Using particular case studies, critically examine how working in the music or fashion industry might involve both ‘good’ and ‘bad’ forms of cultural work.
INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS
IN THE CREATIVE AND CULTURAL INDUSTRIES
Summary and Essay Surgery
MODULE OUTCOMES
You will be able to demonstrate the ability to:
Critically determine and define what is meant by culture and the creative and cultural industries
Gain an understanding of the range of theories and concepts available to study the cultural and creative industries
Be able to apply the theories and concepts learned to research on current aspects of the cultural and creative industries
Critically assess the explanatory power of existing theories and concepts in analyses of the cultural and creative industries
Masters level standards
The University has determined the minimum requirements for a MA student.
An ability to critically evaluate current research, methodologies and scholarship and where appropriate propose new hypotheses;
An ability to deal with complex issues systematically and creatively;
A comprehensive understanding of relevant knowledge and applicable techniques which are at the forefront of their academic disciplines, field of study or professional practice;
Independent thought.
ASSESSMENT
This module has one assessment:
A 2,500 word essay
ASSESSMENT
This module has one assessment:
A 2,500 word essay
Unless otherwise specified, the word count is for the main body of the text and ignores the reference list and appendices. If you exceed the word length you will be penalised.
ASSESSMENT
This module has one assessment:
A 2,500 word essay
If you are up to 5% over the word limit – a 5% penalty will be applied
• If you are 5-10% over word limit – a 10% penalty will be applied
• If you are over 10% over the word limit – a 15% penalty will be applied.
Essay formatting and style guide
Have the standard Management School cover sheet (available from MUSE);
Have the word count given on the cover sheet;
Be presented with 2.5cm margins all round;
Use Times New Roman or Arial, 11 or 12 point for the main body text;
Use 1.5 line spacing;
Have all pages numbered except the first;
Be properly spell checked;
Be made attractive with suitable use of headings, paragraphs and sections;
Be properly referenced to the Management School version of Harvard
See your PGT handbook for further details, (BB Information Room)
Essay Questions
Using particular case studies, critically examine how working in the music or fashion industry might involve both ‘good’ and ‘bad’ forms of cultural work.
ASSESSMENT CRITERIA
Assessment criteria <40%
(Hard Fail) 40-49%
(Soft Fail) 50-59%
(Pass) 60-69%
(Merit) 70-79 %
(Distinction) 80 % and above
(High Distinction)
Use/adaptation of theories/concepts Hardly any mention of academic literature Some mention and summary of relevant academic literature Good understanding and synthesis of academic literature Very good, clear understanding and synthesis of academic literature Very good judicious and insightful use of relevant literature Excellent judicious and insightful use of relevant literature
Use of data and examples Hardly any use of relevant examples Some examples but hardly relevant Good use of examples Very good choices and use of examples Very good, judicious and insightful use of examples Excellent use and illustration of timely and thematically- relevant examples
Structure and analytical insights Hardly any structure and analysis Minimal attempt at structure and analysis Some good attempts at structure and analysis Very good structure and analysis Very well structured and analysed Excellent use of structure and level of analysis
Intelligibility of writing Mostly unintelligible At times unintelligible Well written Very well written Extremely well written Excellently written
Causes of poor performance
Not answering the brief;
Being purely descriptive rather than analytical;
Inability to apply theory to practice;
Poor referencing;
Poor structure /organisation of material;
Arguments do not follow;
Poor construction of the sentences/ paragraphs with poor use of grammar so that examiners do not know what is intended.
Title
What is the topic of my essay, how to I want to address the essay question?
What is the problem or issue?
What is the question that I want to address and why is that question relevant?
How do I want to answer that question, what methodology or approach do I want to use?
How is answering that question advancing our scientific knowledge?
Identifying a topic/perspective
Make sure that you have done some reading. Identifying a topic based on your personal interests is a good way to start, but you need to ensure that this topic is not already been researched elsewhere. In short, ensure that you research interest is well grounded through a basic literature review. Your abstract needs to identify an issue in existing research!
You may identify a topic by relying on essays that you have written in the past, in particular, essays where you have performed well. You may also consult publications by staff of this department and see if their research can inspire your research questions and you can to some extent rely on what they what they have already written.
Identifying a problem or issue
Ensure that you do not just summarise your literature review. A literature is a tool(!) to develop a question by identifying a research topic. Ensure that your approach is not too broad. Keep in mind that you have only a couple of months.
Identifying a question
Based on your basic literature review and research interest you need to formulate a clear strategy how you want to respond to the essay question or set of questions that you want to address. Make sure that the question is based on the literature review. Do not just present the question and strategy in a completely unrelated way to your literature review.
Identify a methodology or approach
Depending on your topic and research question, you need to think about a methodological to answer your question. If your topic is more empirical, then, you need to justify(!) type of analysis, case study, theoretical concept you want to you. If your work is theoretical, you need to justify(!) the selection of theoretical approaches. It is also important that you are very realistic about what you can do in the next two months. You cannot expect to read hundreds or article and do a meaningful analysis. Sometimes less is more.
How is your topic advancing scientific knowledge
You need to formulate an expectation about the scientific relevance of your topic. Why would other researchers be interested in your findings, why is your knowledge innovative, how will your findings help to reframe your topic and advance our knowledge in that field.
Timetable
Develop a clear and detailed timetable; divide the time into weeks and describe what you want to do in each week. Start to count backward from your submission date, consider how many pages you need to write, how long this will take you. Consider any public holidays that fall into that period. Include some extra time in your timetable.
Provide 10-15 key references
Provide key references that will guide and frame your work. Only include references that you have read and are of use to your essay. Use one sentence per reference to explain why you want to use them. Use the appropriate style guide (see handbook) for the listing them.
INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS
IN THE CREATIVE AND CULTURAL INDUSTRIES (CCI)
AUTUMN SEMESTER 2021-22
INTRODUCTION TO THE MODULE
This module offers a broad-based introduction to, and definitions of, the Creative and Cultural Industries (CCI). It determines the range of activities and organisations included in this term, and introduces the importance of cultural activities within wider society. Through close examination of different cultural providers (theatres, cinema, museums etc.) and industries (music, television, film, publishing), it explores the social purposes, changes and challenges in the sector. It is designed to help students learn about the variety of theoretical and conceptual approaches that are applied to the study of CCI. It thus seeks to equip students with the necessary introductory knowledge and tools to be able to assess critically the dis/advantages of existing theoretical frameworks and discourses used to understand the complex nature of the creative and cultural industries, and their location within wider constructs such as ‘organisation’, ‘networks’ and ‘fields’. The module will be taught in lectures and seminars, which will critically discuss existing case studies to illustrate concepts and approaches. It is formulated to enable students to think critically about the tools they use and apply to understand and research CCI today.
MODULE AIMS
This module has the following aims:
provide a broad-based introduction to the Creative and Cultural Industries (including the organisation of a range of CCI sectors such as film, visual arts, music, museums and heritage, performing arts, literature/publishing, and fashion, among others) in a local and global context
provide an overview of the theories, concepts and analytical approaches deployed in research on the cultural and creative industries
demonstrate the application of theories and concepts drawing upon examples of case studies on the cultural and creative industries
critically assess the relevance of existing theories and concepts to the study of the cultural and creative industries in contemporary societies
MODULE OUTCOMES
You will be able to demonstrate the ability to:
critically determine and define what is meant by culture and the creative and cultural industries, and the types of industry viewed as having creative and cultural capital, both locally and globally.
understand the range of theories and concepts available to study the cultural and creative industries
apply the theories and concepts learned to research on current aspects of the cultural and creative industries
critically assess the explanatory power of existing theories and concepts in analyses of the cultural and creative industries
Module organisation
It will achieve these outcomes through a programme of lectures and seminars which will take a case study approach to the subject matter. Seminars will be used to study the week’s topic in further depth and you will be expected to participate fully.
Indicative references only
LECTURE 1 Introduction to the Module: What is creativity? What is culture?
Hartley, J. et al. (2013) Key Concepts in Creative Industries. London: Sage.
Arts Council England. 2014. The Value of Arts and Culture to People and Society – An Evidence Review. London: ACE
http://www.artscouncil.org.uk/advice-and-guidance/browse-advice-and-guidance/value-arts-and-culture-people-and-society-evidence-review
Banks, M. (2007) The Politics of Cultural Work, Palgrave, Basingstoke.
Banks, M., Gill, R. and Taylor, S. (2014) Theorizing Cultural Work, Routledge, London.
Banks, M. (2015) Valuing Cultural Industries, in O’Connor and Oakley, K. (eds.) The Routledge Companion to Cultural Industries
Bell, D. and Oakley, K. (2014) Cultural Policy, Routledge, London.
Caves, R. (2002) Creative Industries: Contracts between Art and Commerce, Harvard U Press, Cambridge.
Galloway, S and Dunlop, S. (2007) A Critique of Definitions of Cultural and Creative Industries in Public Policy, International Journal of Cultural Policy, 13,1, pp.17-31.
Flew, T (2011) Creative Industries, Sage, London.
Garnham, N. (2005) From Cultural to Creative Industries, International Journal of Cultural Policy, 11, 1, pp.15-29.
Gauntlett, D. (2011) Making is Connecting, Polity Press, Cambridge.
Harney, S. (2010) Creative Industries Debate, Cultural Studies, 24, 3, pp.431-444
Hartley, J. (2005) ‘Creative Identities’ in Hartley, J. (ed.) Creative Industries, Blackwell Oxford, pp.106-117.
Hesmondhalgh, D. (2012) The Cultural Industries, Sage, London (3RD edition)
Hesmondhalgh, D., Oakley, K., Lee, D. & Nisbett, M. (2016) Culture, Economy, Politics: The Case of New Labour, Palgrave London.
Howkins, J. (2001) The Creative Economy: How People Make Money from Ideas, Penguin, London.
O’Connor, J. (2007) The Cultural and Creative Industries: A Review of the Literature, Creative Partnerships, London.
Runco, M. (2007) Creativity, Elsevier Academic Press
Davies, R. and Sigthorsson, G. (2013) Introducing the Creative Industries, Sage, London
Warwick Commission. 2015. Enriching Britain: Culture, Creativity and Growth: The Warwick Commission Report on the Future of Cultural Value. University of Warwick.
LECTURE 2 Consumer Culture and Cultural Industries
Banks, M. (2007) The Politics of Cultural Work, Palgrave, Basingstoke.
Bell, D. and Oakley, K. (2014) Cultural Policy, Routledge, London.
Curran, J. (2010) Media and Society, Bloomsbury, London (Chapter by Hesmondhalgh)
Davies, R. and Sigthorsson, G. (2013) Introducing the Creative Industries, Sage, London
Featherstone, M. (1990) Perspectives on Consumer Culture. Sociology 24(1):5-22.
Flew, T (2011) Creative Industries, Sage, London.
Garnham, N. (1990) Capitalism and Communication: Global Culture and the Economics of Information, Sage, London.
Gurevitch, M and Curran, J. (2005) Mass Media and Society, Arnold, London. (esp. chapters by Hesmondhalgh, Golding and Murdock)
Hesmondhalgh, D. (2012) The Cultural Industries, Sage, London
Lury, C. (2011) Consumer Culture. 2nd ed. Cambridge: Polity. Introduction: What is Consumer culture.
Marx, K. (2000) The fetishism of the commodity and its secret. In: Schor, J.B. and Holt, D.B. (Eds.) The Consumer Society Reader. New York, NY: The New Press, pp. 331-342. E-book
Paterson, M. (2006) Consumption and Everyday Life. London and New York: Routledge. Introduction and Chapter 1 E-Book
Scott, A. (2000) The Cultural Economy of Cities, Sage, London.
Slater, D. 1997. Consumer Culture and Modernity. Cambridge: Polity Press.
