.html,.au.
Innovation and the Copyright Conundrum
Copyright and intellectual property law has become in many respects the crucible for so many of the issues and challenges presented by the development of new media for law and policy. Among the issues raised are:
?The balance between public good and private benefit criteria for use of, and access to, information;
? The balance between individual rights of ownership and social use for collective benefit;
? The nature of knowledge as both a commodity for commercial exploitation and as a public good for collective use;
?The extent to which, in an increasingly knowledge-based or creative economy where new ideas are the driver of economic performance, innovation is driven by the ‘second mover’ principle (i.e. new ideas are derived from modifications of existing ideas), meaning that tight controls over intellectual property may serve to thwart innovation;
? What are the best ways in which to promote and equitably share the benefits of creativity in an age of digital networks for people, communities, nations, and global humanity. 1
1 For an overview of these debates, see John Howkins, The Creative Economy: How people make money from ideas (2001); Terry Flew, New Media: An Introduction (2005); Shalini Venturelli, ‘Culture
The three processes of convergence, digitisation and networking have presented substantial new challenges to both copyright and intellectual property law, and to the media and entertainment industries, or what have been termed the creative industries. Most notably, the rapid development and mass global dissemination of technologies such as personal computers, the Internet and email, printers and scanners, digital still-image and video cameras, CD and DVD burners, and various file-sharing technologies, has enabled near-zero-cost reproduction and distribution of digital content. Moreover, as the costs of such technologies have continued to fall sharply as their capacities have increased exponentially over the last two decades, they are truly global technologies, with widespread use in the developed and the developing world. This has meant that near-zero-cost reproduction capabilities co-exist with strong incentives in lower-wage nations to copy such materials and re-sell them at substantially lower prices than those offered to consumers in higher-wage nations.
In addition to the technological imperatives, three other factors make contemporary debates about copyright and intellectual property law central to 21st century economies, societies and cultures. First, as Jeremy Rifkin has argued, there has not only been growth in the creative industries, but also an exporting of their core features – such as the premium placed upon experience, the high costs of initial production and near-zero costs of ongoing reproduction of content, and a high failure rate for commercial product combined with the centrality of prototyping – becoming more
and the Creative Economy in the Information Age’, in J. Hartley (ed.), Creative Industries (2005), 391..
general features of high growth 21st century industries. 2 Second, the high and ongoing economic rents that can be derived from successful creative product has links to the importance of global branding, and the circulation of corporate trademarks, brands, patents and designs to contemporary global popular culture. As Rosemary Coombe has observed, the recent growth and extension of legal protections to intellectual property has occurred at a time when ‘the texts protected by intellectual property signify: they are cultural forms that assume local meaning in the life worlds of those who incorporate them into their daily lives’. 3 Third, there has been a strong tendency towards globalization of copyright and intellectual property law. More than one hundred nations signed the Trade-Related Aspects of Intellectual Property Rights (TRIPS) Agreement in 1994, as part of their entry into the newly-founded World Trade Organization (WTO). The TRIPS agenda was basically driven by the United States which, as the world’s leading producer and exporter of commercial creative products, sought strong protection of intellectual property on a global scale to fight digital product piracy in nations such as Russia, India and, most notably, China.4 China’s accession to the World Trade Organization in December 2001 has been accompanied by a strengthening of its copyright and intellectual property laws, to
2 Jeremy Rifkin, The Age of Access: How the shift from ownership to access is transforming modern life (2000).
3 Rosemary Coombe, The Cultural Life of Intellectual Property: Authorship, Appropriation and the Law (1998), 7.
4 Peter Drahos and John Braithwaite, Information Feudalism: Who Owns the Knowledge Economy (2002); Susan Sell, ‘Intellectual Property Rights’, in D. Held and A. McGrew (eds.), Governing Globalization: Power, Authority and Global Governance (2002), 171..
align them with international standards.5 This in turn has raised a debate within China about the extent to which it can move from being the ‘world’s factory’ to being an original generator of IP, or from ‘Made in China’ to ‘Created in China’. 6
While the challenges of copyright in a digital age have generated different responses both within and across the creative industries, the dominant responses in the media and entertainment sectors have been reactive and defensive. In particular, there has been a focus upon on the development of Technological Protection Measures (TPMs) generally, and Digital Rights Management (DRM) in particular. These have typically been accompanied by the heavy use of legal sanctions against those perceived to be transgressors of their copyrighted material, as well as heavy lobbying of parliamentarians to receive favourable legal and policy environments. Both the Digital Millennium Copyright Act (DCMA), passed by the U.S. Congress in 1998, and the Sonny Bono Copyright Term Extension Act 1998, which extended the term of copyright protection for copyright works from the life of the author plus fifty years to the life of the author plus seventy years, have been widely criticised as poor law and even worse public policy.7 Nonetheless, this legislation increasingly constitutes the
5 Brian Fitzgerald and Lucy Montgomery, ‘Intellectual Property Law and the Creative Industries’, paper presented to International Creative Industries Conference, Beijing, China, 7-9 July, 2005.
6 Michael Keane, ‘Created in China: this new great leap forward’, paper presented to International Creative Industries Conference, Beijing, China, 7-9 July, 2005.
7 Jessica Litman, Digital Copyright (2001); Siva Vaidhyanathan, Copyrights and Copywrongs: the rise
of intellectual property and how it threatens creativity (2001); Michael Perelman, Steal This Idea: Intellectual property rights and the corporate confiscation of creativity (2002); Matthew Rimmer, ‘The Dead Poets Society and the Public Domain’, First Monday (2003) 8,
benchmark for copyright legislation in other countries, such as Australia, through its insertion into bilateral free trade agreements with the United States.
Digital Rights Management (DRM) can be defined as the set of technical and legal mechanisms applied to help control access to, and distribution of, copyrighted and other protected material in the digital environment. Development of DRM systems are technically complex, requiring client rendering devices with trusted processing, input and output paths, as well as modifications to current personal computing architecture.
A key question arising from DRM strategies as a means to regulate access to digital content is whether or not the costs of DRM, and the more general strategy of defence-in-depth of the current copyright regime, justifies its status as the primary solution to the current dilemma. The DRM-driven approach is not a viable solution, as it has at least three adverse consequences:
?Diminished consumer privacy, as DRMs generate significantly increased functional capability to monitor online user behaviour;
?Reduced innovation potential, as the development of new methods to attack peer-to-peer (P2P) file sharing networks and applications has the capacity to inhibit the capacity for ‘follow-on’ or ‘second’ innovators to build upon copyrighted innovations, thereby dampening innovation more generally by artificially restricting the public domain;
?Greater imbalances in the relationship between copyright holders and users of copyrighted materials, as it is impossible to program ‘fair use’ exceptions into
DRM systems, since ‘fair use’ is a complex legal mechanism, with outcomes dependent on individual aspects of each case. 8
Copyright and the Creative Industries
The concept of the creative industries has clearly been an animator of lively discussions in recent years about the economic, as well as the cultural and aesthetic, value of creative practice. Moreover, it has emphasised the extent to which creative practice cannot be understood as being solely the provenance of those engaged in arts, media or other cultural sectors, but rather an ‘axial principle’ of the 21st century knowledge-based economy, where new wealth is increasingly derived from innovation and the commercialisation of new concepts rather than cost reduction or productivity gains.9 International interest in creative industries discourse is also linked
8 Terry Flew, Greg Hearn and Susanna Leisten, ‘Alternative Intellectual Property Regimes in the Global Creative Economy’, in J. Servaes and P. Thomas (eds.), Communications, Intellectual Property and the Public Domain in the Asia-Pacific Region: Contestations and Consensus (2006, forthcoming). On user-led innovation and the public domain more generally, see Stuart Cunningham, Terry Cutler, Greg Hearn, Mark Ryan and Michael Keane, ‘From “Culture” to “Knowledge”: An Innovation Systems Approach to the Content Industries’, in C. Andrew et. al., Accounting for Culture: Thinking Through Cultural Citizenship (2005), 104; Mark Dodgson, David Gann and Ammon Salter, ‘The Intensification of Innovation’, International Journal of Innovation Management 6 (2002), 53; Committee for Economic Development, Promoting Innovation and Economic Growth: The Special Problem of Digital Intellectual Property (2004); Charles Leadbeater and Paul Miller, The Pro-Am Revolution: how enthusiasts are changing our economy and society (2004).
