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Cultural Industries (cultural + industry)
Selected AbstractsCREATIVE CITIES: THE CULTURAL INDUSTRIES AND THE CREATIVE CLASSGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 2 2008Andy C. Pratt ABSTRACT. The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth. [source] The Nordic ,Cultural Industries': A Cross-National Assessment of the Place of the Cultural Industries in Denmark, Finland, Norway and SwedenGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 3 2003Dominic Power ABSTRACT In this paper an attempt is made to measure the cultural industries in a cross-national context. The paper starts with a discussion of the definition and delineation of the term the ,cultural industries'. It is argued that a large range of goods and services may be considered to be cultural industry products and that it is important to place the production and exchange of such products in the context of an industrial systems approach. Following this the concept is operationalised using data on employment and firm activity from Denmark, Finland, Norway and Sweden. Results are presented which suggest that overall growth in both employment and firm numbers has been especially strong in the cultural industries. However, interesting differences between the countries emerged from the data. Thus regional dimensions are then examined resulting in the finding that in all four countries cultural industries have a strong attraction to urban areas but an even stronger propensity to agglomerate. It is suggested that the spatial dynamics observed may be key to the development of the industries' competencies and success. In summary the paper presents results of extensive data analysis that show the cultural industries' important contribution to Scandinavian economies and labour markets. [source] Cultural Industries and the Creative Economy , Vague but Useful ConceptsGEOGRAPHY COMPASS (ELECTRONIC), Issue 4 2009Jeff Boggs For those new to it, the literature on cultural industries can be confusing. While some authors refer to cultural industries, others refer to cultural-products industries or creative industries. Collectively, this heterogeneous group of industries comprises the cultural economy or the creative economy. Four typologies are presented, enabling one to more easily compare and contrast the essential features of commonly used definitions. The paper then discusses how this vague bundle of concepts is still useful as a lens on contemporary trends in industrialized economies. [source] Manufactured Authenticity and Creative Voice in Cultural IndustriesJOURNAL OF MANAGEMENT STUDIES, Issue 5 2005Candace Jones First page of article [source] The Nordic ,Cultural Industries': A Cross-National Assessment of the Place of the Cultural Industries in Denmark, Finland, Norway and SwedenGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 3 2003Dominic Power ABSTRACT In this paper an attempt is made to measure the cultural industries in a cross-national context. The paper starts with a discussion of the definition and delineation of the term the ,cultural industries'. It is argued that a large range of goods and services may be considered to be cultural industry products and that it is important to place the production and exchange of such products in the context of an industrial systems approach. Following this the concept is operationalised using data on employment and firm activity from Denmark, Finland, Norway and Sweden. Results are presented which suggest that overall growth in both employment and firm numbers has been especially strong in the cultural industries. However, interesting differences between the countries emerged from the data. Thus regional dimensions are then examined resulting in the finding that in all four countries cultural industries have a strong attraction to urban areas but an even stronger propensity to agglomerate. It is suggested that the spatial dynamics observed may be key to the development of the industries' competencies and success. In summary the paper presents results of extensive data analysis that show the cultural industries' important contribution to Scandinavian economies and labour markets. [source] USER INNOVATION AND CREATIVE CONSUMPTION IN JAPANESE CULTURE INDUSTRIES: THE CASE OF AKIHABARA, TOKYOGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 3 2010Jakob 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] CREATIVE CITIES: THE CULTURAL INDUSTRIES AND THE CREATIVE CLASSGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 2 2008Andy C. Pratt ABSTRACT. The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth. [source] The Nordic ,Cultural Industries': A Cross-National Assessment of the Place of the Cultural Industries in Denmark, Finland, Norway and SwedenGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 3 2003Dominic Power ABSTRACT In this paper an attempt is made to measure the cultural industries in a cross-national context. The paper starts with a discussion of the definition and delineation of the term the ,cultural industries'. It is argued that a large range of goods and services may be considered to be cultural industry products and that it is important to place the production and exchange of such products in the context of an industrial systems approach. Following this the concept is operationalised using data on employment and firm activity from Denmark, Finland, Norway and Sweden. Results are presented which suggest that overall growth in both employment and firm numbers has been especially strong in the cultural industries. However, interesting differences between the countries emerged from the data. Thus regional dimensions are then examined resulting in the finding that in all four countries cultural industries have a strong attraction to urban areas but an even stronger propensity to agglomerate. It is suggested that the spatial dynamics observed may be key to the development of the industries' competencies and success. In summary the paper presents results of extensive data analysis that show the cultural industries' important contribution to Scandinavian economies and labour markets. [source] Cultural Industries and the Creative Economy , Vague but Useful ConceptsGEOGRAPHY COMPASS (ELECTRONIC), Issue 4 2009Jeff Boggs For those new to it, the literature on cultural industries can be confusing. While some authors refer to cultural