Tellis, G. J. 2007. The Sage Handbook of Advertising. London: Sage. (Chapters 1.2). E-Book
LECTURE 3 Creative Cities
Bagwell, S. (200
8
). Creative clusters and city growth. Creative Industries Journal, 1(1), 31–46. https://doi.org/10.1386/cij.1.1.31_1
Bailey, C., Miles, S., & Stark, P. (2004). Culture-led urban regeneration and the revitalisation of identities in Newcastle, Gateshead and the North East of England. International Journal of Cultural Policy, 10(1), 47–65.
Bassett, K. (1993). Urban cultural strategies and urban regeneration: a case study and critique. Environment and planning. A : environment and planning., 25(12), 1773–1788. http://doi.org/10.1068/a251773
Bell, D., & Jayne, M. (2010). The creative countryside: policy and practice in the UK rural cultural economy. Journal of Rural Studies, 26(3), 209–218. http://doi.org/10.1016/j.jrurstud.2010.01.001
Bianchini, F. (2013). ‘Cultural planning’ and its interpretations. In Young, G. & Stevenson, D. (eds). 2013. The Ashgate Research Companion to Planning and Culture.
Bianchini, F. & Ghilardi, L. (2007). Thinking Cultural About Place. Place Branding and Public Diplomacy. 3(4). 280-286.
Brennan-Horley, C., & Gibson, C. (2009). Where is creativity in the city? Integrating qualitative and GIS methods. Environment and Planning A, 41(11), 2595–2614.
Catungal, J. P., & Leslie, D. (2009). Contesting the creative city: race, nation, multiculturalism. Geoforum., 40(5), 701–704. http://doi.org/10.1016/j.geoforum.2009.05.005
Cheer, J. M., & Reeves, K. J. (2015). Colonial heritage and tourism: Ethnic landscape perspectives. Journal of heritage tourism, 10(2), 151–166. https://doi.org/10.1080/1743873X.2014.985224
Comunian, R., & Mould, O. (2014). The weakest link: creative industries, flagship cultural projects and regeneration. City, Culture and Society, 5(2), 65–74. http://doi.org/10.1016/j.ccs.2014.05.004
Currid, E. (2007). How art and culture happen in New York: implications for urban economic development. Journal of the American Planning Association., 73(4), 454–467. http://www.tandfonline.com/doi/abs/10.1080/01944360708978526
Currid, E., & Williams, S. (2010). The geography of buzz: art, culture and the social milieu in Los Angeles and New York. Journal of economic geography, 10(3), 423–451. http://doi.org/10.1093/jeg/lbp032
Currier, J. (2009). Art and power in the new China: An exploration of Beijing’s 798 district and its implications for contemporary urbanism. The town planning review., 79(2–3), 237–265.
Dean, C., Donnellan, C., & Pratt, A. C. (2010). Tate Modern: pushing the limits of regeneration. City, Culture and Society, 1(2), 79–87.
Evans, G. (2003). Hard-Branding the Cultural City – From Prado to Prada. International Journal of Urban and Regional Research, 27(2), 417–440. http://doi.org/10.1111/1468-2427.00455
Evans, G. (2009). Creative cities, creative spaces and urban policy. Urban studies., 46(5–6), 1003–1040. http://doi.org/10.1177/0042098009103853
Florida, R. (2002) The Rise of the Creative Class, Basic, New York
Florida, R. (2014) The Creative Class and Economic Development, Economic Development Quarterly, 28, 3, pp. 196-205.
García, B. (2005). Deconstructing the city of culture: The long-term cultural legacies of Glasgow 1990. Urban studies., 42(5), 841–868. http://doi.org/10.1080/00420980500107532
Grincheva, N. (2020). Glocal diplomacy of Louvre Abu Dhabi: museum diplomacy on the cross-roads of local, national and global ambitions. Museum Management and Curatorship, 35(1), 89–105. https://doi.org/10.1080/09647775.2019.1683883
Grodach, C. (2008). Museums as Urban Catalysts: The Role of Urban Design in Flagship Cultural Development. Journal of Urban Design, 13(2), 195–212. http://doi.org/10.1080/13574800801965742
Grodach, C. (2010). Art spaces in community and economic development: connections to neighborhoods, artists, and the cultural economy. Journal of Planning Education and Research, 31(1), 74–85. http://doi.org/10.1177/0739456X10391668
Grodach, C. (2010). Beyond Bilbao: Rethinking Flagship Cultural Development and Planning in Three California Cities. Journal of Planning Education and Research, 29(3), 353–366. http://doi.org/10.1177/0739456X09354452
Grodach, C., Foster, N., & Murdoch, J. (2018). Gentrification, displacement and the arts: Untangling the relationship between arts industries and place change. Urban studies., 55(4), 807–825. https://doi.org/10.1177/0042098016680169
Gu, X. (2015). Cultural economy and urban development in Shanghai. In K. Oakley & J. O’Connor (Eds.), The Routledge companion to the cultural industries. Abingdon: Routledge.
Gu, X., Lim, M. K., & O’Connor, J. (Eds.). (2020). Re-imagining Creative Cities in Twenty-First Century Asia. Cham, Switzerland: Springer
Hall, P., (2000) Creative Cities and Economic Development, Urban studies., Vol.37, No.4, pp.639-649.
Harvey, D. (1989). From managerialism to entrepreneurialism: the transformation in urban governance in late capitalism. Geografiska Annaler , 71(1), 3–17.
Kabanda, P. (2018). The creative wealth of nations: can the arts advance development? Cambridge: CUP
Kong, L. (2007). Cultural icons and urban development in Asia: economic imperative, national identity, and global city status. Political geography., 26(4), 383–404. http://doi.org/10.1016/j.polgeo.2006.11.007
Kong, L. (2009). Making Sustainable Creative/Cultural Space in Shanghai and Singapore. Geographical Review, 91(1), 1–22. https://doi.org/10.3112/erdkunde.1962.02.05
Landry, C. (2000). The Creative City: a toolkit for urban innovators. London: Earthscan.
Lashua, B. D. (2011). An atlas of musical memories: Popular music, leisure and urban change in Liverpool. Leisure/Loisir, 35(2), 133–152.
Lashua, B., Cohen, S., & Schofield, J. (2010). Popular music, mapping, and the characterization of Liverpool. Popular Music History, 4(2), 126–144.
Lee, N. (2014). The creative industries and urban economic growth in the UK. Environment and Planning A, 46(2), 455–470. http://doi.org/10.1068/a4472
Ley, D. (2003). Artists, aestheticisation and the field of gentrification. Urban studies., 40(12), 2527–2544. http://doi.org/10.1080/0042098032000136192
Lloyd, R. (2010). Neo-Bohemia: art and commerce in the postindustrial city (2nd ed.). Abingdon: Routledge. Core
Lloyd, Richard. 2006. Neo-Bohemia: Art and Commerce in the Post-Industrial City. New York: Routledge.
Luckmann, S. (2012) Locating cultural work : the politics and poetics of rural, regional and remote creativity. London, Palgrave-MacMillan
Markusen A, 2006, ‘’Urban development and the politics of a creative class: evidence from a study of artists’ Environment and Planning A 38 1921–1940
Markusen, A., & Schrock, G. (2006). The artistic dividend: urban artistic specialisation and economic development implications. Urban studies., 43(10), 1661–1686. http://doi.org/10.1080/00420980600888478
Mathews, V. (2010). Aestheticizing space: art, gentrification and the city. Geography compass., 4(6), 660–675. http://doi.org/10.1111/j.1749-8198.2010.00331.x
Mathews, V. (2014). Incoherence and tension in culture-led redevelopment. International Journal of Urban and Regional Research, 38(3), 1019–1036. http://doi.org/10.1111/1468-2427.12108
McGuigan, J. (2009) Doing a Florida Thing – The Creative Class Thesis and Cultural Policy, International Journal of Cultural Policy 15.3, pp 291-300.
Middleton, J. (2011), Walking in the City: The Geographies of Everyday Pedestrian Practices. Geography Compass, 5: 90-105.
Miles, S., & Paddison, R. (2005). Introduction: the rise and rise of culture-led urban regeneration. Urban studies., 42(5), 833–839. http://doi.org/10.1080/00420980500107508
Mommaas, H. (2004). Cultural clusters and the post-industrial city: towards the remapping of urban cultural policy. Urban studies., 41(3), 507–532. http://doi.org/10.1080/0042098042000178663
Oakley, K., & Ward, J. (2018). The art of the good life: culture and sustainable prosperity. Cultural Trends, 27(1), 4–17. https://doi.org/10.1080/09548963.2018.1415408
Parker, B. (2008). Beyond the Class Act: gender and race in the “creative city” discourse. In J. N. DeSena (Ed.), Gender in an Urban World (pp. 201–233). Bingley: Emerald. https://doi.org/10.1016/S1047-0042(07)00009-8
Peck J, 2005, Struggling with the Creative Class, International Journal of Urban and
Peck, Jamie. 2005. “Struggling with the Creative Class.” International Journal of Urban and Regional Research 29 (4): 740–70.
Pierce, J. & M. Lawhon (2015) Walking as Method: Toward Methodological Forthrightness and Comparability in Urban Geographical Research, The Professional Geographer, 67:4, 655-662
Pratt, A. C. (2008). Creative cities: the cultural industries and the creative class. Geografiska Annaler , 90(2), 107–117.
Pratt, A. C. (2009). Urban regeneration: from the arts “feel good” factor to the cultural economy: a case study of Hoxton, London. Urban studies., 46(5–6), 1041–1061. http://doi.org/10.1177/0042098009103854
Pratt, A. C. (2011). The cultural contradictions of the creative city. City, Culture and Society, 2(3), 123–130. http://doi.org/10.1016/j.ccs.2011.08.002
Qian, J., He, S., & Liu, L. (2013). Aestheticisation, rent-seeking, and rural gentrification amidst China’s rapid urbanisation: The case of Xiaozhou village, Guangzhou. Journal of rural studies., 32, 331–345. http://doi.org/10.1016/j.jrurstud.2013.08.002
Regional Research 29 4 pp.740-770
Roche, M. (2000) Mega-events and cultural citizenship: consumerism, inclusion/ exclusion and internationalism, in Mega-events and modernity : Olympics and expos in the growth of global culture, London, Routledge
Scott, A. J. (2000). The Cultural Economy of Cities. London: SAGE.
Scott, A. J. (2006). Creative cities: conceptual issues and policy questions. Journal of urban affairs., 28(1), 1–17.
Scott, Allen J. (2010) Cultural Economy and the Creative Field of the City Geografiska Annaler: Series B, Human Geography, 92(2), pp.115-130
Smith, L. (2006). Uses of heritage. London: Routledge.
Smith, L., & Campbell, G. (2016). The elephant in the room: heritage, affect and emotion. In Logan, W., Nic Craith, M., and Kockel. A companion to heritage studies, Chichester: John Wiley and Sons, pp. 443-460.
Stevenson, D. (2004). “Civic gold” rush. The international journal of cultural policy., 10(1), 119–131. http://doi.org/10.1080/1028663042000212364
Urry, J. (1992). The Tourist Gaze and the ‘Environment’. Theory, Culture & Society, 9(3), 1–26.
Urry, J. and Larsen, J. (2011). The tourist gaze 3.0. London: Sage.
Vannini, P. & A. Vannini (2017) Wild Walking: A Twofold Critique of the Walk-Along Method, London: Routledge.
Vivant, E. (2013). Creatives in the city: urban contradictions of the creative city. City, Culture and Society, 4(2), 57–63. http://doi.org/10.1016/j.ccs.2013.02.003
Ward, J. (2018). Down by the sea: visual arts, artists and coastal regeneration. International Journal of Cultural Policy, 24(1), 121–138. https://doi.org/10.1080/10286632.2016.1153080
Wilson, K., & O’Brien, D. (2012). It’s Not the Winning – Reconsidering the Cultural City. Liverpool: Institute of Cultural Capital. Available online
Zukin, S. (2010). Naked City: the death and life of authentic urban places. Oxford: Oxford University Press.
