转眼将至的 6月16日，是上海迪士尼旅游度假区开张迎客的日子。自上海迪士尼度假区3月28日开启售票系统后，抢票大军就各显神通、倾巢出动，以至于票务系统难以负荷，一度出现间歇性故障。坊间传说门票民间价格最高上翻十倍，其火爆程度由此可见一斑。

其实，自2010年11月5日项目协议签署并正式启动开始，上海迪士尼就成为了广受各方人士关注热议的焦点。及至上海迪士尼一期工程竣工在即，人们都想看它揭开神秘面纱后，将会把怎样的一个全新主题园区呈现给公众。上海迪士尼是不是真的能像广告宣称的那样“为每一位游客创造独特体验”，确实值得公众拭目以待。

无疑，上海迪士尼是中美文化交流领域签署并落地的最大一单项目。它对中外文化贸易格局、国际主题乐园市场版图、国内文化娱乐产业业态，都将产生重大而深远的影响。对长三角区域特别是上海市域的文化旅游业、酒店餐饮业及文化创意产业等现代服务业，也会产生显见的影响。

围绕上海迪士尼这一焦点，来自方方面面的各种利益攸关方，翘首以待的广大文化消费者，大多都会对其抱有不同的想象和期待。对华特迪士尼公司而言，他们很早就将主题乐园潜在的超量级目标市场，锁定在了中国经济最发达、人口密度最大、市场辐射力最强的长三角一带。开建运营上海迪士尼，对巩固迪士尼在全球主题乐园TOP10前三甲的地位意义重大，甚至可能扭转迪士尼乐园运营平庸的困局。毕竟，对于世界最大新兴经济体中国，对于它拥有的人口红利及海绵般的市场消费吸附力优势，任何有远见的市场经济主体都不可能视而不见，迪斯尼公司当然更不例外。

事实上，一些眼尖的资本巨头发现，自2008年世界金融危机爆发以来，虽然世界经济流于凋敝，整体消费出现疲软，但是中国文化娱乐产业却逆势上扬，甚至掀起了一股“主题公园热”。有统计信息显示，仅仅是2012年到2013年的两年间，全中国就有14个主题公园开园运营。而目前在中国拟建和在建的主题公园不少于60家，累计数量居全球首位。国内主营或兼营主题乐园产业的宋城集团、长隆集团及海昌集团等，2014年主营业务分别比上年增长103.6%、59.9%、24.5%，华侨城集团的欢乐谷连锁项目更是在近七八年的时间内，迈开了其在全国重要中心城市布点运营的步伐。这难免会让一些业内业外资本巨头既心急又眼热。

不过另一方面，人们也看到，更有一批像北京欢乐之都一类的主题乐园，最终遭遇了严重亏损乃至关张倒闭。这冰火两重天的业界现实似乎在提醒人们，主题乐园这块诱人的“美式牛排”，虽然看上去色香味俱佳，但并不是只要食客牙口好有钱买就可以分享，最重要的还是要看食客是否有这个食量和消化力。当初香港迪士尼因水土不服一度出现业绩不佳，也充分印证了这一点。

显然，迪士尼主题乐园此番落地上海并行将运营，其在中美文化交流方面具备的标志性意义和文化创新实践价值都十分巨大。首先，它以集约化、系列化、全景化及规模化的方式，为中国公众创造了一个全面接触认识美国文化的集成娱乐平台，而中国元素在其中的充分消化吸收，又将使它彰显异质文化间“和而不同，共存共赢”的独特魅力。其次，迪士尼乐园在上海的运营，无疑将在一定程度上改变中国主题乐园既有的市场版图，市场人气分流重组在所难免，客观上将会逼迫主题乐园经营者们在优胜劣汰的竞争中寻求创新升级。换句话说，早期流行的那种自闭、静态、一劳永逸的办园模式，终将走上一次性游客悉数耗尽的不归路。而惟有那种具有丰富开放性及强劲持久性后台创意内容支撑的主题乐园，才有可能越行越远、常变常新，才能做到永远不缺一批批携家带口的回头客。也许，迪士尼乐园恰恰具备这后一种潜质。

可以肯定，为主题乐园找到最佳赢利模式绝非易事。在迪士尼公司的整体产业体系中，主题乐园只占30%的比例，余下的70%则分布在传媒网络、影视产业及衍生产业，其中仅传媒网络就达42%。也正是这余下的70%，成为迪士尼主题乐园在内容创意方面常变常新的不竭源泉。即使是占迪士尼公司总业务30%的主题乐园，门票收入也仅占30%，余下的70%必须靠游客在园内购物、餐饮等二三次消费来实现。话说回来，就算是找到这样一种有支撑后台的赢利模式，也未见得一定能包赚不赔，否则就不会存在迪士尼现有全球六家主题乐园盈亏不一的情况了。

