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The problems surrounding the loss and illegal trafficking of Chinese cultural heritage have intensified in recent times due to an increasing demand for Chinese cultural heritage and huge profits to be gained in the art market. While the Chinese mainland government has taken active measures to protect cultural heritage and combat the illegal trafficking of cultural heritage, two special administrative regions of China, Hong Kong and Macao, have not only failed to take similar measures, but have also functioned as key transit locations for the illicit trafficking of Chinese cultural heritage over the past three decades. This paper provides a comparative analysis of the laws related to cultural heritage between the Chinese mainland, Hong Kong and Macao. This paper argues that, while differences exist in these places, these differences should not be an obstacle to taking an integrated approach to cultural heritage in the region. There is a practical need for an integrated approach given the shared initiative of heritage protection and art market regulation. This paper argues that an integrated approach to cultural heritage is possible and should be pursued. [ABSTRACT FROM AUTHOR]

This paper probes the underlying motives behind the adoption of the 'creative city' policies in Shanghai, Hong Kong and Taipei. It argues that while the global appeal of the creative city is commonly attributed to urban entrepreneurialism, this reason alone is insufficient in explaining the so-called 'cultural turn' in these three cities, because none of them ascribe to the conventional format of the post-industrial 'entrepreneurial' city. In order to identify other major forces driving the adoption of creative city initiatives in Shanghai, Hong Kong and Taipei, this work delves into the ways in which the idea of the creative city is reworked within the context of global city making. The study found that in addition to urban entrepreneurialism, the inherited cultural policy agenda, which largely stems from national interests, also plays a significant role in directing (and changing) the 'global cultural city' making process. By looking into different roles attached to the 'imported' policy discourse of the creative city in Shanghai, Hong Kong and Taipei, this study not only contributes to the understanding of urban cultural policies within the Chinese-speaking world and East Asia more generally, but also lends some insights to the developing field of cultural policy mobility. [ABSTRACT FROM AUTHOR]