Creative City Reports
BOP Consulting. (2017). Creative Industries: A Toolkit for Cities and Regions. London: CIC. Available from: https://www.thecreativeindustries.co.uk/resources/strategy/cities-toolkit
BOP Consulting. (2018). World Cities Culture Report 2018. London: World Cities Culture Forum. Available from: http://www.worldcitiescultureforum.com/assets/others/181108_WCCR_2018_Low_Res
Duxbury, N., Hosagrahar, J., & Pascual, J. (2016). Why must culture be at the heart of sustainable urban development? Barcelona: United Cities and Local Governments. http://www.agenda21culture.net/sites/default/files/files/documents/en/culture_sd_cities_web
Florida, R., Mellander, C., & King, K. (2015). The Global Creativity Index. Toronto: Martin Prosperity Institute. http://martinprosperity.org/media/Global-Creativity-Index-2015
Local Government Association. (2009). Investing in Creative Industries: a guide for Local Authorities. London: Local Government Association. http://webarchive.nationalarchives.gov.uk/20090813163339/http://www.lga.gov.uk/lga/publications/publication-display.do?id=2204841
Local Government Association. (2013). Driving Growth through Local Government Investment in the Arts. London: Local Government Association. https://www.local.gov.uk/sites/default/files/documents/driving-growth-through-lo-334
Local Government Association. (2019). Culture-led regeneration: achieving inclusive and sustainable growth. London: LGA. Available from: https://www.local.gov.uk/culture-led-regeneration-achieving-inclusive-and-sustainable-growth
Mateos-Garcia, J., & Bakhshi, H. (2016). The Geography of Creativity in the UK creative networks. London: NESTA. Retrieved from https://media.nesta.org.uk/documents/the_geography_of_creativity_in_the_uk
Oakley, K. (2014). Creating space: A re-evaluatuion of the role of culture in regeneration. London: AHRC. http://eprints.whiterose.ac.uk/88559/3/AHRC_Cultural_Value_KO%20Final
Stern, M. J., & Seifert, S. C. (2017). The Social Wellbeing of New York City’s Neighborhoods: The Contribution of Culture and the Arts (Culture and Social Wellbeing in New York City (2014-16) No. 1). Retrieved from http://repository.upenn.edu/cgi/viewcontent.cgi?article=1001&context=siap_culture_nyc
Vella-Burrows, T., Ewbank, N., Mills, S., Shipton, M., Clift, S., & Gray, F. (2014). Cultural Value and Social Capital: investigating social capital, health and wellbeing impacts in three coastal towns undergoing culture-led regeneration. Folkestone: SDHRC and NEA. Available online
LECTURE 4 Cultural Policies
Banks, M and O’Connor, J. (2009) After the Creative Industries. International Journal of Cultural Policy (Special Issue) ‘After the Creative Industries’ 15, 4, 365-373
Banks, M. (2007) The Politics of Cultural Work, Palgrave, Basingstoke, Chapter 3.
Banks, M., Gill, R. and Taylor, S. (2014) Theorizing Cultural Work, Routledge, London (Introduction)
Bennett, T (June 2000) Acting on the social. Art, Culture and Government. American Behavioral Scientist. l43 (9)
British Council (2010) The Creative Economy: An Introductory Guide, British Council, London.
http://www.thecreativeindustries.co.uk/media/243587/cic_report_final-hi-res-
Caves, Robert E. 2000. Creative Industries: Contracts between Art and Commerce. Cambridge: Harvard University Press.
CBI (2014) The Creative Nation: A Growth Strategy for the UK’s Creative Industries, CBI, London.
Chartrand, H & McCaughey, C (1989) The Arm’s Length Principle and the Arts. Americans for the Arts
Create UK (2014) UK Creative Industries Strategy
http://www.thecreativeindustries.co.uk/media/243587/cic_report_final-hi-res-
Creative and Cultural Skills (2014) Building a Creative Nation: Evidence Review http://ccskills.org.uk/downloads/Building_a_Creative_Nation_-_Evidence_Review
Creative Skillset (2012) Creative Skillset Employment Census
http://www.skillset.org/research/activity/census/article_9235_1.asp
Cummings, M (2003) Cultural Diplomacy & the US government. Washington DC Centre for Arts and Culture
DCMS (1998) Creative Industries Mapping Document, DCMS, London.
DCMS (2008) Creative Britain: New Talents for the New Economy, DCMS, London.
DCMS (2014) Creative Industries Economic Estimates, DCMS, London.
Flew, T (2011) Creative Industries, Sage, London.
Garnham, N. (2005) From Cultural to Creative Industries, International Journal of Cultural Policy, 11, 1, pp.15-29.
Gummow, Jodie (2014) Culturally Impoverished: US NEA Spends 1/40th of Germany
AlterNet
Hall, Roz et al (2005) Capturing cultural value: How culture has become a tool of government policy DEMOS
Hesmondhalgh D., Nisbet M., Oakley K., and Lee, D.J. (2014) Were New Labour’s Cultural Policies Neo-Liberal?” International Journal of Cultural Policy, pp.1-18
Hesmondhalgh, D. (2012) The Cultural Industries, Sage, London (3RD edition)
Higgs, P., Cunningham, S. and Bakhshi, H. 2008 Beyond the Creative Industries: Mapping the Creative Economy in the United Kingdom, Nesta, London.
Holden, J. (2013), How We Value Arts and Culture. Gower Publishing.
Jowell,Tessa (2004) Government and the Value of Culture.
https://shiftyparadigms.files.wordpress.com/2015/08/tessa_jowell
Landry C, 2000, The Creative City: A Toolkit for Urban Innovators, Earthscan, London.
Licht, Amir N. et al,(2006) Culture Rules: The Foundations of the Rule of Law and Other Norms of Governance.
Mesch, C. (2013) Art and Politics: A Small History of Art for Social Change since 1945. I. B. Tauris.
Miller, T. (2009) From Creative to Cultural Industries, Cultural Studies, 23, 1, pp. 88-99.
Nesta (2013) A Manifesto for the Creative Economy, Nesta, London.
NESTA
http://www.nesta.org.uk/publications/cultural-policy-time-creative-industries
O’Brien, D. (2014) Cultural Policy: Management, Value and Modernity in the Creative Industries, Routledge Oxford and New York.
Oakley K (2011) In its Own Image: New Labour and the Cultural Workforce, Cultural Trends. 20, 3-4, pp. 281-289.
Pangestu, Mari (9/3/2012) A creative economy as a motor for Indonesia’s economic strength
Potts, J. & Cunningham, S.(2010).Four models of the creative industries. Revue d’économie politique. 120(1), 163-180
Pratt, A. (2005) Cultural Industries and Public Policy: An Oxymoron? International Journal of Cultural Policy, 11, 1, pp.31-44
Schlesinger, P. (2009)
Creativity and the Experts: New Labour, Think-Tanks, and the Policy Process.
International Journal of Press/Politics, 14, 1, pp. 3-20.
Schlesinger, Philip. 2007. ‘Creativity: From Discourse to Doctrine?’ Screen 48 3: 377-87
Smith, C. (1998) Creative Britain, Faber and Faber, London.
Spotts, F (2002) Hitler and the Power of Aesthetics. Hutchison.
UNESCO (2013) Creative Economy Report: Special Edition, UNDP, Paris.
http://www.unesco.org/culture/pdf/creative-economy-report-2013
Wang, Benhua (2014 ) Creative Industries – a summary of international research and comparisons
YASLIÇİMEN, F., O’Brien, D., Paquette, J., Redaelli, E., Lee, H., & Lim, L. (2018). Arts, Market and the State: Cultural Policies in Introspect. Insight Turkey, 20(2), 273-283
LECTURE 5 Reading Week.
Lecture 6 Festivals and Art Events
Adair, J (2007) Decision Making and Problem Solving Strategies, London ; Philadelphia : Kogan Page, 2007.
Ali-Knight, J et al International perspectives of festivals and events : paradigms of analysis Oxford : Elsevier Science, c2009.
Berridge, G. (2006) Events design and experience Oxford: Butterworth-Heinemann.
Bodenstein, CP & Waldburger, D. (2021) ‘There Is a Fault Here!’: A Report on a More Inclusive Research Method in a Creative Project in Lubumbashi (DR Congo), Field, 17. Available here: http://field-journal.com/editorial/there-is-a-fault-here-a-report-on-a-more-inclusive-research-method-in-a-creative-project-in-lubumbashi-dr-congo Core
Bowdin.G, et al (2010) Events Management, 3rd Edition, Oxford, Butterworth-Heinemann. (Core text … use as a starting point)
Carnwath, J. & Brown, A. (2014) Understanding the Values and Impacts of Cultural Experiences. A literature review. London: Arts Council England. [Online] Core
Catherwood, D W & Van Kirk, R L (1992) The complete guide to special event management : business insights, financial advice, and successful strategies from Ernst & Young, advisors to the Olympics, the Emmy Awards, and the PGA Tour New York: Wiley.
Clark, G & Johnston, R (2005) Service operations management : improving service delivery London: FT Prentice Hall.
Coons.P & Baron.L (1999) Gala! : the special event planner for professionals and volunteers, Sterling, VA, Capital Books, 1999.
Davis, J. (2018) Selling whiteness? – A critical review of the literature on marketing and racism, Journal of Marketing Management, 34:1-2, 134-177. Core
De Bono, E (1990) Lateral thinking : a textbook of creativity, Harmondsworth : Penguin.
Eriksson, B. (2020) Art and local communities: Inclusion, interests and ownership in participatory arts projects with embroiderers and billiard players. In B.Eriksson, C. Stage and B. Valtysson, Cultures of Participation: Arts, Digital Media and Cultural Institutions, London: Routledge, pp. 71-90. Core
Getz, D. (2007) Event studies : theory, research and policy for planned events. Oxford: Butterworth-Heinemann.
Giorgi,L et al (2011) Festivals and the cultural public sphere Abingdon ; New York : Routledge
Glow, H., Kershaw, A. & Reason, M. (2020) ‘Leading or avoiding change: the problem of audience diversification for arts organisations’, International Journal of Cultural Policy, DOI: 10.1080/10286632.2019.1709060 Core
Goldblatt, J. (2010) Special events : a new generation and the next frontier. New York: Wiley.
Hannan, C (1998) An Introduction to Health and Safety for the Live Music Industry Morden: Production Services Association.
Health and Safety Executive (1999) The event safety guide : a guide to health, safety and welfare at music and similar events. London: LSE.
Hoyle, L (2002) Event marketing : how to successfully promote events, festivals, conventions, and expositions New York: Wiley.
Jancovich, L & Stevenson, D. (2021) Failure seems to be the hardest word to say, International Journal of Cultural Policy, DOI: 10.1080/10286632.2021.1879798
Kolb, B. (2013) Consumer segmentation. In Marketing for cultural organizations: new strategies for attracting and engaging audiences, London: Routledge, pp.87-103.
Marxen, E. (2020). Opposing Epistemological Imperialism, Field, 15. Available: http://field-journal.com/editorial/opposing-epistemological-imperialism Core
Masterman, G & Wood, E (2005) Innovative marketing communications : strategies for the events industry Oxford: Butterworth Heinemann.
Monroe, J. and Kates, R. (2005) Art of the event : complete guide to designing and decorating special events. New York: Wiley.
O’Toole, W & Mikolaitis, P (2002) Corporate event project management New York: Wiley.
Raj, R., Walters, P., Rashid, T. (2008) Events management. London: Sage.