industries, others refer to cultural-products industries or creative industries. Collectively, this heterogeneous group of industries comprises the cultural economy or the creative economy. Four typologies are presented, enabling one to more easily compare and contrast the essential features of commonly used definitions. The paper then discusses how this vague bundle of concepts is still useful as a lens on contemporary trends in industrialized economies. [source] The Work of Art in the Age of Digital Reproduction: The Significance of the Creative IndustriesINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2001Mark Blythe This paper reflects on the social and political significance of the new classification of the ,creative industries'. The new aggregate expands previous classifications of the arts and cultural industries and produces figures which suggest that these sectors are increasingly vital elements of the UK economy. It is argued that these statistics on the creative industries are, to an extent, misleading. The paper considers some of the implications of the recent and continuing advances in technologies of digital reproduction and distribution. The importance of the creative industries to Arts and Design education is placed within the context of the emphasis on vocationalism by successive UK governments. It is suggested that while the new aggregate may be useful in terms of certain kinds of promotion, the category should be recognised as arbitrary and politically motivated. Finally, the paper examines the notion that the creative industries might be harnessed to achieve social inclusion and urban re-generation and reflects on some of the social costs of such sectors. [source] Cultural Hegemony of Singapore among ASEAN Countries: Globalization and Cultural PolicyINTERNATIONAL JOURNAL OF JAPANESE SOCIOLOGY, Issue 1 2004Kenichi Kawasaki The Singapore Government started to call their city a "Global City for the Arts", making numerous cultural policy changes. They also worked on various cultural experiments to establish their cultural leadership or hegemony among Association of South East Asian Nations (ASEAN) countries. The development of arts policies, cultural industries and people's positive commitment towards cultural exchanges are examples of this change. Singapore therefore is now playing the role of the cultural hub among the ASEAN countries. As an example of this, the present study discusses "Esplanade", which opened as a huge cultural complex in October 2002. Then the paper will also discuss both bright and dark sides of the cultural development in Singapore. As a conclusion, this paper discusses the possibility of the cultural contribution of Singapore to ASEAN countries, in spite of having serious epistemological discontinuity among ASEAN. [source] Cultural production, place and politics on the South Bank of the ThamesINTERNATIONAL JOURNAL OF URBAN AND REGIONAL RESEARCH, Issue 1 2000Peter Newman The past decade has seen an increasing interest in the cultural economies of cities by public bodies keen to address issues of urban decline. This article documents recent developments on the South Bank of the Thames in central London where cultural investments appear to be clustered and where attempts have been made to give spatial and policy coherence to a range of new development projects. The local authority promotes the South Bank as London's new cultural quarter. However, this strategy is an opportunist and image-based response to dominant property speculation interests. The management of cultural production in this part of London reveals limits to local coalition building and the limited influence of local strategies on the development process. The article questions whether the cultural quarter is an appropriate scale for managing the development of cultural industries as a motor for economic development in particular. Depuis une dizaine d'années, les autorités publiques qui s'occupent du déclin urbain s'intéressent de plus en plus à la dimension économique de la culture dans les villes. Cet article présente ce qui s'est passé sur la rive sud de la Tamise au centre de Londres où une tentative a été faite pour donner une cohérence spatiale à une série de nouveaux projets. L'autorité locale vend la South Bank comme un nouveau centre culturel. Cependant, cette stratégie constitue une réponse opportuniste en termes d'image aux intérêts immobiliers spéculatifs dominants. La gestion de la production culturelle dans ce quartier de Londres révèle les limites de la construction de la coalition locale et l'influence limitée des stratégies locales dans les processus de développement. Les auteurs de l'article se demandent si le quartier culturel est une échelle appropriée pour la gestion du développement des industries culturelles comme centre moteur du développement économique en particulier. [source] Middle-earth Meets New Zealand: Authenticity and Location in the Making of The Lord of the Rings*JOURNAL OF MANAGEMENT STUDIES, Issue 5 2005Deborah Jones abstract In focusing on the making of a specific cultural project, The Lord of the Rings (LOTR) film trilogy, this paper draws out the tensions between two sometimes divergent strands of authenticity: creative authenticity and national authenticity. This study is located in New Zealand, a small post-colonial country which was the location for LOTR and home to its key film-makers. The case is based on a discourse analysis of published texts on LOTR and New Zealand's film and tourism industries, exploring the paradoxical concept of ,fabricating authenticity' (Peterson, 1997) and its importance to cultural industries. In reviewing the media discourse of the LOTR project we ask: how are creative and national authenticity constructed? Creative authenticity refers to the claims of artistic integrity and merit that are made for the film. National authenticity is predicated on the idea of a national identity. In terms of LOTR, national authenticity is based on claiming the trilogy as a local ,New Zealand' product. We highlight the theme of ,location' by linking LOTR with a national tourism campaign which has been developed side-by-side with the film project, forging connections between the Middle-earth of the LOTR trilogy, and the New Zealand of the present. We argue that LOTR has both shaped, and been shaped by, ideas of national identity, and that the success of LOTR as a flagship of the ,new' creative