「文化產業」強調創意文化與生產力之關連，並無法擺脫意識形態的糾纏，不過與「文化工業」的意識形態觀不同；文化產業作為意識型態，更強調在庶民之日常流行文化／文化認同中去進行構連／爭霸。中國大陸自改革開放以來，其意識形態價值理念中本已滲入了某些資本主義市場邏輯的成素，加以改革造成之社會文化的劇變，新時代新的主體性對文化認同、新價值之需要迫切，這使得中國大陸在大力發展以市場利潤為導向之文化產業的同時，不得不回過頭來對其意識形態問題亦有所關照，一向作為文化／意識形態以及相關之社會主義代言人的知識精英，甚且因而對文化產業表述了某些不甚合時宜的精英主義論點。在電視劇文化產業策略的爭議中，反應這種精英主義論調的以及另一種更強調庶民聲音的知識精英間，其意識形態方面的見解，表面上是大相庭徑，針鋒相對，但究極言之，仍有一儘管是相當模糊的、暫時性的基礎共識折衷於黨國與市場之間，換言之，亦即相應於文化產業的興起，中共過去重視群眾路線的意識形態已自我調整為從市場流行文化中去爭取認同與支持，知識精英間雖是眾聲喧嘩，但仍有一共同默守的底限，這至少對其自身之定位以及公共空間之開展都有其意義。

Cultural industries emphasizes the connection between creative culture and productivity, with an embedded element of ideology. Unlike the ideology embodied in Adorno and Horkheimer’s concept of cultural industry, however, cultural industries as an ideology stresses more the effort to articulate/struggle for hegemony through popular culture/cultural identity among the masses. China, since its economic reform and open trade policy, has taken into its own ideological and value systems many foreign factors that belong to the Capitalist marketing logic. Faced with various drastic changes in social culture, as well as the urgent need for new cultural identities and new values in such an age with new sense of subjectivity, China is forced to reexamine its old ideological system while pushing for a market profit economy. Some intellectual elite who all along had acted as spokesmen for China’s cultural ideology and related socialist thinking recently even expressed certain untimely comments on cultural industries that are essentially elitism. Reflected in the controversy over the various cultural strategies applied in TV plays, this elite group finds its opponent in another group of intellectual elite who welcome more voices of the masses. These two elite groups though differ drastically in their respective ideologies at the first sight, share a very fundamental common sense. That is they both recognize a middle ground between party, nation, and market, even this middle ground seems extremely blur and temporary. In other words, following the rise of cultural industries, the Chinese Communist Party has adjusted its old ways of the mass ideology toward a new ideology generated from popular market culture in order to gain support. The intellectual elite, on the other hand, while remains in a state of heteroglossia, silently observe a shared bottom line, which at least assures their self position and the expansion of public space.