Robinson, P., Wale, D., Dickson, G. (2010) Events management. CABI: Wallingford
Shone.A & Parry. B (2004) Successful event management : a practical handbook, London, Thomson Learning
Van der Wagen, L. (2002) Event management for tourism, cultural, business and sporting events. Melbourne: Hospitality Press.
Walmsley, B. (2019) ‘The death of arts marketing: A paradigm shift from consumption to enrichment’, Arts and the Market, 9(1): 32-49.
Yeoman, I., Robertson, M., Ali-Knight, J., Drummond, S., McMahon-Beattie, U. (eds.) (2003) Festival and events management : an international arts and culture perspective. Oxford: Butterworth-Heinemann.
Lecture 7 No Lecture/ No tutorials due to trip to Chatsworth in week 12.
Please not that in this week there is no lecture and not tutorials, because we will be going to Chatsworth for a day-long trip in week 12.
Lecture 8 Working in the Cultural and Creative Industries I
Arvidsson, A. et al (2010) Passionate Work? Labour Conditions in the Milan Fashion Industry, Journal for Cultural Research, 14,3, pp.295-309, 10,1, pp.35-59.
Ashton, D. (2014) Making Media Workers Contesting Film and Television Industry Career Pathways, Television and New Media, May
Barnard, M. (2007) Fashion Theory: A Reader, Routledge, London.
Bennett, James, Niki Strange and Andrea Medrado. 2015. ‘A Moral Economy of Independent Work? Creative Freedom and Public Service in UK Digital Agencies.’ In Media Independence: Working with Freedom or Working for Free, edited by James Bennett and Niki Strange, 139-58. New York: Routledge.
Bill, A. (2012) Blood, Sweat and Shears: Happiness, Creativity and Fashion Education, Fashion Theory, 16, 1, pp.49-66
Bruzzi, S. and Church-Gibson, P. (eds.) (2013) Fashion Cultures Revisited, Routledge London.
Caldwell, John Taylor (2008) Production Culture. Durham, NC: Duke University Press.
Entwistle, J. (2000) The Fashioned Body, Polity Press, Cambridge.
Entwistle, Joanne and Elizabeth Wissinger, Keeping Up Appearances: Aesthetic Labor in the Fashion Modeling Industry, The Sociological Review. 54, 4, 774- 794
Grindstaff, Laura (2002) The Money Shot : trash, class, and the making of TV talk shows. Chicago: University of Chicago Press. Chapter 3.
Hesmondhalgh & Baker (2008) Creative Work and Emotional Labour in the Television Industry. Theory, Culture & Society 25(7-8) pp 97-118
Hesmondhalgh, D. and Baker, S. (2011) Creative Labour: Media Work in Three Cultural Industries, Routledge, London.
Larner, W. and Molloy, M. (2009) Globalization, the new economy and working women: Theorizing from the New Zealand Designer Fashion Industry, Feminist Theory,
Lee, D. (2011). Networks, cultural capital and creative labour in the British independent television industry. Media, Culture & Society, 33(4), 549-565
Mayer, Vicki, (2011) Below the Line: Producers and Production Studies in the New Television Economy, Duke University Press, Durham.
McRobbie, A. (1998) British Fashion Design: Rag Trade or Image Industry? Routledge, London.
McRobbie, A. (2002) Clubs to Companies: Notes on the Decline of Political Culture in Speeded-Up Creative Worlds, Cultural Studies 16, 4, pp.516-531.
McRobbie, Angela. 2016. Be Creative: Making a Living in the New Culture Industries. Cambridge: Polity Press
Percival, N. and Hesmondhalgh, D. (2014) Unpaid work in the UK television and film industries: Resistance and changing attitudes, European Journal of Communication, 29, 2, 188-203
Randle, K. et al (2014) Towards a Bourdieusian analysis of the social composition of the UK film and television workforce, Work, Employment and Society, 20
Randle, Keith. 2015. ‘Class and Exclusion at Work: The Case of UK Film and Television.’ In The Routledge Companion to the Cultural Industries, edited by Kate Oakley and Justin O’Connor, 330-44. London: Routledge.
Rantisi, N. (2004) The Ascendance of New York Fashion, International Journal of
Saundry, R., Stuart, M. and Antcliff, V. (2007) Broadcasting Discontent: Freelancers, Trade Unions and the Internet, New Technology, Work and Employment, 22, 2, pp. 178-191.
Tunstall, Jeremy. 1993. Television Producers. London: Routledge.
Urban and Regional Research 28, 1, pp.86–106.
Ursell, G. (2000) Television Production: Issues of Exploitation, Commodification and Subjectivity in UK Television Labour Markets, Media Culture and Society 22, pp. 805-825.
White, N. and Griffiths, I. (2000) The Fashion Business, Berg, London.
Willis, J and Dex, S. (2003) Mothers Returning to Television Production Work in a Changing Environment, in Beck, A. (ed.) Cultural Work: Understanding the Cultural Industries, Routledge, London.
Wissinger, E. (2009) Modeling Consumption: Fashion modelling work in contemporary society, Journal of Consumer Culture, 9, 2, 275-298.
Lecture 9 Working in the Cultural and Creative Industries II
Abbing, Hans. 2002. Why are Artists Poor: The Exceptional Economy of the Arts. Amsterdam: Amsterdam University Press
Ashton, D. and Noonan, C. (eds.) (2013) Cultural Work and Higher Education, Palgrave Macmillan, Basingstoke.
Banks, M (2010) Autonomy Guaranteed? Cultural Work and the ‘Art-Commerce’ Relation, Journal for Cultural Research 14, 3, 251-269.
Banks, M. (2007) The Politics of Cultural Work, Palgrave, Basingstoke.
Banks, M. (2012) MacIntyre, Bourdieu and the Practice of Jazz, Popular Music, 31, 1, pp. 69-86
Banks, M. and Hesmondhalgh, D. (2009) Looking for Work in Creative Industries Policy, International Journal of Cultural Policy, 15, 1, 415-430.
Banks, M., Gill, R. and Taylor, S. (2014) Theorizing Cultural Work, Routledge, London.
Beck, A. (2003) Cultural Work: Understanding the Cultural Industries, Routledge, London
Beck, A. (2003) Cultural Work: Understanding the Cultural Industries, Routledge, London.
Bennett, A. et al (2006) The Popular Music Studies Reader, Routledge New York (especially Sections by Toynbee, Hesmondhalgh, Frith and Power)
Bentley, David. 2011. ‘Advice for Young Musicians on Pay-to-Play Gigs.’ BBC News, 1st March. Accessed June 2016.
http://www.bbc.co.uk/news/uk-england-lancashire-12607737
Brophy, Enda, Nicole S. Cohen and Greig de Peuter (2016) ‘Labor Messaging: Practices of Autonomous Communication.’ In The Routledge Companion to Labor and Media, edited by Richard Maxwell, 315-326. New York: Routledge.
Brouillette, S (2013) Academic Labor, the Aesthetics of Management, and the Promise of Autonomous Work, Non-Site.org,
http://nonsite.org/article/academic-labor-the-aesthetics-of-management-and-the-promise-of-autonomous-work
Burnett, R. (1996) The Global Jukebox: The International Music Industry, Routledge, London
Frenette, A. (2013) Making the Intern Economy: Role and Career Challenges of the Music Industry Intern, Work and Occupations 40, 4, pp.1-34.
Gardner, Lyn. 2010. ‘Arts Internships: Chance of a Lifetime or Cut-Price Labour’? The Guardian, 23 February. Accessed June 2016.
https://www.theguardian.com/stage/theatreblog/2010/feb/23/arts-unpaid-interns-exploitation
Jones, M (2003) The Music Industry as Workplace: an approach to analysis in Beck, A. (ed) Cultural Work: Understanding the Cultural Industries, Routledge, London.
Jones, M. (2012) The Music Industries: From Conception to Consumption, Palgrave, Basingstoke.
Morris, J. (2014) Artists as Entrepreneurs, Fans as Workers, Popular Music and Society, 37, 3, pp.273-290
Scherzinger, M. (2005) Music, Corporate Power and Unending War, Cultural Critique 60 pp.23–66.
Toynbee, J. (2003) Fingers to the bone or spaced out on creativity? Labor process and ideology in the production of pop, in Beck, A. (2003) Cultural Work: Understanding the Cultural Industries, Routledge, London.
Umney, Charles. 2015. ‘The Labour Market for Jazz Musicians in Paris and London: Formal Regulation and Informal Norms.’ Human Relations 69 3: 711-29.
Lecture 10 Research Methodologies
Bail, C. A. (2014). “The cultural environment: Measuring culture with big data.” Theory and Society 43(3): 465-524.
Barabási, A.-L. Network Science. Cambridge, Cambridge University Press.
Baron, N. S. (2015). Words onscreen: the fate of reading in a digital world. New York, Oxford University Press.
Barthes, R. 1999. Rhetoric of the image and Myth Today. In Evans, J. & Hall, S. (Eds.) Visual Culture: The Reader. London: Sage. (also in Barthes, R. Image, Music, Text and Mythologies, respectively)
Benardou, A., et al. (2017). Cultural Heritage Infrastructures in Digital Humanities, Routledge.
Bignell, J. 2002. Media Semiotics: an Introduction. Manchester: Manchester University Press. (Chapter 1 and 2)
Cameron, F., et al. (2007). Theorizing digital cultural heritage: a critical discourse. Cambridge, Mass London, MIT.
Drucker, J. (2014). Graphesis: visual forms of knowledge production. Cambridge, Harvard University Press.
Elberse, A. (2013). Blockbusters: why big hits – and big risks – are the future of the entertainment business. New York, New York, Faber & Faber.
Freeman, L. C. (2004). The Development of Social Network Analysis: A study in the sociology of science. Vancouver, BC North Charleston, S.C., Empirical Press BookSurge.
Gong, Q. and Jackson, P. 2013. Mediating science and nature: representing and consuming infant formula advertising in China, European Journal of Cultural Studies, 16(3), pp.285-309.
Hall S (1980) ‘Encoding/decoding’ in Hall S (ed.) Culture, media, language. London: Hutchinson, 128-138.
Harvey, K. (2013) Medicalisation, pharmaceutical promotion and the Internet: a critical multimodal discourse analysis of hair loss websites, Social Semiotics, 23:5, 691-714, DOI: 10.1080/10350330.2013.777596
Hughes, L. M. (2012). Evaluating and measuring the value, use and impact of digital collections. London, Facet Publishing.
Jockers, M. L. (2013). Macroanalysis: Digital Methods and Literary History. Urbana, Illinois, University of Illinois Press.
Langmead, Alison and Otis, Jessica M and Warren (2016). “Towards Interoperable Network Ontologies for the Digital Humanities.” International Journal of Humanities and Arts Computing 10(1): 22-35.
Levine, C. (2015). Forms, Princeton University Press.
MacDonald, Lindsay (2006). Digital Heritage: applying digital imaging to cultural heritage. Oxford, Elsevier Butterworth-Heinemann.
Padmini, R. M. and C. Hand “Making Culture: Locating the Digital Humanities in India.” Visible Language 49.3: 140, 155.
Rose, G. (2016). “Rethinking the geographies of cultural ‘objects’ through digital technologies.” Progress in Human Geography 40(3): 334-351.
Simon, F. and R. Schroeder (2019). Big Data Goes to Hollywood. Second International Handbook of Internet Research. J. Hunsinger, M. M. Allen and L. Klastrup, Springer.
Soar, M. 2000. Encoding advertisements: Ideology and meaning in advertising production. Mass Communication & Society, 3(4): 415-37.
Warren, C. N., et al. (2016). “Six Degrees of Francis Bacon: A Statistical Method for Reconstructing Large Historical Social Networks.” Digital Humanities Quarterly 10(3).