9 On creativity as an ‘axial principle’, see Kieran Healy, ‘What’s New for Culture in the New Economy?’, Journal of Arts Management, Law and Society 32 (2002), 86.
to the growing tendency towards conjoining of the arts, the media and information technology through the digital content industries.10 There has also been the potential to broaden the scope and purchase of arts and cultural policy so that, rather than thinking of the symbolic goods and services produced in the arts and media industries in terms either of their civilising influence or their ideological proclivities, cultural content could instead be considered in terms of its contribution to national innovation agendas and the formation of creative human capital. 11
In one of the earliest articulations of the concept, the Department of Culture, Media and Sport (DCMS) in the United Kingdom defined the creative industries as constituting ‘those activities which have their origins in individual creativity, skill and talent, and which have the potential for wealth and job creation through the generation and exploitation of intellectual property’.12 The DCMS identified the creative industries as accounting for about 5% of the gross income and employment of the U.K. economy, growing at three times the rate of the U.K. economy as a whole. Comparable studies for the United States, Australia, Singapore and the European Union have – with some variations in terminology and methodology – pointed to similar trends. 13
10 William Mitchell, Alan Inouye and Marjory Blumenthal, Beyond Productivity: Information Technology, Innovation and Creativity (2003).
11 Cunningham et. al., above n. 8.
12 Quoted in Flew, above n. 1, 116.
13 Cunningham et. al., above n. 8; Mitchell et. al., above n. 10. MKW Wirtshcaftsforschung GmbH Exploitation and Development of the Job Potential in the Cultural Sector in the Age of Digitization. Final Report – Summary. Commissioned by European Commission DG Employment and Social
The DCMS adopted a list-based approach to specifying what the creative industries are, moving from the arts and media heartlands to apparently disparate sectors such as advertising, architecture, design, fashion, online games and software development. Such an ad hoc and list-based approach was bound to generate as many questions as it answered. Why isn’t sport a creative industry, while fashion is? If you include advertising, why not marketing, since one does not exist without the other? Do architects, journalists and software engineers really see themselves as working in the same broad sector as actors, dancers and visual artists? Do we need to differentiate between those sectors (advertising, commercial television) where the raison d’etre of creative practice is the desire and need to turn a profit, and the more grant-driven cultures of the creative and performing arts?
The ad hocery of such list-based approaches to defining the creative industries has been accompanied by concerns that the term itself simply constitutes an ambit claim on the part of arts administrators to feel important and connected to government, while hiding significant exploitation and self-exploitation in various forms of cultural work.14 Some analysts have chosen to retain the terminology of ‘cultural industries’, questioning the extent to which there has been a tangible shift in the operations of these sectors, as distinct from changes in the ideological underpinning that now
Affairs, June (2001),
14 Angela McRobbie, ‘From Clubs to Companies: notes on the decline of political culture in speeded-up creative worlds’ Cultural Studies 16 (2002), 517..
support state cultural funding, as they have moved from subsidy-driven models towards new enterprise development and public-private partnerships. 15 In many respects, the key issues lie less in tracking the ‘tortuous and contorted definitional history’ of these debates,16 but in the implications of those arguments that have constituted creative industries on apparently stronger terra firma in terms of their ambiguous relationship to questions of copyright and intellectual property law. John Howkins’ work on the creative economy is central in this regard.17 Howkins recognises that attempting to define what is creative is a futile exercise akin to trying to define what is art. Pointing to a blind-spot in the UK DCMS and related discourses about the relationship of the sciences, engineering and technology (SET) sectors to the arts and media in terms of where creative activity actually occurs, Howkins defines the creative economy as simply ‘financial transactions in creative products’,18 which are in turn clustered around the copyright, design, trademark and patent industries. In Howkins’ analysis, the creative economy accounted for $US2.2 trillion, or about 7.3% of the global economy in 1999, but within this framework, the role of the creative and performing arts has shrunk to virtual insignificance (1.7% of the total
15 Deborah Stevenson ‘Civic Gold Rush’, International Journal of Cultural Policy 10 (2004), 119; David Hesmondhalgh and Andy Pratt, Cultural Industries and Cultural Policy, International Journal of Cultural Policy 11 (2005), 1; Nicholas Garnham, ‘From Cultural to Creative Industries: An analysis of the implications of the “creative industries” approach to arts and media policy making in the United Kingdom’, International Journal of Cultural Policy 11 (2005), 15.
16 Stuart Cunningham, ‘From Cultural to Creative Industries: Theory, Industry and Policy Implications, Media International Australia 102 (2002), 55.
17 John Howkins, above n. 1; Howkins, ‘London as a Creative City’, in Hartley (ed.), Creative Industries, above n. 1, 233.
18 Howkins ibid. (2001), 85.
global creative economy), as its contribution is dwarfed by sectors such as the publishing, software and research and development industries.
Kieran Healy’s point about the dangers of using such findings as the basis for ‘a bullish defence of the arts in economic terms’ should be taken very seriously by arts advocates and practitioners. 19 It points as much to the marginalisation of the arts in the creative economy as to their centrality. Importantly, both the Howkins and DCMS definitions of the creative industries tie it closely to the generation and exploitation of intellectual property. This definition of creative industries as the articulation of creativity to intellectual property generates the problem identified by Healy that ‘creativity by itself will not make anybody rich; intellectual property laws do that’. 20 In one influential formulation, the creative industries are interpreted as the copyright industries, as the copyright industries become the downstream distributors of creative content.21 Such a conflation disguises the extent and significance of the imbalance in market power between content creators, users and re-users on the one hand, and the large-scale distributors and publishers which constitute the copyright industries on the other. 22
19 Healy, above note 9, 101.
20Ibid., 97.
21 Stephen Siwek, Copyright Industries in the U.S. Economy: The 2002 Report, International Intellectual Property Alliance (2002); Singapore Ministry for Trade and Industry, Economic Contribution of Singapore’s Creative Industries (2003).
22 Flew, above n. 1, pp. 212-213; Cunningham et. al., above n. 8, 118-119.
These imbalances in power and rights generate a quite different order of questions to those which have traditionally framed creative industries discourse. The most common questions have included the recognition of commercial practice as legitimate sites of creativity and aesthetic advancement, the contribution of creative work to the promotion of new ideas and innovation, or the need for artists to think about entrepreneurship and the value of established business practice to their personal and professional development as creative practitioners. By contrast, the issues which are developed in this special issue raise threshold issues about the relationship between the creative industries and intellectual property law, and the ‘copyright conundrum’ surrounding the balance between the returns for original creation as compared to the social and economic benefits derived from collaboration and sharing, as applied to the impact of digitisation, convergence and networking to the arts and the media.
The Creative Commons Alternative
In 2001, leading intellectual property experts, such as James Boyle and Lawrence Lessig, began working with a range of IT specialists, film makers, entrepreneurs and Internet activists to develop Creative Commons. Aiming to rebalance copyright law in the wake of the Digital Millennium Copyright Act, passed by the U.S. Congress in 1998, which they felt had shifted the copyright bargain too far towards copyright owners and against the users of copyrighted materials, they developed in 2001 a series of flexible and legally valid copyright licences that would increase the amount of creative material available online and reduce the restrictions and costs associated with accessing that material. The result was the development of Creative Commons? licences. The Creative Commons movement has been strongly influenced by the Free
Software Movement developed by Richard Stallman and his colleagues, as well as open software initiatives such as the Linux operating system as an alternative to Microsoft’s proprietary OS system, and the development of the General Public Licence (GPL). It straddles a line between the strong protection models of DRM and ‘defence in depth’ through punitive legal sanctions, and the culture of the gift economy which is particularly prevalent in the digital content environment. 23
Creative Commons licences take four forms: use with attribution; use for non-commercial uses only; no derivative licences (i.e. others can use only direct copies of the original, and cannot produce other works based upon the original); and share alike licences, which require that derivative works are released under a similar licence.24 In contrast to the dominant copyright model, which gives creators of copyrighted works no option to permit others using their work in a professional manner except through legal requirements on those users to seek permission, Creative Commons licences enable content creators to determine, at the moment of making their works public, the conditions under which they can be used by others. Creative Commons licences have three formats. First, there is a layman’s guide for those unfamiliar with complex legal concepts, which is particularly targeted at the creative community. Second, there is a legal version which provides the correct official documentation, and which is adapted for different national legal systems. Third, there is a version in machine-readable code
23 John Frow, ‘Public Domain and the New World Order in Knowledge’, Social Semiotics 10 (2000) 173; Kirsty Best, ‘Beating Them at their Own Game: The Cultural Politics of the Open Source Movement and the Gift Economy’, International Journal of Cultural Studies 6 (2003) 449.