必须注意是的，中国的文化消费者正在成熟起来，而且是比较快地成熟起来。除了之前有财力但无机会进入主体乐园的消费者外，对早就见识过奥兰多迪士尼、东京迪士尼和巴黎迪士尼的中国游客来说，仅仅依靠以往的炫酷感官刺激、煽情的故事演绎及华丽的包装，已经很难再让他们啧啧称奇和不停叫好。这种情况同样出现在电影市场，近两年美国大片在国内院线显现出的颓势就侧面证明了这一点。所以，只有真的想法兑现“为每一位游客创造独特体验”的承诺，乐园品牌和公众期待才称得上是两相对应、实至名归。

Way before the Shanghai Disney Resort opens on June 16, aficionados of the world-famous theme park have started scrambling for opening-day admission. The demand was so big that the ticket system once broke down after the booking began on March 28. The price offered by scalpers was rumored to have peaked at 10 times the original rate.

The public interest in the Chinese mainland's first Disney site was aroused as early as on November 5, 2010 when the agreement for its construction was signed. By the time the first phase of the project neared completion, everybody was curious what kind of a “unique experience” the exotic recreational site would bring to them as had been touted by the Disney ad.

The project is obviously the largest of all cultural exchange programs signed between China and the United States. It will certainly have far-reaching influences on the Sino-foreign cultural exchanges, the global market of theme parks and the development of China's cultural and recreational industry. The influence on cultural tourism, hospitality industry, cultural creation industry and other service industries in the Yangtze Delta, especially Shanghai, is also obvious.

Various interest parties and culture consumers have different expectations for the Shanghai Disney Resort. The Walt Disney Company has long set its target for market expansion on the Yangtze Delta, the most developed, most tensely populated and most market-radiant area in China. The opening of the new site helps consolidate Disney's position as one of the world's top three theme-park companies, and the multinational's operation in China is even likely to significantly avert the decline of its global business. Anyhow, no company can afford to ignore the world's largest rising economy, whose immense population boasts a spongelike buying power; Disney is no exception.

In fact, sharp-eyed capital giants have noticed that China's entertainment industry has been bucking the trend of worldwide sluggish spending since the outbreak of the global financial crisis in 2008. A “theme park fever” hit many cities across the country. In 2012 and 2013 alone, 14 new theme parks were opened. More than 60 are being built to make China the world's largest in number of theme parks. Chinese companies with theme parks as their main or side business all fared pretty well in recent years. The Songcheng Group, Changlong Group and Haichang Group saw their business volumes growing 103.6 percent, 59.9 percent and 24.5 percent respectively year-on-year in 2014. The Huaqiaocheng Group succeeded in opening a chain of Happy Valleys in major cities across the country in the past eight years. These success examples caused envy and eagerness among capital giants in and outside the entertainment industry.

However, there were also cases of failure. A number of theme parks in China, the Capital of Joy in Beijing for example, suffered serious losses or even went bankrupt. The stark contrast seems to be a reminder that the tantalizing “American-style beef steak” of theme park, despite its delicacy in color, smell and taste and despite the consumer's ravenous appetite and bulging wallet, is not necessarily to all tastes. Most important is the glutton's digestive ability. The Hong Kong Disneyland, for example, once generated poor business because of being unaccustomed to local conditions.

Undoubtedly, the opening of the Disney theme park in Shanghai is a creative move — and will prove to be a milestone — in Sino-American cultural exchanges. First, it provides a large, comprehensive entertainment platform for the Chinese public to have a taste of American culture. A full assimilation of Chinese elements has imparted to it a distinctive glamour of different cultures co-existing in harmony. Second, it will change the market pattern of China's theme parks, leading to redistribution of customers, which, in turn, will force theme park operators to upgrade their products for survival. The old-fashioned, unadventurous style of parks will eventually see a draining of tourists. Only those rich in innovative ideas can long endure patronized by waves of repeat customers. Disney happens to be good at innovation.

It is surely not easy to find a best business model to sustain to keep money-spinning for theme parks. Such venues make up only 30 percent of the entire industrial system of the Walt Disney Company, with the remaining 70 percent distributed across media, movie and their derivative industries, of which media networks accounts for 40 percent. That 70 percent, however, provides an inexhaustible source of innovation for the group's theme parks. Of the 30 percent that is generated by theme parks, revenue from admission fees makes up only 30 percent, with the other 70 percent coming from visitors' spending in shops and restaurants inside the park.

A noteworthy fact is that China's culture consumers, including theme park goers, are fast maturing. Many Chinese tourists have been to Disney parks in Orlando, Tokyo or Paris. For them the fantasy resort is not as attractive as it used to be. The thrilling sensory experience, moving stories and gorgeous costumes and scenes can no longer easily win their applause except for those who have never been to the resort. Similar embarrassment is also seen in the movie industry. Hollywood blockbusters are showing a declining tendency in Chinese cinemas. Anyone in the entertainment industry who covet the lucrative market and who boast about their products must honestly meet their promise of “creating a unique experience for every customer.”