Wernick A. 1991. Promotional Culture: Advertising, Ideology and Symbolic Expression. London: Sage. (Chapter 8)
Additional Resources
“Six Degrees of Francis Bacon.”
http://www.sixdegreesoffrancisbacon.com
“Virtual Pauls Cross Website | Virtual Paul’s Cross Website.”
https://vpcp.chass.ncsu.edu
“ORBIS: The Stanford Geospatial Network Model of the Roman World.”
https://orbis.stanford.edu
“Fluxus – Network”
http://padb.net
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INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS IN THE CREATIVE AND CULTURAL INDUSTRIES
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PART II
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Cultural and Creative Industries Culture Creativity Industry
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What is Culture?
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DEFINITIONS OF “ CULTURE ” 1) “distinctive way of life ” (Broad definition; Anthropological definition) – The customary habits, attitudes, ways of thinking & feeling – Characteristic of a group or a whole society
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DEFINITIONS OF “ CULTURE ” 2) The Arts and Intellectual Works “the best which has been thought and said in the world”. (Matthew Arnold, Culture and Anarchy, 1869)
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DEFINITIONS OF “ CULTURE ” 3) ‘Culture is Ordinary” (Raymond Williams)
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DEFINITIONS OF “ CULTURE ” : A SYNTHESIS ‘We use the word culture in these two senses: to mean a whole way of life–the common meanings; to mean the arts and learning-the special processes of discovery and creative effort’ (Raymond Williams, 1958)
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Reflective Exercise Look at the pictures of the next two slides and compare the two universities from the perspective of different types of cultures that they represent. Apply the three definitions of culture.
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University of Cambridge University of Sheffield
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Culture is meaningful Culture is meaningful – it helps us to make sense of our own life, it informs us about others, and it encourages to us reflect upon, and then act, in the world around us .
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Culture is symbolic Culture is said to be symbolic –it refers to something other than itself, it communicates through signs, symbols and other information.
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Cultural Industries Cultural industries produce ‘symbolic’ goods and services; that is, commodities whose core value is derived from their function as carriers of meaning in the form of images, symbols, signs and sounds. e.g. Television, film, music industries, literature, newspapers, new media and so on….
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Cultural Industries Make meaning and make money… ..herein lies a tension…which we will explore.
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Reflective Exercise Can you think goods or services that you have consumed, where the meaning of these mattered to you?
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PART III
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Michelangelo (1475-1564) in his studio DEFINITIONS OF “ CREATIVITY ” The work of artists-genius Artist as male genius An isolated figure of exceptional creative powers who suffers for his art The creative process is mysterious Involves mental suffering Solitary, melancholic
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Creativity has multiple meanings The ability to: make new things or think new ideas transcend traditional ideas, rules. be original Involving imagination, especially in the production of artistic work The main goal is to not replicate, copy something, Inventiveness, innovation, originality, imagination.
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Creative industries: ‘ “those industries which have their origin in individual creativity, skill and talent which have a potential for job and wealth creation through the generation and exploitation of intellectual property” (‘Creative Industries Mapping Document’, Department for Culture, Media and Sport, 2001, UK)
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Culture v Creativity {5C22544A-7EE6-4342-B048-85BDC9FD1C3A} ‘Culture’ ‘Creativity’ Social Personal Collective Individual Shared Singular Co-developed Innate Concerned with ‘meaning’ Concerned with ‘expression’ Based on tradition and history Based on originality and new-ness Implies a political dimension Often regarded as apolitical
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Cultural Industries and Creative Industries: Interchangeable terms? The concept of “cultural industries” is more related to cultural heritage and traditional forms of creation, “creative industries” includes the applied arts practices, innovations and generating profit and creation of jobs by creating intellectual property.
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Reflective Exercise Can you think of an example when you have been creative? What did that look like? Can you think of an example, when you were in involved in producing something meaningful for someone else?
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Cultural Policies and the Creative and Cultural industries
Article 27 UN Declaration of Human Rights 1948: Everyone has the right freely to participate in the cultural life of the community and to enjoy the arts http://www.unesco.org/culture/culture-sector-knowledge-management-tools/10_Info%20Sheet_Right%20to%20Culture
Politics, government and the Creative and Cultural industries
The cultural and creative industries are closely intertwined with government
The creative economy discourse is political because governments have been the prime movers of perspective.
Public money and politics cannot be separated
The content and contours of politics are inevitably linked to how we—as political and cultural collectives—speak, hear, visualize, and feel about ourselves and others
Governments and cultural policy
“CCIs are involved in the making and circulating of product that have influence on our understanding of the world” (Hesmondhalgh, 2007).
What is policy?
Policy is the “regularising aspects of
politics”
Policy is the result of political processes
Policy is what government does, not what it says it intends to do
Policy consists of courses of action rather than mere decisions
Policy is goal-orientated action
Policy is based on law
Policy can be regulated and measured
Functions of national governments
United Kingdom
People’s Republic of China
Policy making institutions
Cultural policy
The idea of cultural policy was developed at UNESCO in the 1960s.
Involves governments setting processes, regulations, legislation and institutions which promote and facilitate cultural diversity and creative expressions.
Cultural policies vary from one country to another but generally aim to improve the accessibility and promote the cultures of all people in a country.
Brief History of Creative Industry versus Cultural Industry Policies in the UK
From ‘The Great Gear Market’ (UK, 1981)….
(Posers, New Romantics in London, 1981)
…to the global market for creative goods?
(UK Creative Industries Council, Promotional Video, 2014)
The 1980s moment
The 1980s GLC (Greater London Council) ‘moment’
Local cultural industries in London and regional cities based on culture and economy
Socially, as much as economically, driven
Left-wing, liberal and ‘progressive’ politically
Local cultural industries
By the mid-1980s provincial cities such as Manchester, Glasgow, Sheffield and Liverpool could boast ‘popular culture industries’ and independent cultural production…oriented and balanced to mixed cultural and economic concerns
New Labour 1997
The rise of the creative industries as vital to the ‘new’ UK economy
Chris Smith, Minister for Culture
‘Broadly, it is possible to estimate that nearly 1 million people are employed in [music, film, radio and television]. There are more than 1000 businesses, and the annual turnover of them all, put together, is over 50 billion (…) These industries have always formed an important part of our national life. But they also form an important, and increasingly significant part, of our national economy. It is vital we do not lose sight of this fact, as we chart a way forward for government policy’ (Smith, 1998, p.15)
First wave of DCMS policy
‘Creative Industries Taskforce’
Creative Industries Mapping Document (1998 and 2001)
Creative Britain: New Talents for a New Economy (2008)
DCMS definition of the creative industries
‘The creative industries are those industries that are based on individual creativity, skill and talent’
‘The creative industries are defined as those activities that make money through distinctive design and the application of copyright’.
And this included 13 distinct sectors:
Advertising, architecture, art and antiques market, crafts, design, designer fashion, film and video, interactive leisure software, music, the performing arts, publishing, software and computer services, television and radio.
The shift to creativity…
The main emphasis here, in cultural policy, switched firmly and foundationally to individual ‘talent’ and on making money through developing and exploiting intellectual property.
Garnham – why ‘creative industry’
Pragmatic: to allow the UK to identify and aggregate a whole range of cultural, arts, digital and knowledge production activities under one label….
…to show the world the UK was active and significant in the ‘new economy’
Garnham – why ‘creative industry’
Political: to distance New Labour from the ‘Old’ Left, from socialist/social democratic local authorities, trade unions, working-class politics and issues of representation – all ‘culture’ industry-makers of a particular kind….
..and to embrace the economy, the market, entrepreneurial values and neo-liberalism
More recently?
The ‘creative industries’ discourse dominates discussions of culture and economy
‘Culture is a ‘commodity’ that ‘must pay its way’’
(Maria Miller, Minister of Culture, 2014)
http://www.theguardian.com/politics/2013/apr/24/british-culture-commodity-maria-miller
‘we will keep backing our creative industries that support jobs, create opportunities and contribute to the economy’
(David Cameron, PM, 2013)
http://www.musicweek.com/news/read/david-cameron-applauds-uk-s-world-leading-music-industry/054948
‘The hipster is a capitalist’ (Matt Hancock, Culture Minister, 2016)
https://www.gov.uk/government/speeches/minister-for-digital-and-culture-creative-industries-speech
Manifesto for the Creative Economy
‘The UK’s creative economy is one of its great national strengths, historically deeply rooted and accounting for around one–tenth of the whole economy. It provides jobs for 2.5 million people, more than in financial services, advanced manufacturing or construction. This creative workforce has in recent years grown four times faster than the workforce as a whole.’ (NESTA, 2014)
http://www.nesta.org.uk/sites/default/files/creative-manifesto-executive-summary
Creative Industries Council
‘The UK is a world leader when it comes to the creative industries and they play an important role in shaping how the rest of the world perceives the UK. But we are trading in an increasingly competitive marketplace and cannot take our position for granted. Standing still is not an option. We need to take action now to ensure we are inspiring and equipping the next generation of talent, helping creative businesses to start-up and grow and maintaining the UK’s competitiveness against other international markets’
(Nicola Mendelsohn, Co-Chair Creative Industries Council, 2014)
http://www.thecreativeindustries.co.uk/media/243587/cic_report_final-hi-res-
So…
Why and and how to governments utilise cultural policies?
….and at what cost?
Motivations and roles for government cultural policy
Possible motivations for governments to intervene in culture
National glory/power
Inducement and reward
Placebo
Education
Welfare service
Compensation
Commercial
Order and control
Ideological
Moral
Social/Cohesion
Political
Common sense
Faith
‘Cultural’
Possible roles of government in intervening in culture
Producing mechanisms for cultural choice
Directly providing culture
Supporting cultural production
Supporting cultural distribution
Supporting cultural consumption
Censorship
Propaganda
Destroying/denigrating ‘non acceptable’ cultures
Why?
How?
Government cultural policy models
Functions of policy:-
Intrinsic – ‘art’ based reasons
Instrumental – using culture for non-cultural ends
Attachment – linking culture to sources of support
Explicit – directly affecting cultural production/distribution/consumption
Implicit – cultural consequences of other policy aims
What governments do to support CCI?
Why should politicians care about CCI?
Art is political – it reinterprets “what previously was seen and known” so that alternative understandings may emerge.
Reinterpretations reveal existing power relations in society, challenge prevailing paradigms and hegemony.
Government likes definition, clarity and identity but creativity feeds on the undefined and yet known
Cultural identity and heritage is political – disruption of established norms and values is complex to manage
Political manipulation of emotions linked to heritage and identity to gain/maintain power
https://www.iwm.org.uk/history/how-the-british-government-sponsored-the-arts-in-the-first-world-war
Why should government’s care? Soft power
A country’s soft power is its ability to make friends and influence – not through military might, but through its attractive assets.
Soft power rests on its resources of culture, values, and policies
Things that make people love a country rather than fear it; the products of people, institutions and brands.
Key to a nation’s soft power – its culture.
It heritage, histories, media, literature, language, film etc
CCI increasingly important in government foreign policy
Nye, Joseph (2008) Public Diplomacy and Soft Power
https://www.economist.com/china/2017/03/23/china-is-spending-billions-to-make-the-world-love-it
Why should CCI care about politics and government?
Government policy can constrain or enable
Legislation impacts
Distribution of government funding
Everything creatives produce is cultural data that others consume; art is political once it is available to any audience
‘Cultural creatives’ – values led marketing
Good art – film, tv, videogames – can educate and create empathy,
Hostile design – public sphere
Visual impact – collective consciousness
Creative Citizenship engages communities with innovation
Challenge – suspicion of creatives
Indonesia
“In 2006 when the Indonesian government
first started to introduce the concept of
creative industries we met resistance from
the artisans and artists, and culture experts
who thought this meant we were
“commercializing” culture.