24 Christopher Moore, ‘Creative Choices: Changes to Australian copyright law and the future of the public domain’, Media International Australia 114 (2005) 71.
which facilitates the search for digital content through the World Wide Web. As Moore has observed the latter is ‘a powerful technical tool which allows creators to embed the licence in the meta-data of their digital content, streamlining their content for use and distribution without concern that it might be used inappropriately or without their permission’. 25
While the legal and technical requirements which underpin Creative Commons have been kept deliberately simple (in contrast to the more arcane features of copyright law), the ideas that underpin these developments have considerable weight and significance. Creative Commons draws upon the ideas of the open source software developers, such as Eric Raymond’s “The Cathedral and the Bazaar”,26 to argue that the case for openness is not only moral but also practical – open systems work to produce a better mouse trap (or, in this case, better computer software), than closed, controlled and centralized systems of knowledge development and innovation. It is also driven by a bias towards the new and towards innovation. As Lawrence Lessig has put it: ‘We as a society should favour the disrupters. They will produce movement towards a more efficient, prosperous economy’. 27 It is argued that creativity and innovation are best served by information and culture that is as widely available as possible ‘to guarantee that follow-on creators and innovators remain as free as
25Ibid., 79.
26 Eric Raymond, ‘The Cathedral and the Bazaar’, First Monday 3 (1998)
27 Lawrence Lessig, Free Culture: How big media uses technology and the law to lock down culture and control creativity (2004), 92.
possible from the control of the past’. 28 The idea of an ‘information commons’ or Creative Commons, which provides a pool of common resources from which to produce new ideas and creative works, is threatened by laws and policies that strengthen the ancien regime of intellectual property rights, creating the danger of ‘a “permission culture” – a culture in which creators get to create only with the permission of the powerful, or of the creators of the past’. 29
Case Studies in the Creative Industries and Copyright
This special issue of Media and Arts Law Review brings together case studies in the creative industries and copyright, as they impacted upon the music industry, the emergent online games industry, and the question of sampling of digital content, culture jamming and ‘remix culture’ more generally. The authors consider the implications of Digital Rights Management frameworks and copyright regimes, and counterpose these to alternative ways of distributing and managing access, use and re-use of digital content such as Creative Commons. Such discussions are timely in light of the Federal Court of Australia’s finding that Sharman Networks, founders of the Kazaa file-sharing network, had breached copyright law and authorised copyright infringement of digital music files. 30 With the Attorney-General Philip Ruddock
28Ibid., xiv.
29Ibid., xiv.
30Universal Music Australia Pty Ltd v Sharman License Holdings Ltd (with Corrigendum dated 22 September 2005) [2005] FCA 1242 (5 September 2005).
announcing a parliamentary review of the law governing Technological Protection Measures (TPMs), 31 through the House of Representatives Standing Committee on Legal and Constitutional Affairs, the question of the appropriate legal frameworks to promote creativity, innovation and creative industries development become even more pressing.
Danny Butt and Axel Bruns explore such developments in the music industry, which has been in many respects the front-line of such legal battles. They argue that the primary driver of Digital Rights Management (DRM) measures such as TPMs has been to inhibit copying, even if DRM can be used for other purposes such as specifying use rights and tracking royalties. They contest the claim that strong DRM is a prerequisite for a dynamic music industry, pointing to a growing divergence between what they describe as two “music ecologies”: that of the major music distributors and other related media and electronic equipment interests, and a second, much looser network of independent musicians, producers, distributors, markets and audiences. Their argument is that the music majors – or what may be termed ‘Industry-1’ – dominate the legal and policy landscape, and largely present their interests as synonymous with the ‘music industry’ as a whole, including musicians and music consumers. By contrast, Butt and Bruns see the second music ecology – ‘Industry-2’ – as being much closer to the dynamism of where innovation, originality and enthusiasm is with the music industry today. They also note that smaller economies, such as those of Australia and New Zealand, have considerably less to