industries is central to emerging visions of nationhood. [source] File-sharing, Filtering and the Spectre of the Automated CensorTHE POLITICAL QUARTERLY, Issue 4 2008MONICA HORTEN The European Parliament's Bono report is an example of how politicians can speak up for the interests of citizens against those of multi-national corporations. The report concerned the economic status of the cultural industries in Europe, but it has become known for one amendment, protecting citizens' rights on the Internet. The issue at stake is open access to the Internet, versus alleged copyright infringement through online file sharing. As the UK sets out its own policy proposals for copyright and the Internet, the Bono amendment invites us to consider the wider agenda for copyright enforcement, content filtering and the potential for industrial censorship. [source] The Nordic ,Cultural Industries': A Cross-National Assessment of the Place of the Cultural Industries in Denmark, Finland, Norway and SwedenGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 3 2003Dominic Power ABSTRACT In this paper an attempt is made to measure the cultural industries in a cross-national context. The paper starts with a discussion of the definition and delineation of the term the ,cultural industries'. It is argued that a large range of goods and services may be considered to be cultural industry products and that it is important to place the production and exchange of such products in the context of an industrial systems approach. Following this the concept is operationalised using data on employment and firm activity from Denmark, Finland, Norway and Sweden. Results are presented which suggest that overall growth in both employment and firm numbers has been especially strong in the cultural industries. However, interesting differences between the countries emerged from the data. Thus regional dimensions are then examined resulting in the finding that in all four countries cultural industries have a strong attraction to urban areas but an even stronger propensity to agglomerate. It is suggested that the spatial dynamics observed may be key to the development of the industries' competencies and success. In summary the paper presents results of extensive data analysis that show the cultural industries' important contribution to Scandinavian economies and labour markets. [source] The Experienced Traveller as a Professional Author: Friedrich Ludwig Langstedt, Georg Forster and Colonialism Discourse in Eighteenth-Century GermanyHISTORY, Issue 317 2010CHEN TZOREF-ASHKENAZI The aim of this article is to show the centrality of the concept of experience in the cultural industry of travel writing in eighteenth-century Germany as well as examining the influence of British colonial discourse on German interpretations of the non-European world. The first aim is achieved through analysing the literary career of Friedrich Ludwig Langstedt, who on the basis of a five-year stay in India, was able to claim the status of expert on the non-European world and become the author of many books on a variety of subjects related to travel. His case is compared to that of Georg Forster, whose career was similarly shaped by the experience of travel. Both of them represent relatively rare examples in the eighteenth century of literary agents with actual experience in travel outside Europe. The second aim is achieved through an analysis of Langstedt's interpretations of India, showing how his support for East India Company rule was based on uncritical borrowings from British sources. A comparison with Forster's more critical treatment of British colonialism in India shows that Forster was much influenced by British sources. [source] The State and Industrial Evolution: The Development of the Game Industry in Japan and KoreaPACIFIC FOCUS, Issue 1 2005Hidetaka Yoshimatsu This article examines the development of the game industry in Japan and South Korea with particular attention to the role of the government in fostering a creative industrial sector. Although the Japanese game industry achieved market-oriented growth until the 1990s, the government's involvement in the industry became salient after the new millennium. Games were positioned as main sources for creating internationally competitive media contents, and the government has provided environments where innovative companies and individuals can develop their skills and expertises and intensified the protection of intellectual property rights overseas. Unlike Japan, the development of the game industry was sustained by intensive government intervention in South Korea. The government changed the basic perception of the industry from a negative amusement industry to a positive cultural industry to be fostered for the new millennium. Then, the government set up an affiliated organisation that undertook a wide range of measures from technological upgrading, managerial and human resource development, global connections, and education. Thus, the Korean state still intends to foster a strategic industry but its manner of commitments became comprehensive and flexible. [source] Building knowledge city in transformation era: Knowledge-based urban development in Beijing in the context of globalisation and decentralisationASIA PACIFIC VIEWPOINT, Issue 1 2010Pengjun Zhao Abstract This study examines knowledge-based urban development in Beijing with the objective of revealing the impact of the ,synergetic' forces of globalisation and local government intervention on knowledge-based urban development in the context of the coexisting processes of globalisation and decentralisation. The findings in this paper show that due to the rapid growth of the cultural industry sector, knowledge-based urban development has created various kinds of ,cultural industry clustered areas', which were recently promoted by the 2008 Olympic Games. ,Synergetic' global and local forces are leading knowledge-based urban development, with the emergence of a local coalition regime in which local government manages local development, considered as ,enterprises' in the decentralisation process, while the State retains a significant influence on knowledge-based urban development. The central and municipal governments tend to emphasise strategies to ,facilitate the climate for growth' rather than the centrally planned control they exerted prior to the 1980s. [source] | ||||||||||||||||||||||