We also faced the suspicion of creative
people with their perceptions of
government wanting to intervene and
control, and it took many focused
discussion groups and dialogue to convince
them that we were there to facilitate
and create a conducive environment for
creativity and creative economy to grow.”
Dr Mari Pangestu. Minister of Tourism & Creative Economy
UK
Challenge – creatives and government regulations
Many creatives claim that bureaucracy is drowning the creative spirit
That industry style measurements are inhibiting creative values
That policy and regulation is not fit for the 21st century
“We joined to make spontaneous playful art – not to work three years ahead in a goal-orientated corporate institution where matched funding and value-added output tick-boxes destroy imaginative excess.
Working in the art business becomes a job and not a vocation. Health and safety, child protection, alarm systems, licensing, family friendly badges and employment laws invade with their suffocating culture of inertia and fear. “
John Fox. Welfare State International Theatre Company
Explicitly culturally active ‘governments’
Problematic?
Nazi Germany
Stalinist Soviet Union
Khmer Rouge (Cambodia)
Islamic State (Iraq &Syria)
Acceptable?
France
UK
Australia
Canada
Policy limitations
Governments find it difficult to engage with organisations that are micro, fluid, disaggregated, ‘dis-organised’
Lack of understanding of CCI is endemic.
Traditional interventions that evolve organically are not sufficient for developing globally competitive creative industries.
Governments need to become more strategic
Need interventions that increase the supply and sustainability of creative talent, that encourage demand for and development of local IP, and that foster a creative ecosystem.
Cultural Policies and Night-times Economies
in Japan/Tokyo and Germany/Berlin
Case Study
Working in the Cultural and Creative Industries I
The Cultural Worker and
Working in Television
Part I:
The Cultural Worker
What is a Cultural Worker?
Part I:
The Cultural Worker
‘the creative’
‘the artist’
‘the talent’
‘the author’
‘the auteur’
…..the central figure in the creative industries.
The Turn to
Cultural Work?
The cultural worker was long ignored in studies of work and labour, never really considered a worker as such….
…but for a number of reasons this has changed
Reason (1)
The rise of the creative industries as an economic force….
Reason (2)
Academic enthusiasm for the new ‘creative economy’…
Not just Florida..
…but thinkers like Charles Landry and John Howkins too
Reason (3)
Critical sociological theorizing on work and culture…e.g
Ulrich Beck: ‘risk society’
Zygmunt Bauman: ‘liquid modernity’
Manuel Castells: ‘network society’
Richard Sennett: ‘cultural capitalism’
Scott Lash and John Urry: ‘economies of signs and space’
..and ‘Autonomist’ Theory
Neo-Marxist writers such as Maurizio Lazzarato, Michael Hardt and Antonio Negri drew attention to ‘immaterial labour’ in a rapidly transforming ‘cognitive capitalism’ where the production of immaterial and symbolic – rather than material – goods appears to be taking precedence
(See the Gill and Pratt reading)
Reason (4)
The culturalization of everyday life in the ‘social factory’..
..are we all in some way ‘cultural workers’ simply making culture all the time?
Reason (4) …
Social media as a ‘social factory’…where we all work constantly at producing value for others?
Gill and Pratt (from the reading)
‘When read through the concerns of the recent ‘turn to labour’ in cultural studies, one of the most compelling arguments relates to the takeover of life by work. This is understood by autonomist writers and activists not through the familiar liberal notion of ‘work–life balance’ but through the radical contention that we all exist in the ‘social factory’ (…) in which the whole life experience of the worker is harnessed to capital’.
Trouble in paradise?
Cultural work is revered as special, rewarding and highly desirable….a 2015 survey identified ‘author’ as most people’s ‘dream job’
….but critics have identified some problems with cultural work
*Key Critical Texts on Cultural Workers*
Banks, M. (2007) The Politics of Cultural Work, Palgrave, Basingstoke.
Banks, M. (2017) Creative Justice: Cultural Industries, Work and Inequality, Rowman and Littlefield, London
Hesmondhalgh, D. (2007) The Cultural Industries, Sage, London (2nd edition) (or 2012, 3rd Edition)
Hesmondhalgh, D., Oakley, K., Lee, D. & Nisbett, M. (2016) Culture, Economy, Politics: The Case of New Labour, Palgrave London.
O’Connor, J. and Oakley, K (eds.) (2015) The Routledge Companion to the Cultural Industries, Routledge London.
Maxwell, R. (ed.) (2015) The Routledge Companion to Labor and Media, Routledge, London and New York.
McRobbie, A. (2016) Be Creative: Making a Living in the New Cultural Industries, Polity, Cambridge.
Precarity
the precariousness of cultural work, including its temporary, unfixed and short-term nature, it’s uncertainty and uneven financial and immaterial rewards
e.g. see Gill and Pratt reading;
Banks (2017) Creative Justice, Chapter 6
Inequality
the inequalities of pay and conditions within the cultural workforce and, in the cities which are the industries’ hubs; the persistent over-representation of the already privileged; middle-class appointing in its own image
e.g. see Kate Oakley (2011) “In its own image: New Labour and the Cultural Workforce”, Cultural Trends. 20.3-4: 281-289
Informality
Informality and a ‘clubby’, often male-dominated atmosphere that celebrates playfulness and irreverence – but often leads to discrimination, injustices, abuses and lack of transparency;
e.g. see Angela McRobbie (2016) Be Creative
Banks (2017) Creative Justice
Transgression
the accelerated invasion of cultural work into the previously separate or protected territories of leisure and personal and intimate life; does ‘work as play’ actually mean the death of leisure and free-time away from work?
e.g see Melissa Gregg (2010) Work’s Intimacy
So….
We need to look at the benefits and dis-benefits of cultural work, or it’s advantages and disadvantages….
….cultural work as existing and future utopia or the state of (bad) things to come?
Part II Working in Television
Working in Television
What is it like to work in television?
Four themes in cultural work..
Subjectivity
Affect
Temporality
Solidarity
Structure of UK Television
Major Broadcasters (e.g. BBC, ITV, Sky)
‘Independents’ – TV production companies who make content for broadcasters
‘Freelancers’ – most actors, camera operators, producers, writers, lighting engineers, employed on project, informal or temporary contract basis with broadcasters and/or independents
250,000 workers in TV, film and radio combined (DCMS, 2015)
Structure of Chinese Television
Major Broadcasters (e.g. Hunan Television, Dragon Television, Zhejiang Television, Jiangsu Television etc.)
More than three thousand TV channels exist in China today
The State Administration of Radio, Film, and Television of People’s Republic of China (PRC) and targets the overseas programs, gives out licenses to overseas channels.
Employees Radio & Television in China 2008-2018 (in thousands)
Structure of South African Television
Major Broadcasters (e.g. South African Broadcasting Corporation: SABC channel 1, 2, 3 and e.tv)
Under the Apartheid, television was divided into television services in English and Afrikaans, aimed at white audiences, and another, known as TV Bantu, aimed at black viewers.
Most television in South Africa is satellite or community television. There is no cable TV.
About 100,000 works in radio and TV (75 percent of all households have a TV and imported TV).
Pleasure of TV Work
‘I don’t do this for money. If I wanted money I’d work in a bank’
(see Ursell, p819)
The best thing in the world is to hear people chatting about the programme you’ve made..’
‘It’s quite nice when you think to yourself 4.5 million people watched something you did. That’s buzzing. That’s a really nice feeling’ (Hesmondhalgh and Baker pp.216-218)
Governed Subjects
Ursell (2000), drawing on Michel Foucault’s theory of ‘governmentality’ argues that…. TV workers might not be forced to occupy particular roles, but that they themselves were actively implicated in choosing or creating their own precarious conditions of labour.
Internalised Models of Subjectivity?
People are continually presented with models of ‘good work’ that emphasises the benefits of flexibility, freelance and portfolio work, zero-hours working and the like, and so come to value these arrangements and see them as beneficial to their own ‘flexible and ‘free-chosen’ lives..
Self Exploitation?
self-exploitation; this arises when people are not being driven directly by bosses or by powerful organisations per se, but mainly by their own anxieties, affects and desires – it is their own willingness to be a successful cultural worker that drives people to overwork, stress, and go the extra mile, regardless of the consequences
Excessive Temporality?
Currently valued are those ‘flexible’, ‘creative’ workers with the ability to ‘go the extra mile’, ‘think outside the box’, ‘live for the project’, and show dedication by working long hours or under oppressive circumstances. In cultural industry work, to be described as a regular ‘9-5’ worker is no longer a commendation of your diligence, but a kind of insult.
Affective anxiety
You get to this stage at the end of every job where you’re facing unemployment again. So you bang out emails to people you know, fix up interviews for jobs. This inevitably happens at the end of a job, when you’re flat out in the edit, working all hours. It’s a nightmare.
I really struggle to be a director and a mother. We have child-care, and luckily my husband’s hours are less crazy than mine. But it gets me down, I feel I’m missing a lot. Then I’m supposed to be out there schmoozing at parties on top of all of that? (see Ursell)
The Costs of Commitment?
(see Ursell, Hesmondhalgh and Baker)
‘Seduction of Autonomy’
The seductive prize is the freedom to work more flexibly, informally and in accordance with ones’ own preferences and ambitions
(see Knights and Willmott (1989), Power and Subjectivity at Work, Sociology, 23, 4, pp.535-558)
Solidarity
BECTU: Say No to TV Exploitation
Equity: Low Pay/No Pay
Trade unions continue to campaign avidly for fair and non-exploitative work in TV.
Reasons to be Cheerful!
What we shouldn’t lose sight of is the many positive aspects of working in television as a creative industry; the opportunity to make art or entertainment that touches people, or that extends our democracy and public sphere – that enables people to be self-fulfilled and autonomous in their expression and creative subjectivities. This happens!
Festivals and Art Events
Introduction……..
Now, it’s festivals, festivals everywhere. Big ones, small ones, wild ones, silly ones, dutiful ones, pretentious ones, phony ones. Many have lost purpose and direction, not to mention individual profile. Place a potted palm near the box office, double the ticket prices and – whoopee – we have a festival!” (Bernheimer, 2003, Financial Times, W21)
Definition of events
‘…a special event is a one off happening designed to meet specific needs at any given time….local community events may be defined as an activity designed to involve the local population in a shared experience to their mutual benefit’
Wilkinson (1998)
Why events?
Events have always existed but the number of events declined:
Industrialisation and fixed timetables
Impact of religion
Growth of events as a result of the need to ‘escape’ the routines of daily life and to find meaning to existence – postmodern issues
Why have festivals?
“A festival was traditionally a time of celebration, relaxation and recuperation which often followed a period of hard physical labour, sowing or harvesting of crops, for example. The essential feature of these festivals was the celebration of reaffirmation of community or culture.” (Policy Studies Institute cited in Bowdin et al: 2001:3).
Why Festivals and Events:
Some Conceptual Considerations
Social habitus (Bourdieu)
Time out of daily life
Tribalism (gatherings of like minded people – music festival, opera)
Signals a cultured people- city spaces
Art is a currency in society
Art spaces have high social standing.
Festivals and Events as Rupture
‘Building on Erwin Goffman… (1974) Festive frames…describe a kind of socially constructed ‘recipe’ for people to deal with the smaller and larger life crises they face in their daily lives, both by giving these meaning and by leading people through an embodied process that eventually allows them to go on with their lives’. (Picard, 2015, 2)
Festivals necessary
Not just different from day to day work life
Also necessary to help us cope with the stresses in our lives as human beings – remind us what it is to be human in the company of other humans mediators of social change?
‘This can include anything from the readjustments required through pivotal points in the life cycle, to the shock of migration, environmental disaster, or revolution’.(Picard 2015, 2)
How?