31 _1552005)>. gain economically from the hegemony of the dominant music industry interests. They argue that DRM systems for the music industry can only be effective if they are based upon non-adversarial principles, drawing in the looser networks of music producers, distributors and consumers, encouraging ‘do-it-yourself’ (DIY) cultural production, experimentation and ‘remix culture’, rather than the current regime, which they see as involving a continuing, costly but in the final instance futile DRM arms race between IP holders and IP users. 32 Brian Fitzgerald and Damien O’Brien continue to focus upon remix culture, asking the question of what we are free to access and re-use among the cultural resources surrounding us as creative people. They discuss a variety of cases involving music sampling in hip-hop culture in particular, and how such cases bear upon the Copyright Act 1968 (Cth), particularly in terms of fair dealing, performers’ rights and moral rights, noting that there is little case law in Australia at present on the issue of sampling. They extend this discussion to the area of culture jamming, or various forms of activist subversion of corporate culture, including subvertising, guerrilla communication, Google bombing and billboard liberation. They also consider the possibility of Creative Commons licences to minimise potential ‘chilling effects’ on creativity and innovation arising from overly zealous applications of copyright law in legal cases, as well as the need for leadership from policy-makers in this field, to better achieve a balance between the interests of creators, owners, performers, users, commentators and the wider community. 32 On ‘remix culture’, see Richard Koman, ‘Remixing Culture: An Interview with Lawrence Lessig’, O’Reilly Network, https://www.doczj.com/doc/7e11831761.html,/pub/a/policy/2005/02/24/lessig.html (2005). Sal Humphreys draws attention to the challenge to intellectual property regimes and copyright law arising from developments in computer games, particularly the rapid growth of Massively Multi-user Online Games (MMOGs) such as EverQuest, Counterstrike and The Sims Online. Humphreys emphasises the extent to which questions of ownership of content in multi-player online games environments is not simply a matter of law, but a question more generally of governance, since the application of rules such as End-User Licencing Agreements (EULAs) occurs long before such questions can be raised before the courts. The complexity of these questions is illustrated by the extent to which the very dynamism of the games themselves rests upon the productivity and the creativity of the players, who are harnessed by the games developers as a large R&D lab, and who derive personal satisfaction from their contributions to these games environments. While these games are what Humphreys terms collaborative social products, there is not as yet a system of rights for players in MMOGs in relation to the ownership and use of the products of such creative labour, as the legal framework surrounding games environments remains grounded in an older publishing model, which assumes proprietary ownership, linearity rather than recursivity, and which positions producers and consumers as distinct legal entities. Humphreys sees the scope for Creative Commons licences in this area as limited, instead seeing these hybrid forms as presenting a wider set of issues about the nature of digital citizenship in globalised online environments. 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Cunningham, Stuart, ‘From Cultural to Creative Industries: Theory, Industry and Policy Implications, Media International Australia 102 (2002), 54. _____________, Cutler, Terry, Hearn, Greg, Ryan, Mark and Keane, Michael, ‘From “Culture” to “Knowledge”: An Innovation Systems Approach to the Content Industries’, in C. Andrew et. al., Accounting for Culture: Thinking Through Cultural Citizenship (2005), 104. Dodgson, Mark, Gann, David and Salter, Ammon, ‘The Intensification of Innovation’, International Journal of Innovation Management 6 (2002), 53. Drahos, Peter, and Braithwaite, John, Information Feudalism: Who Owns the Knowledge Economy (2002). Fitzgerald, Brian and Montgomery, Lucy, ‘Intellectual Property Law and the Creative Industries’, paper presented to International Creative Industries Conference, Beijing, China, 7-9 July, 2005. Flew, Terry, New Media: An Introduction (2005). ____________, Hearn, Greg and Leisten, Susanna ‘Alternative Intellectual Property Regimes in the Global Creative Economy’, in J. Servaes and P. Thomas (eds.), Communications, Intellectual Property and the Public Domain in the Asia-Pacific Region: Contestations and Consensus (2006, forthcoming). Frow, John, ‘Public Domain and the New World Order in Knowledge’, Social Semiotics 10 (2000), 173. Garnham, Nicholas, ‘From Cultural to Creative Industries: An analysis of the implications of the “creative industries” approach to arts and media policy making in the United Kingdom’, International Journal of Cultural Policy 11 (2005), 15. Healy, Kieran, ‘What’s New for Culture in the New Economy?’, Journal of Arts Management, Law and Society 32 (2002), 86. 