文化全球化是當前最熱門的新興全球化議題之一，全球各地面對文化全球化的方式各異，有些地區會積極追求、有些地區會反抗、有些地區則懷抱著轉變文化全球化的信心，而中國就是第三種。小室哲哉，這個曾經將西方流行音樂引進，並成功帶動日本流行音樂全球化的音樂製作人，自1996年起積極地欲以過去在日本的成功經驗打開中國市場，歷經八年宣告失敗。這段難得的全球化經驗說明著文化全球化多樣性與在地性的一面。換言之，中國經驗讓小室哲哉看到除了全盤接受西化以外，另一種面對全球化的可能。同時，也使得小室哲哉得以重新認識全球化、重新找回了迷失的身分認同。

Cultural globalization is one of the hottest rising globalization issues. All parts of the world are all different when they face cultural globalization. Some areas will pursue actively, some area will resist, and some areas have confident and resolution to change cultural globalization into cultural localization. Undoubtedly, China is the third one. Komuro Tetsuya, a music producer once transplant cultural globalization modeled upon the western popular music to Japan, wanted to open the Chinese music market with the successful experience in Japan in the past actively since 1996. He went through frustrations for eight years and finally declared his failure. The rare experiences of globalization proved the variety and the localized aspect of cultural globalization. In other words, this experience in China, just as Other, let Komuro Tetsuya saw the other possibilities to face globalization besides accepting the western culture totally, that is to integrate the local culture and the global culture. Meanwhile, this experience also enabled him to re-recognize the true meanings of globalization and found the lost identity again.