Definitions vary according to context
‘A special event is a one time or infrequently occurring event outside normal programmes or activities of the sponsoring or organizing body.’ (Getz (1997)
‘There is no festival, even on a sad occasion, that does not imply at least a tendency towards excess and good cheer.’ (Callois 2001:97)
Reflective Exercise
Think about a festival or event that you attended in the last five years?
What were the reasons why you attended the event by considering some the criteria already mentioned?
Special Events
‘a unique moment in time celebrated with ceremony and ritual to satisfy specific needs’
Gold Platt (1997): 3
‘special uniqueness…which differentiated them from fixed attractions, and their ‘ambience’, which elevates them from ordinary life’
Getz, D (1989): 126
Growth in festivals and events reflects the following
Potential impacts: economic, social, environmental
Community
Diasporas
Visitors /tourism
Believe in the need to add value to visits
Special events then…..
They must be of limited and fixed duration, typically hours or days at most.
They must be a one-off or infrequent occurrence, typically monthly or annually at most.
If they are part of a regular series, they must be an unusual component of the series.
They must be unique.
They must require one or more organizers.
Their execution must be planned and controlled.
They must conform to the definition of a special event.
There must be a live audience other than the organizers present at the physical event location
(Doug Matthews http://specialeventguru.blogspot.co.uk/2007/11/seeking-definition-of-special-events.html)
Therefore…
Certain events are there:
To showcase cultures
As a show of ‘here we are’
As a way of ‘owning’ space
“A special event is a gathering of human beings, generally lasting from a few hours to a few days, designed to celebrate, honour, discuss, sell, teach about, encourage, observe, or influence human endeavours.”
Regardless of size or scope
‘an event will not succeed unless it can meet the motivations, expectations and needs of the participants, which will often be the local community, and the visitors.’
Hall (1992)
Reflective Exercise
‘an event will not succeed unless it can meet the motivations, expectations and needs of the participants, which will often be the local community, and the visitors.’ Hall (1992)
Can you think of a festival or event that you attended and how it impacted on your motivations, expectations or needs?
Consumption
‘To the customer or guest, a special event in an opportunity for a leisure social or cultural experience outside the normal range of choices or beyond everyday experience.’
Getz (1997)
Diversity of Events
Artistic performances
Festivals
Carnivals
Trade exhibitions
Sporting competitions and displays
Firework displays
Environmental days
Garden displays
Historic tours
Music festivals
Highland games
Sponsored Walks
Dog shows
Round the world Races
Pageants
Car boot sales
Parades
Royal Performances
Typology of Events
CULTURAL
CELEBRATIONS
Festivals
Carnivals
Religious Events
Parades
Heritage
Commemorations
ART &
ENTERTAINMENT
Concerts
Other Performances
Exhibits
Award Ceremonies
BUSINESS & TRADE
Fairs, Markets, Sales
Consumer/ Trade Shows
Expositions
Meetings and Conventions
Publicity Events
Fund-raising Events
SPORT
COMPETITIONS
Professional
Amateur
EDUCATIONAL &
SCIENTIFIC
Seminars, Workshops. Clinics
Congresses
Interpretive Events
RECREATIONAL
Games and Sports for Fun
Amusement Events
POLITICAL & STATE
Inaugurations
Investitures
VIP Visits
Rallies
(Getz 2003)
PRIVATE EVENTS
a) Personal Celebrations
Anniversaries
Family Holidays
Rites de Passage
b) Social Events
Parties, Galas
Reunions
Reflective Exercise
Consider the previous typology. Make a list of the events that you most commonly attend or would like to attend.
Analyse the differences and similarities between them by looking at how they impacted on your motivations, expectations or needs?
Festival and Events:
Some further classifications
Hallmark, mega, major, local, community
What do organisations, places aspire to?
What the social purpose of the event
Economic purpose
Tourism
Unity/community
Showcase cultures- Mela/ carnival
Movement of peoples, ideas, events?
Hallmark Events: Edinburgh festival
Mardi Gras
Octoberfest
Scottish Pavilion Venice Biennale
Sheffield in Venice
Venice Biennale – Art in a political context
Frieze Art fair
Basel- ‘the world’s best art fair’ (the Telegraph)
Opera seasons
Orchestral seasons
Mega Events: Olympics games
The Sochi 2014 Winter Olympics
2012 opening ceremony London
Beijing
Wizard World Comic Con
Star trek
Cultural events: Tomantina
Local and Diasporic
Mela in Edinburgh
Harvest festival: local event
Trick or treat
Clown pilgrims
Day of the Dead Mexico
Chinese New Year
Reflective Exercise
Consider the previous list of events.
Could you see yourself working for one of them? If yes, why and what would you like to do?
Impacts of festivals and events
Psychological impacts
How residents and businesses feel about their locations before, during and after the event
Prestige and hospitality
Political/administrative impacts
Political aims of mega-events
Strenghtening of ideologies
Promotion of individual interests
Economic impact
Businesses
Cities
Regions
Nations
Tourism impacts
Visitor expenditure
Publicity, leading to heightened awareness and more positive image
Image is affected not only by the event period but since the bidding process
Tourist volumes
Infrastructural developments
Organisational developments
Tourism impacts
Tourism gives tribalism and colonialism a second life by bringing them back as representations of themselves and circulating them within an economy of performance. Bruner and (Kirshenblatt-Gimblett 1994)
National impact
Political stability
Soft power
Need for an economic boost
Move from industrial to service economy
Enhance ‘proud’ and confidence levels
Negative affects on communities
Can alienate community
Manipulation of community
Can create negative or false community image
Bad behaviour
Substance abuse
Loss of or restricted access to amenities for host community (adapted from Hall 1989)
Exoticised ‘other’
‘all but extinct cultures are exoticised and felt to contain people with ‘ancient’ or ‘original’ sacred knowledge that can be taught transferred and experienced.’ (Schechner (1993)
Exoticised ‘other’
Defined as ‘transient consumption of aesthetic difference in the search for the sincere and authentic’ (McCannell, Urry)
Authentic if you think it is as you create in your mind? (Chhabra et all 2003)
Reflective Exercise
Consider the previous list of positive and negative outcomes and apply them to the events and festivals that you have attended.
Make pros and cons list about their potential impact.
Inclusivity and Diversity of Art Events
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Consumer Culture and Cultural Industries
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Culture is meaningful Culture is meaningful – it helps us to make sense of our own life, it informs us about others, and it encourages to us reflect upon, and then act, in the world around us .
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Consumer culture emerges from:
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Mass production and consumption: Fordism Mass market, mass consumers (late 19 th century in US) Fordism: a form of economic system based on industrial mass production Mass production of standardised products for a mass consumer market: Model T in 1908 ↓
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Industrialisation , urbanization, mass culture Industrial Revolution Technological innovation, and the development of large-scale production Mass society and large u rban centre emerge around factories and industry Change in social life Cultural Industries
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Post-Fordism – Flexible specialisation Flexible specialisation , niche consumer markets, 2 nd half of 20 th century Rise of service industries and flexible workforce, white collar jobs, office jobs New middle class (new petite bourgeoisie) Hipster
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The emergence of consumer culture
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Consumer culture emerges from: {5C22544A-7EE6-4342-B048-85BDC9FD1C3A} Subsistence Economy Market Economy Satisfying basic needs Satisfying needs but also wants Goods were exchanged for other goods Goods and services are exchanged for money “Customers” would know each other Goods and services a produced for a largely anonymous market
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Consumer culture emerges from: {5C22544A-7EE6-4342-B048-85BDC9FD1C3A} Subsistence Economy Market Economy Satisfying basic needs Satisfying needs but also wants Goods were exchanged for other goods Goods and services are exchanged for money “Customers” would know each other Goods and services a produced for a largely anonymous market Value
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Key concept: Commodities have value
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Marx – Types of Values
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Marx – theory of value
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Consumption of meaning This leads to the idea that what we are buying is the meaning of a commodity or service to satisfy our desires rather than our needs.
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Key concept: commodities have meaning V alue is created by meaning . Goods and services have symbolic value Instead of economics driving culture , culture drives the economy.
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Reflective Exercise To reflect about the importance of meaning, let’s consider how and why meanings matter and less so technical qualities of a product. Please add the number of smartphone/mobile phones that you have ever purchased for yourself and divide them by the number of years. How often do you buy a new phone?
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Cultural Industries…
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‘Culture Industry’ The term first appears in: Theodor Adorno and Max Horkheimer (1944) Dialectic of Enlightenment , which contains Adorno’s essay: ‘ The Culture Industry: Enlightenment as Mass Deception’
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Turning art into commerce… ‘Movies and radio need no longer pretend to be art. The truth that they are just business is made into an ideology in order to justify the rubbish they continually produce’ (Theodor Adorno)
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The Effects of Culture Industry ‘The total effect of the culture industry is one of anti-enlightenment (…) It impedes the development of autonomous, independent individuals who judge and decide consciously for themselves’ (Adorno, 1991, The Culture Industry , p. 106) ‘shallow entertainments’ ‘pseudo-culture’ (fake culture)
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Standardization ‘The whole structure of popular music is standardized (…) the general types of hits are also standardized; not only the dance types, the rigidity of whose pattern is understood, but also the ‘characters’ such as mother songs, home songs, nonsense of ‘novelty’ songs, pseudo-nursery rhymes, laments for a lost girl’ (Adorno 1941, in Frith and Goodwin 1990).
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All good culture comes to a bad end… Adorno used the term ‘culture industry’ to describe the industrialisation and standardization of art and culture. https://www.youtube.com/watch?v=-njxKF8CkoU&t=3s
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Reflective Exercise Can you think of examples of a standardizing of cultural content in our current times. Is that still ongoing? Why do you think that is?
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From negative to positive…… By the 1950s the cultural industries came to be seen as positive and vital : Economically Socially Culturally
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The Cultural Industries are… ‘complex, ambivalent and contested’ ( Hesmondhalgh , 2018)
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Complex Bernard Mi è ge, French cultural theorist, argued against Adorno’s: …‘limited and rigid idea of artistic creation’ and it’s ‘distrust for technology and artistic innovation’ arguing that the ‘capitalization of cultural production is a complex, many-sided and even contradictory process’ (Mi è ge 1989 cited in McGuigan, J. (2004) Rethinking Cultural Policy p.123)
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Ambivalent The products of the culture industries might ‘oppress people’ but can they also challenge oppression at the same time? e.g. Charlie Chaplin ‘Modern Times’ (1936) https://www.youtube.com/watch?v=6n9ESFJTnHs
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Contested The culture industries can contest social order, not just impose it – e.g. protest songs
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Reflective Exercise Can you think of examples, where cultural industries challenged established meanings?
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Complex, ambivalent, contested Cultural industries are the site of complex and varied social, cultural and economic processes, organisations and meanings – that do not necessarily add up into a single unified whole (see Hesmondhalgh 2018)
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Economic Value The cultural industries created wealth and jobs
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Political Value The cultural industries enhanced the mediated public sphere
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Cultural Value The cultural industries encouraged new cultural expressions from ordinary people, social minorities and marginal groups
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Reflective Exercises Can you think about examples of such different values of cultural industries in your home country?