泰国旅游攻略及旅游英语 语言篇： 出去之前一直担心：在当地找不到会说英语的怎么办？ 事实证明，泰国的英语普及率比国内高很多，一路上机场、旅馆、饭店等，基本上没有不会英语的。最让人惊叹的是夜市里的小摊贩、街 边的烧烤老大妈都会一些简单的英语。 贴几句最最简单但最常用的句子和单词： 1、Where is toilet? 2、How can i get to 某某hotel? 3、How much is this? 4、Do you have any rooms? 5、Do you have any Motobike for rent? 6、Have a discount? 1、炒：fried 烧烤：roast 蒸：steam 白饭：steamed rice 糯米饭：sticky rice 蟹：crab 虾：shrimp 对虾：prown 龙虾：lobster 蚌 ：mussel 蛤：clam 酱油：sauce 咖哩：curry 胡椒：pepper 蒜：garlic 蔬菜：vegetable 火腿：ham 买单：bill 2、芒果：manggo 木瓜：papaya 椰子：coconut 西瓜：watermelon 鸡尾酒：cocktail 3、单人床：single bed 双人床：double bed 空调：air-condition蚊子:mosquito 浮潜：snorkeling 面罩：mask 脚蹼：fin 4、退税：tax refund 充电：recharge 手动档：manual gear 自动档：automatic gear 余额：withdrawal 查询：requiry 代理：agent/agency 货币：currency 国内：domestic 海关：customs 移民：immigrate 护照：passport “body bazaar”，就 是性服务的代名词了 ★电话卡篇： 曼谷机场二楼有很多卖电话卡的，7-11也有卖，我用的是happy卡。 1、打国内拨009+86+国内区号+固定电话。 2、拨打国内手机00986+手机号收费大概7B/分钟， 3、当地的通话费用第一分钟1B，以后每分钟0.25B。 4、上网：好像是1分钟1B。10天，我总共300B的话费，基本上用于上网了。网络带宽为3G，上网速度很快。 5、查询余额：拨打*101*9#，会收到SMS通知你的余额和有效期。 注意的小地方：泰国的手机卡有个有效期的概念，就是手机卡不但要充话费，还要充有效期，有效期完了后，既使还有话费，但也打不了电 话。我拿的是我同事的HAPPY卡，卡上有余额，但有效期己经过了，我在7-11充了10天的有效期100B，便可以用了。 泰国曼谷到芭提雅交通全攻略 2015-07-15 来源：互联网点击数：11487 自助旅游，特别是到泰国这样的境外之地，一定要在出发前做好各项准备工作，了解当地的交通状况就是重中之重，否则不是被宰就是浪费大量的时间在找车站上，好不容易出趟国也未免太浪费了。去泰国首到的肯定是曼谷，离曼谷不远的芭提雅自然也是一个不错的选择。 曼谷往返芭提雅的交通如何从曼谷坐大巴到芭提雅芭堤雅汽车站就在芭提雅市中心，车站门口的TuTu车到市区任何地方（车资看自己的砍价能力了，大概50-100B吧）。芭堤雅位于曼谷东南147公里处，有高速公路连接。从曼谷前往芭堤雅十分方便，约2小时车程即可达，有三条路线可供选择：芭提雅交通攻略（曼谷到芭提雅）曼谷东线巴士总站空调巴士每天6:00至20:30，每半小时开出一班，末班车为22:00。芭堤雅的回程车从Beach Road的Regent Marina Hotel开出，由6:00至20:00，每半小时开一班，末班车为21:00。票价：单程90-128泰铢，往返180-240泰铢。 曼谷往芭提雅从汽车东站走比较方便，BTS坐到E7（Ekamai），从2号出口（Exit2）下来，走到路口就是Eastern Bus Terminal，里面第一个售票口就卖到Pattaya的票，直达的（Non-stop）的空调大巴票价134B，两个小时车程。到了芭提雅，下车从车站出来方向左手就是家Family Mart，向前走一点点就是Tourist Informaiton Center，那里就有免费的芭提雅地图拿。最好再拿些小册子，如The Pattaya Guide，Pattaya Export（半月一期）什么的，比较有帮助。还有其它地方的宣传杂志，What's on SAMUI（苏梅），What's on Chiang Mai（清迈）等等，当然也有What's on Pattaya（芭提雅）。里面地图、酒店、航班、购物……，各种信息很全。各个Tourist Information Center里面的资料是不同的，建议每遇到一个都进去看一眼，当然资料都是E文的。Ekkamai站从2号出口芭提雅交通攻略（曼谷到芭提雅） Eastern Bus Terminal芭提雅交通攻略（曼谷到芭提雅）从正门走进车站，大厅有很多售票处，右边大部分去Pattya 的117B芭提雅交通攻略（曼谷到芭提雅）巴士站内有行李寄放处，不论大小一天60b,服务人员会用手开单据给你，需先付费,如果超过原本预约寄放天数，回来领取再补差价即可，不会有逾时费用产生.芭提雅交通攻略（曼谷到芭提雅）曼谷北线巴士总站每天6:00至18:00，每小时开出一班。回程车自Regent Marina Hotel开出，自6:00至18:00，每小时开出一班。票价：单程134-150泰铢，往返200-270泰铢。 曼谷机场空调巴士机场开出的时间分别在9:00、12:00和19:00。(据番友分享曼谷素万纳普机场开出往芭提雅最晚一班车是22：00...详情查看：更新芭提雅和曼谷的信息)。回程巴士从Alcazar Unity开出，时间是6:30、13:00和18:00。票价：单程150铢。可向泰航驻机场办事处或芭堤雅的Royal Cliff酒店订位。 曼谷素旺纳普机场~芭堤雅（时刻表/票价）在机场1/F8号闸口有个counter大大?b字写住pattaya，票价134泰铢官网芭提雅交通攻略（曼谷到芭提雅） 信息来自十六番游记：更新芭提雅和曼谷的信息 番友@猪皮分享：素旺纳普机场到芭提雅最晚一班车是几点的？关于这个问题我发邮件问过素万那普机场那边那个Bell service到芭提雅的发车时间,就是那个200B包送到酒店门口的那个.在到大厅8号门.Last Bell service from that airport is18:00. However, there are other buses at19:00,20:00,21:00 and22:00 which are operated by another company. This service cannot reserve in advance you have to but ticket at counter.也就是说1800是他们的最后一班没错,但是后面还有4班是由别的公司运营的,但是其实对我们来说是一样的. 芭提雅交通攻略（曼谷到芭提雅）私营空调巴士曼谷办事处在New Petchaburi路的奥斯卡戏院对面，芭堤雅的开车点在Nipa Lodge酒店，每日3班车，单程票价180铢，由芭堤雅往机场为250铢。 [交通]芭提雅回廊曼问题 如何从曼谷坐火车到芭提雅芭堤雅火车站位于芭提雅市区的北部，火车站有旅游咨询处，介绍酒店和其他信息，工作人员英语都不错。车站外的TuTu到市区旅馆的价格一般不超过50泰株/人。曼谷到芭堤雅的火车只在周一至周五开行，每天一班，票价32铢。曼谷-芭堤雅：283次，6:55-10:35芭堤雅-曼谷：284次，14:21-18:25 芭提雅到曼谷芭提雅有两个Bus Terminal有车往泰国曼谷大的在North Pattaya Road上，称作Air Conditioned Bus Terminal to Bangkok，这里每天5:00～21:00有空调大巴发往曼谷汽车东站(Ekamai)和汽车北站(Mo chit)。还有车发往曼谷新机场(Suvarnabhumi Airport)，发车时间是6:009:0011:0013:0015:0017:0019:00，票价150B，车程两个小时足够。 泰国人妖秀门票与观看攻略泰国的人妖世界闻名，到泰国的旅游的客人基本上都会去看一场人妖秀，虽然有点香艳刺激，不过到也算尺度合宜。下面为泰国的人妖秀场简介和预定攻略。 曼谷主要人妖秀场有两个：克里普索(Calypso)人妖秀、金东尼(Golden Dome)人妖秀。 芭提雅主要人妖秀场：蒂芬妮（Tiffany）人妖秀、阿克萨（Alcazar）人妖秀门票 普吉岛主要人妖秀场：西蒙（Simon Cabaret）人妖秀 曼谷： 克里普索(Calypso)人妖秀☆推荐克里普索(Calypso)人妖秀场原位于Asian Hotel的Calypso Cabaret Show，已经有20年以上的历史，是泰国的长青树。不同于Phattaya的大型秀，算是一处小而精美的剧场，有一种百老汇的气氛。而且每个月都有不同的主题表演，非常值得一看哟。 2012年9月1日后已经搬到曼谷新开时尚河边夜市Asiatque,剧院规模更大，更奢华，是欧美、日韩以及华人自助游最普遍的选择。 场次：20：15 21：45（宵禁期间有所调整，订之前需要查清楚） 剧场地址：Asiatique The Riverfront, 2194 Charoenkrung Rd., Praya Krai, Bangkor Laem, Bangkok 10120 去往方法： 地铁：乘坐地铁BTS至Saphan T aksin站，从1号出口步行至Sathorn码头。坐船：乘坐免费接驳船，航行10分钟到达河边夜市，剧场在3号仓。 