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Culture Industries (culture + industry)

Distribution by Scientific Domains
Humanities and Social Sciences100%

Selected Abstracts

USER INNOVATION AND CREATIVE CONSUMPTION IN JAPANESE CULTURE INDUSTRIES: THE CASE OF AKIHABARA, TOKYO

GEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 3 2010
Jakob Nobuoka
ABSTRACT. The consumption and export of material and immaterial commodities based upon Japanese popular culture is rapidly growing and continually finds new fans all around the world. In this article, it is suggested that some of the competitiveness of these unique cultural phenomena can be traced to the very dense and vivid area of Akihabara in Tokyo. Its long history as an electronic retail district and a more recent influx of firms and shops focused on popular culture has created a strong place brand that continues to mark Akihabara as the capital of Japanese cultural industries. It is a space where different consumers, specialist subcultures and firms and their products can interact. The area functions as a hub were ideas and values are exchanged, tested and promoted. The article argues that research on innovation milieus must take account of the role of users and their relation to place. [source]

Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East

CULTURAL ANTHROPOLOGY, Issue 2 2006
Jessica WinegarArticle first published online: 7 JAN 200
The post-1989 transformation of the Egyptian art world reveals the particular tenacity of colonial logics and national attachments in culture industries built through anticolonial nationalism and socialism. Tensions emerged between and among Western and Egyptian curators, critics, and artists with the development of a foreign-dominated private-sector art market and as Egyptian art begins to circulate internationally. This international circulation of art objects has produced rearranged strategies of governance in the cultural realm, collusions and conflicts between the public and private sector, and, most importantly, a new articulation of cultural sovereignty. [source]

Invisible Borders: Economic Liberalization and National Identity

INTERNATIONAL STUDIES QUARTERLY, Issue 4 2000
Patricia M. Goff
Various developments in the post,WWII global economy have led many scholars of international relations to contend that borders are eroding. My argument takes issue with this, suggesting that borders are not becoming increasingly meaningless; instead, some states are working to endow them with meaning in innovative ways. Specifically, I examine the trade disputes over culture industries during recent GATT and NAFTA talks to demonstrate that some states are shifting their attention from territorial borders to conceptual or invisible borders. Many governments support the removal of borders that serve as barriers to the movement of goods, services, capital, information, and, in some cases, people. Nevertheless, these same governments resist the increasing permeability of borders that provide the boundaries of political community. [source]

The Neighborhood in Cultural Production: Material and Symbolic Resources in the New Bohemia

CITY & COMMUNITY, Issue 4 2004
Richard Lloyd
Drawing on an extended case study of the Chicago neighborhood Wicker Park, this article examines the role that neighborhood space plays in organizing the activities of young artists, showing how an urban district can serve as a factor in aesthetic production. The tendency of artists and fellow travelers to cluster in distinctive (usually older) urban neighborhoods is well known. While in recent decades many scholars have recognized that these creative congregations contribute to residential gentrification and other local patterns of increased capital investment, the benefits that such neighborhoods offer for aspirants in creative pursuits are generally assumed, not explained. I use the Wicker Park case to show how the contemporary artists' neighborhood provides both material and symbolic resources that facilitate creative activity, particularly in the early stages of a cultural producer's career. I further connect these observations to the production of culture as a commodity, showing how select neighborhoods fill quasi-institutional roles in the flexible webs that characterize contemporary culture industries. [source]

Voluptuousness and Asceticism in Adorno1

GERMAN LIFE AND LETTERS, Issue 3 2009
Ross Wilson
ABSTRACT This essay explores Theodor Adorno's view of pleasure in general and his account of the pleasures of modernist art in particular. At first sight, this hardly seems a promising topic for study, given Adorno's consistently stated antipathy to the false pleasures of the culture industry. While some consideration of Adorno's critique of pleasure is important to this essay, its central aim is to demonstrate that Adorno's aesthetics does not reject pleasure outright. In particular, it will be shown that Adorno's contention that ,[d]er Bürger wünscht die Kunst üppig und das Leben asketisch; umgekehrt wäre es besser' does not involve an unqualified advocacy of modernist art as ascetic pure and simple, just as voluptuous life itself could hardly be initiated by an act of will. Rather, voluptuousness and asceticism are to be conceived dialectically, for Adorno, both in aesthetic theory and, indeed, in philosophy and social theory. Specific examples of Adorno's conception of the relation of pleasure to its apparent renunciation will be given from his reading of Charles Baudelaire and from his critique of developments in music allegedly in the wake of Schönberg's innovations. [source]