门票：参考价：149起（最便宜网站：） 金东尼人妖秀 泰国有许多人妖表演场所，但金东尼人妖秀是最豪华、最有名的一家。整个金东尼人妖秀剧场座无虚席，表演时，人妖穿着演出服，步履轻盈，扭动腰枝，唱各地民歌，流行歌曲。唱歌所用语言为泰语、英语、华语、粤语等，从舞台布景，服饰，造型，灯光都出自名家之手，特别是音响几乎有震耳欲聋的感觉。金东尼人妖秀演出节目以歌伴舞为主，可能观众主要是来自中国大陆的缘故吧，歌曲多为大陆和港、台的，像血染的风彩，黄土高坡等。也有一些泰国宫廷歌舞和现代流行歌舞。金东尼人妖秀演出场面非常大气，服装华丽，往往台上有二、三十人在表演。人妖表演时声情并茂，并不时走下舞台和各位观众握手致谢，从艺术角度来说，人妖艺人是一流的艺术家。表演结束后，人妖来到剧场前的广场上，与观众合影留念。 [游记攻略]2014 泰国芭提雅旅游攻略(景点/交通/购物/行程/地图) 芭提雅自由行自助游攻略 小M发表于 2012-5-26 15:32:05|只看该作者 1、芭提雅景点（到了芭提雅，你可以去这些地方玩！） 1）蒂芬尼人妖秀(Tiffany’s Show) 简介：芭提雅最著名的人妖秀当属蒂芬尼人妖秀(Tiffany’s Show)。蒂芬妮人妖秀成立于1974年，是 东南亚首个真正的人妖秀表演。现在的知名度极高，已经成为芭堤雅最值得去的景点之一。目前剧院已 经拥有100多位表演者，各个技艺精湛，配合剧院中国际水平的音响和灯光设备，将给观众带来完美体 验。 地址：464 Moo9, Pattaya 2nd Rd., Nongprue, Banglamung, Chonburi 20260 Thailand. 门票：vip贵宾席1000泰铢；普通席500泰铢（价格也会随季节市场的变化而有所波动） 儿童身高：100 cm 以下的儿童免费入场，和大人坐一起。 表演时间：18:00 ; 19:30 ; 21:00 （每场演出时长为 70 分钟左右） 加场表演：泰国长假及公假日加演两场 16:30 ; 22:30 推荐的淘宝代理： 墙列推荐这一家啊：蒂芬妮人妖秀Tiffany's Show 表演票 150/190/230元 点击查看详情，点击购买 （补充信息：番友分享，大部分时候淘宝订的票比现场买便宜。最近淘宝价格有所变动，购买前请跟店家询 问清楚。7月27日更新） 秀场位置图【卫星定位：12.948781,100.888438 (复制到Google map搜寻即可获得位置)】google位置：http://goo.gl/maps/X6ixz 2）东芭乐园Nong Nooch Village 门票：400铢。开放时间：每天8:00-19:00，表演时间：10:15、15:00、15:45。 语言篇： 出去之前一直担心：在当地找不到会说英语的怎么办？ 事实证明，泰国的英语普及率比国内高很多，一路上机场、旅馆、饭店等，基本上没有不会英语的。最让人惊叹的是夜市里的小摊贩、街 边的烧烤老大妈都会一些简单的英语。 贴几句最最简单但最常用的句子和单词： 1、Where is toilet? 2、How can i get to 某某hotel? 3、How much is this? 4、Do you have any rooms? 5、Do you have any Motobike for rent? 6、Have a discount? 1、炒：fried 烧烤：roast 蒸：steam 白饭：steamed rice 糯米饭：sticky rice 蟹：crab 虾：shrimp 对虾：prown 龙虾：lobster 蚌 ：mussel 蛤：clam 酱油：sauce 咖哩：curry 胡椒：pepper 蒜：garlic 蔬菜：vegetable 火腿：ham 买单：bill 2、芒果：manggo 木瓜：papaya 椰子：coconut 西瓜：watermelon 鸡尾酒：cocktail 3、单人床：single bed 双人床：double bed 空调：air-condition蚊子:mosquito 浮潜：snorkeling 面罩：mask 脚蹼：fin 4、退税：tax refund 充电：recharge 手动档：manual gear 自动档：automatic gear 余额：withdrawal 查询：requiry 代理：agent/agency 货币：currency 国内：domestic 海关：customs 移民：immigrate 护照：passport “body bazaar”，就 是性服务的代名词了 ★电话卡篇： 曼谷机场二楼有很多卖电话卡的，7-11也有卖，我用的是happy卡。 1、打国内拨009+86+国内区号+固定电话。 2、拨打国内手机00986+手机号收费大概7B/分钟， 3、当地的通话费用第一分钟1B，以后每分钟0.25B。 4、上网：好像是1分钟1B。10天，我总共300B的话费，基本上用于上网了。网络带宽为3G，上网速度很快。 5、查询余额：拨打*101*9#，会收到SMS通知你的余额和有效期。 注意的小地方：泰国的手机卡有个有效期的概念，就是手机卡不但要充话费，还要充有效期，有效期完了后，既使还有话费，但也打不了电 话。我拿的是我同事的HAPPY卡，卡上有余额，但有效期己经过了，我在7-11充了10天的有效期100B，便可以用了。 1、下了飞机后，在information拿地图。出机场后向左走十米坐minibus到巴东，一个人150b。坐mini bus处并没有什么标识，如找不到可 询问附近的机场工作人员。机场到巴东一个小时车程，约35公里。 ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★最新精品资料 赴泰国曼谷芭提雅学习旅游经验考察报 告 为学习借鉴外国海岛办旅游经验，发掘我县旅游业的开 发潜力，提高创建国家旅游强县水平，加快旅游业发展，我、月上旬分四批次，组织村（居）11县从去年月中旬至12县 直部门负责人赴泰国曼谷、芭提雅学习考察。XX镇（区） 天的学习考察期间，参观考察了曼谷的大皇宫、6在各批次 湄南河、三头神像、泰北民族村、鳄鱼湖、毒蛇研究中心、人妖歌舞表演，芭提雅的沙滩、东方公主号、金沙岛、四大奇观、东芭热带植物园、四面佛、水果庄园以及珠宝展示中心、燕窝展示中心等项目。通过学习考察，开阔了眼界，增长了见识，为促进南澳旅游业发展提供经验借鉴。一、曼谷、芭提雅概况 首都曼谷，是泰国的政治、经济、文化、交通中心。曼谷 平方公里，16000.5-1.5米，面积约地区为平原地带，海拔仅万泰币，是多万，人均年收入约1138分为个县，人口800 泰国经济最发达，人民生活水平最高的地区。美丽的湄南河纵贯南北，逶迤而下，把曼谷一分为二，最后流入泰国湾。湄南河以东为现代化的新城曼谷，政府最高行政机关如王宫、国会、政府官邸、法院以及酒店、商业中心、机场、码头、工厂、娱乐场所等均集中于此。湄南河以西是旧城吞武 1 / 15 为你量身编写．解你燃眉之急 ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★最新精品资料里， 许多精致的园林，仍保持着传统的色彩。曼谷既是东南亚一个重要的国际化大都市、国际交流中心，又是泰国文化教育高度发达的城市和最大的工商业城市，还是世界著名的，被万座）多座（全国约1旅游胜地之一。全市有佛寺400，不 仅拥有众多名胜古迹，而且拥有现代化佛庙之都”称为“的大都市建筑集群，加上自由宽松的社会氛围，使她成为东南亚最有魅力的城市之一。150 芭提雅是一个不夜城，位于泰国的东海岸，距曼谷约 东“亚洲度假区之后”、被誉为公里。是一个国际知名的乐园，“世上独一无二，集大城市与海滨度假胜地于一身。方 夏威夷”，强烈的对比，使这个乐园兼具大城市一切舒适及 娱乐的设公9施，又有阳光、碧海与沙滩之美，特别是距离芭提雅约水清见底。岛的四周有很多沙滩，沙白细绵，里处的金沙岛，芭提雅给游客提供各种旅游娱乐项目，既有大量适合儿童的开心乐园，亦有运动爱好者尽显身手的场地，不同年纪的人均可享受悠闲与舒适。各项水上活动项目如拖曳降落伞、小型帆船、滑浪、潜游、钓鱼等应有尽有。入夜的芭提雅热闹非凡，能提供精致进餐，娱乐节目和逛街购物等各种活动的选择。二、泰国之旅的主要感受 亚洲最具一向被誉为“泰国是世界旅游的一个标志性地区，巍峨壮碧海蓝天、，椰林婆娑的热带情调；”异国风情的国家 折翼的奇术师之清迈自由行攻略 前言 折翼本次是第一次去清迈，第三次去泰国（之前分别去了曼谷、芭提雅；普吉岛、 PP岛等著名的泰国度假圣地，详见： 我的曼谷、芭提雅自由行攻略（2011.6） 我的普吉、PP岛自由行攻略（2011.12） 折翼此次仍旧是独自前往，但是有了之前的泰国游经历，这次出发之前基本上没有做任何行程安排。再加上本次出行恰逢泰国宋干节，由于该节日的缘故很多地点都休息或者关门停业（例如清迈大学），因此，本次攻略不可能像普吉岛、长滩岛那么详尽。但是本人喜欢玩深度，喜欢融入当地人的圈子，所以在这里分享 一些个人的体会和感悟。 言归正传，首先谈一下清迈的概况。 一、出入境卡填写： https://www.doczj.com/doc/7e11831761.html,/redirect.php?goto=findpost&ptid=799323&pid=7404042 二、电话卡使用说明： https://www.doczj.com/doc/7e11831761.html,/redirect.php?goto=findpost&ptid=799323&pid=7404056 三、清迈交通： https://www.doczj.com/doc/7e11831761.html,/redirect.php?goto=findpost&ptid=799323&pid=7404067 四、清迈购物+美食： https://www.doczj.com/doc/7e11831761.html,/redirect.php?goto=findpost&ptid=799323&pid=7404078 五、清迈景点： https://www.doczj.com/doc/7e11831761.html,/redirect.php?goto=findpost&ptid=799323&pid=7407415 这些年泰国的旅游业越来越纯熟，加上相对低廉的物价和交通费，前往旅游的国人越来越多。无论是去泰国北部清迈清莱游山玩水，领略风土民情；还是去首都曼谷拜佛，购物；即便是去普吉，苏梅，芭提雅踏海潜水；都是极致的享受，叫人很难不爱上这里。游游君特奉上超级全的泰国旅游攻略，赶快收藏吧。 泰国旅游简介 优美迷人的热带风光，广博的佛教文化，独有的民间风俗，泰国的致命吸引力正是以上三者的叠加，加上东西方文化的完美融合、古代和现代化的时空交错，让你慢慢体会精致而又真切泰国生活。（https://www.doczj.com/doc/7e11831761.html,） 高耸矗立的现代建筑和佛院寺庙交相辉映的“天使之城”曼谷，山川河流交汇、散发着迷人古典气质的“泰北玫瑰”清迈，以阳光、沙滩和海鲜名扬世界的“东方夏威夷”芭堤雅。泰国的精彩纷呈让人目不暇接，叫人很难不爱上这里。 泰国时差 泰国时间比格林威治标准时间早7个小时，比北京时间晚1小时。旅客从中国境内上飞机后，勿忘将手表拨慢1小时。格林威治时间为12时，泰国时间为19时，北京时间为20时。 泰国主要旅游目的地特色 天使之城”曼谷：曼谷的精彩纷呈让人目不暇接。穿黄色袈裟的和尚在曙光初现中沿街托钵，是一幅历久不衰的景象；高耸矗立的大型建筑，强调着城市奇情与超越时空的景致，刻画出曼谷的特殊风味。 “泰北玫瑰”清迈：作为泰国第二大城市和泰北经济中心，清迈与忙碌喧嚣的曼谷截然不同。这座由明莱王所建立的兰纳王国故都，散发着迷人的古典气质。这里气候凉爽，四季百花争艳，是东南亚著名的避暑旅游胜地，被称为“泰北玫瑰”。 “东方夏威夷”芭堤雅：芭堤雅位于泰国首都曼谷东南154公里、印度半岛和马来半岛间的暹罗湾处，市区面积20多平方公里，风光旖旎，气候宜人，是东南亚热度极高的海滩度假圣地，享有“东方夏威夷”的美誉，已成为海滩度假天堂的代名词。 “泰国明珠”普吉岛：位于泰国南部马来半岛西海岸外的安达曼海。普吉岛是泰国最大的海岛，也是泰国最小的一个府。以其迷人的风光和丰富的旅游资源被称 泰国自由行行程计划 29D1 重庆曼谷 方案一：住：芭堤雅（the base central pattaya） 交通：2小时左右廊曼机场到芭堤雅酒店（淘宝北京风向标旅游专营店|：280元包车五人座） 方案二：住曼谷 交通：EKAAMAI（汽车东站从汽车东站走比较方便，BTS坐到E7（Ekamai），从2号出口（Exit 2）下来，走到路口就是Eastern Bus Terminal，里面第一个售票口就卖到Pattaya的票，直达的（Non-stop）的空调大巴票价134B，两个小时车程。到了芭提雅，下车从车站出来方向左手就是家Family Mart，向前走一点点就是Tourist Informaiton Center，那里就有免费的芭提雅地图拿。 ）或机场打车一口价到市区酒店约400泰珠（RMB 80），打表300多泰珠。淘宝接送机RMB 110（廊曼到市区酒店）。 淘宝拼车：59元/人，12座丰田商务车，曼谷市区酒店到芭堤雅酒店。 30D2芭堤雅—格兰岛住: 芭堤雅 行程：自己去walking street那边码头坐船，30猪，45分钟就到了。 路线：信不信由你博物馆和巴东乐园、真理寺。 吃：芭堤雅Lan pho海鲜市场（海鲜市场5点就没东西了） 31D3芭堤雅—沙美岛住:沙美岛钻石海滩 交通：方案一：MiniBus去罗勇的班佩码头（Ban Phe Pier），约200泰铢，每天3班车。一个多小时到。根据攻略，红色屋顶的售票处都是骗人的，绿色屋顶的才是正规售票处，是在码头旁一家7-11的对面，售票处的背后就是延伸向海里的码头廊桥，沙美岛（Ko Samet）往返每人100铢。上船时船员会给你换成绿色的返程票，一定要保管好，返程时出示绿票才能登船。大概40分钟到岛上，最早一班船是8点，最晚一班船是下午4点。从芭提雅到沙美岛人多可以直接打车，记得砍价。下船后可能有警察收门票200泰铢（很多游记提到上岸时会有人收取登岛费200铢一人，但我们去的时候码头只收了20铢，即使进国家公园去钻石海滩时，门口站岗的警察也并没有阻拦）。或者酒店附近可以联系到一个小旅社，你可以让他帮你订汽车和船票，一人是500铢，这样比较方便不用转车，又省心，到了上船的地方也会有人直接带你过去，很方便。 第一天曼谷的行程是大皇宫景区，包括卧佛寺，黎明寺。 大皇宫（grand palace）、卧佛寺（wot po）、黎明寺（temple of down）等景区集中在曼谷市区的西北角，短裤、开洞牛仔裤、女士露肩上装都是不允许进入大皇宫的，大皇宫门票价格是350铢每人，开放时间是开放时间为9.30～16：00。里边分为好几个景区，最著名的当然是玉佛寺了，它在入口的左手边，而且是只入不出，不许回头多次进入的，泰国三大国宝之一的玉佛就位于该景区内的大雄宝殿内，看到很多人脱鞋进入，然后席地而坐的辉煌大殿就是了。玉佛寺景区里有免费的饮水机，如果带了水瓶的朋友在这里一定记得续满了 大皇宫不能穿拖鞋，裤子裙子要到脚踝 第二天曼谷四面佛人妖SHOW 红灯区 四面佛景点（erawan sbrine） 从siam center站出来，就是一个大大的百货公司siam paragon，这家百货的一楼是美食城，就像国内很多城市大百货的美食城一样，由数十家风格品味各异的小档组成，转了一圈，价格相当实惠，而且选择多多，不同的是这里必须先到前台购买一张消费卡，刷卡消费，卡内吃不完的剩余金额再去前台兑换成现金，回Siam Paragon的food court吧，阴差阳错去了2层，于是发现了Siam Paragon和Siam Center中间的一个露天美食城。先在入口用泰铢买代币券，吃完后全额退还， 从siam paragon出来，往东步行五分钟就到四面佛erawan shrine了我们循着地图亦步亦趋的接近目的地，但好奇的发现这一区是百货公司林立的商业中心啊，怎么看也不像景区嘛，在地图标示四面佛的十字路口，没有发现庙宇之类的迹象，不确定的将地图拿出来问了位路人，她用手指着我们马路对面的路口，连声说YES YES，意思很明白：就是那里！我们将信将疑的横过马路，来到她手指之处。。四面佛代表爱情、事业、健康和财运，拜的时候记得模仿本地人，许愿是要四个面说同一个愿望，当然这个愿望要包括爱情、事业、健康和财运四个方面其中手执之法器与手印皆有其深长意表与来源： 01．令旗:代表万能法力。 02．佛经:代表智慧。 03．法螺:代表赐福。 04．明轮:代表消灾、降魔、摧毁烦恼。 05．令牌:代表至上成就。 06．水壶:代表解渴(有求必应) 07．念珠:代表轮回。 08．接胸手印:代表庇佑。 四面佛所在路口附近就有四我家大的百货公司，其对面就是ZEN、GAYSON、central world等等。想去逛百货的朋友护照记得带在身上咯，去到每家百货公司的客服中心(information)凭护照可以换取一张优惠卡和对应的商家名录，凭卡到名录上的商家可以享受额外优惠哦，而且单家商铺购买金额满2000铢就可以申请退税了，喜欢购物的朋友要记得咯。 zen的一楼就是曼谷包，也称蝴蝶包（naraya）的总店，曼谷包据说相当受女孩欢迎，而且里面超多国内游客，撞到人不用说sorry，直接说对不起就好了，哈哈哈，它的店子就在下面图中的大可口可乐瓶附近，门口是一个地摊，买很多年轻人自己的手工艺品，很多很有创意的东西。 hpaya thai的亚洲酒店aisa hotel看人妖表演，售票厅就在酒店大堂，售票厅侧后方的墙上是座位表，可以选好了位置再买，不过建议早点，因为表演很火，几乎爆满，票价1300铢每人，含一杯免费饮料，这里表演有浓 使馆地址及联系方式 使馆地址：57 Rachadaphisek Road, Bangkok, 10400 Thailand 使馆电话：02－2450088 使馆传真：02－2468247 八、泰国求助电话及有关联系方式 旅游投诉热线1155 泰国政府看重解决游客的各种问题提供各种资料信息，以及提供生命、财产的安全保障，特使泰国政府旅游局成立旅游服务中心，设立热线电话，电话号码为1155。口号是"记住一个号码，游遍全泰国"。目的是提高对游客服务及协助。并要使服务达到国际标准，使国内外游客对到泰国旅游更加充满信心。 服务热线1155或旅游服务中心设在泰国政府旅游局内，四项主要服务内容： 1．提供旅游资讯 2．统计每天游客咨询类别，以便提供协助解决方法保障游客的利益 3．接受游客在旅游期间的投诉 4．提供警察网络服务，接受报警，刑事询问。如果游客遇到麻烦，旅游警察将迅速行动。 从现在开始，无论在泰国何处，请记住一个号码游遍全泰国均可随时随地免费拨打1155热线电话。 电压：220伏特 插头是两脚扁身的。要注意！当地要找三脚转两脚的插头并不容易，要自行带备。 鸿星老板叫阿叻，电话：08-16285529。在芭提雅如果想咨询当地的活动，可以与其联系，他是当地的华侨，说普通话。 泰好逛-芭提雅购物攻略 2010-07-15 21:21 每次去芭提雅，基本上都要去这几个商场逛逛，因为芭提雅不大，坐嘟嘟车（泰国的招手即停）也就10泰铢，就可以从芭提雅北部坐到南部的步行街附近，沿着BEACH RD.,和芭提雅二号路转一圈亦不过30分钟不到，所以商场都在这个圈里，你打车不要打空车，除非你上车前和司机讲好价，要打已经坐了些人的嘟嘟，然后看看你去哪，快到的时候提前按铃，知会司机你要下车，然后司机会停车，下车给10泰铢即可。省钱TIPS啊！反正如果你不是去太远的地方，基本上嘟嘟车都到。 所以建议大家选择酒店的时候选择一些离海边近的BEACH ROAD上酒店，这样去购物商场的就非常方便。 芭提雅有很多大商场和超市，下面给大家介绍一下： NO.1.芭提雅最旺的SHOPPING MALLS ROYAL GARDEN PLAZA 地址:218, PATTAYA BEACH RD.,海滨路SOUTH PATTAYA南芭提雅 就在MARRIOTT RESORT 旁边，一共三层，有国际名牌和泰国名牌服装店，电影院，化妆品店，工艺品店，体育用品店，音像店，还有美容院，发廊，还有一个信不信由你，如果你心脏不好，最好不要看吧。顶楼还有一个很大的FOOD WAVE，你要吃什么都有，有各国美食。价格也很便宜。 NO.2.北芭提雅位置方便的CENTRAL FESTIVAL CENTER 商场 地址：PATTAYA SAI 2 ROAD,NORTH PATTAYA,北芭提雅 在天芬妮人妖SHOW对面，交通很方便，商场很大，有很多各式各样的商店，有服装店，运动鞋店等等，还有一个很大的BIG C超市，吃的用的应有尽有。还有FUJI日式餐厅和MK泰式火锅连锁店。 NO.3新麦克商场MIKE SHOPPING MALL 麦克商场有两个，一个在BEACH ROAD,这个是旧的，新的在长桥附近，有很多名牌衣服，运动鞋，LEE牛仔裤, 泰国旅游攻略秘籍 一、准备 1、货币 泰国的货币叫泰株，简写为“B”，发音为“拔”。去泰国之前，可在中国银行(其他银行不一定有)购买一些泰株，与人民币汇率是1：5不到一点，先与中国银行预约好，第二天就可凭身份证到银行去购买泰株。泰国是一个盛行给小费的国家，一般是20B，随身带些20B面额泰株。 2、机票 成人来回程价格(包括机票价格和所有税费，)是2700元人民币，儿童为 2700-90(税)=2610元人民币。港龙国泰航空是从上海-香港-普吉岛，需要在香港转机，成人来回程机票报价约在3600元-4000元人民币，儿童价2800多元人民币左右。东航是上海直达普吉岛， 3、签证 在旅行社办就行具体的他们会告诉你 4、其他 (1)需要准备一些物品。腹泻、发热、感冒药; 晕船药(如果坐船去皮皮岛，并且晕船的话); 酒精棉花，苯扎溴铵酊棉花(被贝壳或珊瑚扎破皮肤用); 欧护等驱蚊剂，花露水(普吉、皮皮岛蚊子较多，可能是原生态的地方吧); 带有消毒功能的湿巾纸; 墨镜。 (2)一份常用的英文菜单单词注解 (3)防晒霜 二、护照、泰国签证办理篇 1.持个人户口身份证到当地公安局可办理护照; 2.泰国签证分为：旅游签证，商务签证，学生签证，落地签证。 a，旅游签证是可以让美嘉旅行社代办手续费一般为100元，旅游签证为2个月，可以在泰国移民局申请延长一个月。 b，落地签证，在澳门飞到曼谷才可以在泰国国际机场办理，前提要有来回机票，此免费，长14天。较高，所以一般旅游达人都不会考虑。 c，商务签证和学生签证比较繁琐，需要公司学校证明，分为3个月和一年，并且费用 二、旅游基本花费篇 泰国旅游花费和国内二线城市差不多，以下是平均水平。 1.饮食：按快餐计算40-50元可包一天三餐，花100元可吃一顿相当丰盛的大餐哟 2.交通：计程车7元起价 3.公交：2元左右 4.购物:多数是中国制造，不贵的哟（特别提示） 5.景区门票：普遍在100元上下浮动（特别提示：贵了肯定有问题）。 6.人民币在曼谷的super rich 兑换，最划算 最新货币兑换 1人民币元=4.9699泰铢 1泰铢=0.2012人民币元 三、注意事项篇 1.求助电话： 中国驻泰国大使馆电话：0066-2-2457044 救护车： 254425；210935 ； 火警：199 警察：191 2.最常用的交流语言： 你好 sa va di ka 谢谢 kop koon 不客气 mai pen rai 对不起 kor thoad 再见 la gon 是的 chai 最近好多同学问起泰国沙美岛，更多的是问路线问题和住宿问题，所以小M先整理了一个简单的攻略给大家参考看看咯，信息基本都是12年的，实用靠谱，慢慢添加新内容中......如果您去过，也希望来分享一下经验哈 沙美岛 简介： 位于泰国湾上的一个小岛，靠近曼谷东南面大约220公里，行政属于泰国罗勇府，最吸引人之处在于拥有全泰国最优美的沙滩，一年四季均可享受风浪板、浮潜滑水等水上活动，还拥有芭堤雅所没有的宁静闲适。沙美岛东西由一个小山脉连贯，岛上尽是蓊郁的丛林与翡翠绿的椰子林，交织成一幅美丽的图画。 图中圈出来的地方就是沙美岛，看看沙美岛于曼谷之间的距离。 番友拍摄的沙美岛~ 交通 曼谷机场有直接去沙美岛的小公共汽车。曼谷市外国游客集中的考山路（KhaoSanRoad）上，几乎家家旅行社都卖去沙美岛的交通套票，包含从曼谷到沙美岛对岸的码头的面包车（车程约3个半小时），还包括去岛上的船票（船行大约40分钟）。如果坐早上的班车最好前一天买好票，临时买，不一定有座位。 曼谷市区去沙美岛（含回程） 也可以选择自己乘坐空铁BTS去汽车站买票，坐车去码头，然后再买船票前往沙美岛。方式如下： 从曼谷Ekkamai Terminal 东站汽车站 我们是去Ekkamai Terminal 东站汽车站坐大巴先到Ban Phe Pier ，再转船入沙美岛的。BTS Ekkamai站从2号出口（Exit 2）下来，走到路口就是Eastern Bus Terminal。去泰国东部省份如Pattaya, Rayong, Koh Samed都有车去。当然也可以选择另外一种方法，就是去租minibus直达，大概个半小时吧 Ekkamai站从2号出口 Eastern Bus Terminal 2015年最新超详细图文并茂泰国自由行攻略 目录 一、从国内出发前的准备事项 1、办理护照 2、购买机票 3、预订酒店 4、兑换外币 5、行李准备 二、到达曼谷机场的事项 1、办理落地签 2、办理电话卡 3、打的士 4、其他 三、泰国景点的详细攻略 1、泰国经典景点攻略 2、泰国特色市场攻略 3、芭提雅攻略 四、泰国交通攻略 打的士、BTS、MRT、嘟嘟车、公交车、坐船等。 五、泰国购物攻略 超市、退税商场 六、泰国饮食攻略 泰国特色食品、中国日本餐厅 七、泰国语言沟通攻略 常用旅游英语、常用泰语 八、泰国其他事项攻略 泰式按摩等 常用网站：淘宝（接机或订票、签证）、途牛（无护照订机票）、安可达（订酒店）、谷歌（地图）、十六番（攻略） 一、从国内出发前的准备事项 出国前需要办理以下几件事： 1、办理护照——带上你家户口本，要有户主页和你个人户口页，身份证，去你户口所在地的公安局出入境接待处，在服务窗口办理，要交钱复印以上文件一份（1~2元），照白底2寸照片（30元），一定要注意保留给你的这3张寸照，到了泰国机场办落地签需要白底2寸照片。一般15个工作日，出入境的会发短信要你去取你的护照，记得携带取证凭条。最好早做计划，不要临行前才办护照，太赶~ 2、购买机票——2月是中国最寒冷季节，却是泰国一年中最凉爽季节，所以是去泰国的旅游旺季，机票偏贵。以长沙为例，往返泰国，2月初3200元左右，2月中旬则4000~8000元不等，可以早作准备。有聪明的孩子在暑假就在网上买了去泰国的打折机票，一趟800元，往返才1600。如果你没办护照是不能直接自行购买出国机票滴，但你又想早点买到便宜的，那么就在专门的旅游网站去订机票啦。我是1月份在途牛网站下单的，那时候刚去办护照，不能立即买机票，这些旅游网站长期和各种航空公司合作，可以在你护照到手前提前就订购机票给你，客服人员会电话与你联系，很有耐心滴，你确认订单后网上付款，拿到电子委托协议和电子机票（一定要打印），护照拿到后，翻开有你信息的那一页拍照传给途牛联系你的客服，照片大小不能超过1M，这样就完成了这个订购过程。我是拿不到纸质版的机票的，打印好往返2张机票电联单，到了长沙黄花机场或曼谷机场，电联单给机场窗口工作人员电脑查录核对即可。 泰囧行旅游攻略 【行程准备】 1、首先先确定好自己的总体行程，然后打印好来回的机票和和酒店行程单（酒店行程单有可能在办理入住酒店的时候会被收走） 2、准备好一些旅游必需品、药品之类的以备不时之需（特别是晕车药品） 3、在国内换好泰铢过去，不用带太多，在泰国可以随时兑换人民币，很方便，一周左右带2000人民币的泰铢即可。下了那边的飞机可以去便利店打散泰铢，换小费（小费给予是自愿的原则，泰国人一般都比较热情，可以适当的给予小费，是对其劳动的一种尊重） 4、电话卡最好在国内购买happy卡，7天不限流量，卡里大约有30左右的人民币，也可以在机场凭护照领取此卡（但是里面需要自己去7-11充钱，是一张空卡） 5、有些行程可以提前在淘宝上预定，比在当地预定更划算，省去了还价的时间，而且基本上是中文团，一般提前一天预定即可。 【第一天】长沙——普吉岛 1、在携程上预定了长沙——泰国的自由行套餐，凌晨的飞机飞普吉岛。下飞机后办理落地签，可以给泰铢或者人民币，人民币是300，给泰铢听说便宜一些。然后移民入境，排队花了好长的时间，基本上全是中国游客。我们当时携程套餐包了机场到酒店的拼车服务，出了机场就能看见一个面包车贴了携程的标志，上去跟他看你的行程单并说你的名字和你要去的酒店即可。 2、我们在普吉岛预定的是I-Kroon CaféEspresso & Boutique Hotel Phuket (普吉岛艾克伦浓咖啡精品酒店)，这是我认为这次出行中最好的酒店，不管是酒店环境还是老板的服务态度，还是交通地理位置等等，都是超级赞的！离海滩就10分钟步行距离，离当地最大的购物中心江西冷也就20分钟步行距离。 3、下午去了临近的Patong Beach。感受了阳光沙滩，日光浴。晚上去了芭东海滩周边的一条热闹的街道，吃了当地的泰国菜，虽然确实不太对我的胃口。但是不得不说分量什么的还是很足的！可以尝试一下。 第一天，15日，17:05北京三号航站楼泰航TG615出发，21:15到达曼谷素万那普（往返机票含税现在还是2729，他们刚在携程出的票，这是目前能找到最便宜的了）； 直接去做落地签（免费，自己记得带2张2寸照片）； 打车去Silom街（车费+过路+管理费大概80）； 准备预定熊吧的客舍或者de.arnie（前者小于100/人，后者大概100-120/人含早，都在那条色情街上，BTS站边上去哪都基本可以走路）； 洗澡更衣后走去看Tawan半夜12点那场的壮男秀，全部是大肌肉男（门票50，含一杯饮料），如果有看上的可以给他买杯饮料（20-30）然后谈好价钱（大约是300-500，过夜加100，具体自己和具体的沟通吧，各个不一样的），再给店里90-100后就可以带走； 如果没有看上的就再走去D.J. station蹦迪（门票20，周末40注意不能穿拖鞋入场，要带好护照或复印件），里面喜欢咱们这种东亚面孔的很多，如果有看上的在迪厅直接正法还是带回酒店悉听尊便，注意里面也有不少是MB； 如果还有精力，午夜2点D.J. station结束后接着去边上的G.O.D（半夜1点后56含2杯饮料），周围酒吧的调酒都是可以带到这两个迪厅里去的，大概20/杯，这里能疯到早上5点。这两个酒吧实际也是都有秀的，不过他们到的时间是都看不上了。 第二天，16日，什么时候起都可以。 有精力早起就去只在周末开的恰都恰大集市，坐BTS就可以到，特色纪念品比中央市场便宜。 不愿远走可以在Silom街口的奥特莱斯买speedo的热裤和HOM的内衣，都是2-3折的价钱。 声色犬马起不来的就中午起吧，然后走去建兴吃他著名的咖喱炒蟹，还有大头虾和空心菜。 吃完早可以去中央市场买点以后几天穿的或者纪念物。 晚的话就直接坐BTS去Hero做按摩吧，也是全部肌肉壮男，号称原来是张国荣的最爱按摩院，从精壮到壮熊全有，不过你要是1的话可选的会少些，很多都是不能做0的。选不同的按摩种类和房间价格不同，不过基本是在100-200之间，完事给按摩师200起，一般人也就是给200，特别满意你自己看着来，他满意了估计会用他的小摩托带着你曼谷转了，哈哈。 Hero是下午3点开业，外间也是咖啡厅和酒吧。 不远还有个叫Albury men's club按摩院，也是壮的，不过年轻些。消费和Hero 相仿佛，他家原来是更有名，现在建议开始前和按摩师确认下你要和他怎么做，对应的小费是多少，有客人反映被烫的（就是200的小费变了400-500）。 都完事大概也6-7点了，走回BTS的NANA站边上吃本地的海鲜大排档，看老 泰国曼谷-芭堤雅 12月13日 素万那普机场到酒店 2013年12月13日 17:05 成都（双流国际机场） 19:10 曼谷（素万那普国际机场） Suvarnabhumi Airport (BKK) 东方航空 MU5035 320 经济舱 约3小时5分 钟 到达素万那普机场 1、到达 下飞机后先跟着人群走这1是再正常不过的了，在还没出海关前里面都有中文标识放心不用怕。要填写入境卡过海关，要是在飞机上睡着了没拿到也别急，顺着行李领取的指示牌走就会遇到很多入境卡的填写台，每个台子上都有各种语言的示范，很简单。然后排队过海关，交给他们护照、入境卡和登机牌，别忘了对着镜头微笑一下。交回给你的护照会盖上入境章及签证used 的章，并且还会把出境卡上盖上章并且钉在你的签证页上，这些都不用管，也一点英文都不用说，出了海关就是行李带，拿完了行李往出口走就是机场的2层大厅了。 入境登记卡 入境卡背面 出境登记卡 先看正面： 1、姓名：用拼音填写，注意要和护照上一致 2、国籍：当然是China咯 3、性别：在前面的小方格里打个叉就行了，male是男性，female是女性 4、护照号码：按照自己护照首页上的填就好啦，一般应该是字母G开头的那个号码 5、签证号码：把护照翻到有泰国签证的那一页，visa No。后面的数字就是签证号码啦 6、出生日期：注意顺序，日/月/年，要和护照上的一样哦 7、在泰国停留的地址：填上在曼谷住的酒店名字就可以啦，要写英文的哦 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