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Why Cultural Industries Matter I ‘More than other types of production, the cultural industries are involved in the making and circulating of products – that is, texts – that have an influence on our understanding of the world (..) They contribute strongly to our sense of who we are, of what it means to be a woman or a man, an African or an Arab, a Canadian or New Yorker, straight or gay [but] most texts that we consume are circulated by powerful corporations [that] have an interest in making profits. This raises a crucial issue: do the cultural industries ultimately serve the interests of their owners and their executives and those of their political and business allies?’ ( Hesmondhalgh 2018, p.3-4)
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Why Cultural Industries Matter II ‘Firstly, they matter because they provide contexts for human beings, alone or with others, to discover, disclose and distribute meanings – in all the diversity and complexity that this implies. In this way, cultural industries help make possible politics, and the examination of life. Secondly, they matter because they provide a means of economizing, for generating and distributing resources – particularly for those who have a direct interest in processes of production, distribution and consumption’ (Banks, 2015 ‘Valuing Cultural Industries’)
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A variety of social, cultural , industrial, and economic factors The period of modernity onwards Accelerates during the 19th century and the 20th centuries Conditions of capitalism through to late capitalism (postmodernism)
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A variety of social, cultural , industrial, and economic factors The period of modernity onwards Accelerates during the 19th century and the 20th centuries Conditions of capitalism through to late capitalism (postmodernism)
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Economic value – what a consumer is prepared to pay for it Use value (utility – what the consumer can do with it) Exchange value – what it could be traded for in other goods or services Symbolic value – what social prestige derives from the product
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Economic value – what a consumer is prepared to pay for it Use value (utility – what the consumer can do with it) Exchange value – what it could be traded for in other goods or services Symbolic value – what social prestige derives from the product
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….are activities that produce ‘symbolic’ goods; such as TV programmes, films, music, art, magazines. architecture, fashion, computer games…. They make meaning in the form of images, symbols, signs and sounds, and they aim to make money for the authors and organizations that produce them
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….are activities that produce ‘symbolic’ goods; such as TV programmes, films, music, art, magazines. architecture, fashion, computer games…. They make meaning in the form of images, symbols, signs and sounds, and they aim to make money for the authors and organizations that produce them
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INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS IN THE CREATIVE AND CULTURAL INDUSTRIES Christian Morgner charlene 8 2022-01-12T01:28:16Z 2022-01-12T01:28:16Z
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Creative Cities, Creative Classes and Creative Industries
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Richard Florida and the ‘Creative Class’ The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life (2002)
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Creative Class ‘The economic need for creativity has registered itself in the rise of a new class, which I call the Creative Class. Some 38 million Americans, 30 per cent of all employed people belong to this new class (….) whose economic function is to create new ideas, new technology and/or new creative content’ (Florida 2002, p. 8)
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Creative Class Group
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Florida on the Creative Class Creative and the non-creative…a happy union? https://www.youtube.com/watch?v=FctgkylRF9M
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Creative Class Structure
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A new style of life… The creative class ‘represent a new mainstream setting the norms and pace for much of society’ Post-traditional subjects? Radially individualized? ….or just hipsters?
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City Makers?
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Creative Industries/Creative Class UK Creative Industries policy Florida’s Creative Class Central role of ‘creativity’ in economic life Central role of ‘creativity’ in economic life Focus on individual entrepreneurship Focus on individual entrepreneurship Culture as mainly an economic investment Culture as mainly an economic investment Workers as self-managing and autonomous Workers as self-managing and autonomous Includes arts, culture and IT and software Includes all kinds of ‘thinking’ or creative professions – not just art, IT and software Ignores politics and radical aspects of ‘culture’ Promotes a politics of consumption and lifestyle Makes no claims about class composition Argues for the existence of a new and dominant (creative) class Focus on ‘individual talent’ – with only a nod towards cities and urban policy Place creative individuals and cities at the heart of the economy
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Creative Cities: According to Charles Landry For cities, especially global cities to thrive in the 21 st century there is a need for a culture of creativity – the capacity to think afresh when your world seems to be undergoing a paradigm shift, high ambition, entrepreneurship and opportunity, beauty and acute sensitivity to high quality urban design all of which shape their physical and social environment.
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Creative Cities: According to Charles Landry
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Creative Cities: According to Charles Landry
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Creative Cities: According to Charles Landry Creative City Index
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Gentrification A complex process involving new flows of investment and people into old neighbourhoods. Gentrification has people-led (or ‘bottom-up’) and institutional (or ‘top-down’) causes. It usually results in the (re)creation of wealthier neighbourhoods but is also associated with rising inequality, both between and within places.
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What is gentrification? When affluent people and new investment flow into a place, a process called gentrification occurs. Geographers became interested in gentrification during the 1980s when the UK government made it easier for private developers to buy up land in old and neglected inner-city neighbourhoods. These were often places that were fashionable with artists and musicians but remained affordable neighbourhoods for people on lower incomes. But by the 1990s, rising demand sent land prices spiralling upwards in fashionable gentrified districts like London’s Notting Hill and Hoxton. Rural places can become gentrified too. House prices in some Oxfordshire villages and towns have ballooned. In 2017, a four-bedroom house in the small town of Thame cost around £500,000.
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Vacant properties in the early stages of being renovated and re-sold The vacant property shown in the first photograph eventually became a fashionable juice bar This ‘for sale’ sign is representing Balham as a fashionable ‘lifestyle’ destination Chain stores and MNCs may try to gain a foothold in gentrifying places Evidence of gentrification The gentrification of Balham (London SW12)
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Positive feedback Gentrification operates as a series of positive feedback loops. Each new flow of migration and investment leads in turn to further inflows of money and people.
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Social tension and conflict Sometimes gentrification can cause social problems. There is a spectrum of tension. Occasionally, tension can build into more serious conflict and crime.
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Countering Gentrification
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The UNESCO Creative Cities Network The UNESCO Creative Cities Network (UCCN) was created in 2004 to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development. The 246 cities which currently make up this network work together towards a common objective: placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level. https://www.youtube.com/watch?v=HhVMYNPWG88&feature=youtu.be
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Cultural/Creative Quarters Shoreditch, Hoxton, Old Street, South Bank – London Eastside/Jewellery Quarter – Birmingham The Northern Quarter – Manchester Bold Street/Ropewalks – Liverpool Lace Market- Nottingham Cultural Quarter – Sheffield Cardiff Bay – Cardiff Baltic/Quayside – Newcastle Cathedral Quarter – Belfast Cultural Quarter – Leicester
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A Brief History of Cultural Industries in Sheffield
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Sheffield: The City Of Steel https://www.youtube.com/watch?v=yf9ucX2vOto
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The Decline of the City of Steel Between 1960 to 1980 the industrial workforce fell by 187,000 (60%). The old style “24 hour city” culture of shift work throughout the day and night, serviced by cafes, pubs and transport operating round the clock vanished, leaving the city centre deserted after 5p.m. Large parts of the city and its former factories were deserted.
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A Brief History of Cultural Industries in Sheffield
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Walking as Method
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Walking As Method
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Walking As Method: How To Apply?
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Walking As Method: How To Apply?
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Walking As Method: How To Apply?
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Walking As Method: How To Apply?
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Super-Creative Core (scientists, engineers, artists, architects, music and entertainment professionals) Creative Professionals (e.g. business and finance professionals, health professionals, teachers) Working Class (e.g. manual labourers, manufacturing, construction, transport) Service Class (e.g. catering, care work, retail routine clerical work) Agriculture
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(scientists, engineers, artists, architects, music and entertainment professionals) Super-Creative Core (e.g. business and finance professionals, health professionals, teachers) Creative Professionals (e.g. manual labourers, manufacturing, construction, transport) Working Class (e.g. catering, care work, retail routine clerical work) Service Class Agriculture
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Florida sees the creative class at the vanguard of urban renewal – pioneers of city re-imaging… …the creative class thrive in the urban milieu…
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Florida sees the creative class at the vanguard of urban renewal – pioneers of city re-imaging… …the creative class thrive in the urban milieu…
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This implies thinking through social, political, and cultural as well as economic and technological creativity. It means power holders need to devolve power and to trade it for creative influence within a framework of guiding strategic principles within which it is possible to be tactically flexible. It thus affects a city’s organisational culture. This cultural capital represents the raw materials and scope within which the creativity of people can operate The creative city has a diversified, sophisticated and internationally oriented cultural industries structure that nurtures and supports a wealth of local and international artistic activity that both are commercial, subsidised and voluntary. People work in creative industries and the city store of talent continually replenished through domestic and foreign immigration in order to feed this machine.
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This implies thinking through social, political, and cultural as well as economic and technological creativity. It means power holders need to devolve power and to trade it for creative influence within a framework of guiding strategic principles within which it is possible to be tactically flexible. It thus affects a city’s organisational culture. This cultural capital represents the raw materials and scope within which the creativity of people can operate The creative city has a diversified, sophisticated and internationally oriented cultural industries structure that nurtures and supports a wealth of local and international artistic activity that both are commercial, subsidised and voluntary. People work in creative industries and the city store of talent continually replenished through domestic and foreign immigration in order to feed this machine.
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Typically creative cities have a number of characteristics: Developing a clarity of purpose and ambition Fostering visionary individuals and organizations Being open-minded and willing to take risks Being strategically principled and tactically flexible Being determined in planning rather than deterministic, thus being anticipatory Willing to recognize and work with local cultural resources and local distinctiveness Ensuring that leadership is widespread Moving from a high blame culture to a low blame one
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Typically creative cities have a number of characteristics: Developing a clarity of purpose and ambition Fostering visionary individuals and organizations Being open-minded and willing to take risks Being strategically principled and tactically flexible Being determined in planning rather than deterministic, thus being anticipatory Willing to recognize and work with local cultural resources and local distinctiveness Ensuring that leadership is widespread Moving from a high blame culture to a low blame one
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Rising tension over the issue of housing affordability Breakdown in relations between incomers and established residents Isolated acts of vandalism Larger-scale social disorder and disturbances
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Rising tension over the issue of housing affordability Breakdown in relations between incomers and established residents Isolated acts of vandalism Larger-scale social disorder and disturbances
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Urban Resistance and Arts Movements The UNESCO Creative Cities Network
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Urban Resistance and Arts Movements The UNESCO Creative Cities Network
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In the early 1980s the local government, being one of the first one in the UK, started to consider culture not simply a service industry, but also as a tool for social transformation. The mission was to stimulate employment in the cultural sector, but also to enhance cultural provision, tourism, employment and urban regeneration. The emphasis was on job creation in cultural production. This was partly because unemployment was the major issue. Little attention was paid to consumption. By 1996, about 400 enterprises were operating in the Quarter, employing in total approximately 2000 people. After the 2000s, several actions plans appeared to solve some of the problems and side-effects, but we also see a shift away from the Cultural Industries Quarter to newly emerging cultural quarter.
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In the early 1980s the local government, being one of the first one in the UK, started to consider culture not simply a service industry, but also as a tool for social transformation. The mission was to stimulate employment in the cultural sector, but also to enhance cultural provision, tourism, employment and urban regeneration. The emphasis was on job creation in cultural production. This was partly because unemployment was the major issue. Little attention was paid to consumption. By 1996, about 400 enterprises were operating in the Quarter, employing in total approximately 2000 people. After the 2000s, several actions plans appeared to solve some of the problems and side-effects, but we also see a shift away from the Cultural Industries Quarter to newly emerging cultural quarter.
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Researchers of creative cities, particularly those employing qualitative methods, do a lot of wandering around cities. We look at buildings, chat with shopkeepers, observe rush hour dynamics, ask passers-by questions about their experience of the city, and generally try to situate ourselves in cultural atmosphere of the cities we are examining by participating in their pedestrian and vehicular flows.
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Researchers of creative cities, particularly those employing qualitative methods, do a lot of wandering around cities. We look at buildings, chat with shopkeepers, observe rush hour dynamics, ask passers-by questions about their experience of the city, and generally try to situate ourselves in cultural atmosphere of the cities we are examining by participating in their pedestrian and vehicular flows.
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Some Definitions Observational walking can be defined as a self-conscious, reflective project of wandering around to better understand an area’s physical context, cultural context, and the spatial practices of its residents. Walking does not mean just the act of moving through the city on foot but also include related processes of standing, casual interaction, and observation.
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Some Definitions Observational walking can be defined as a self-conscious, reflective project of wandering around to better understand an area’s physical context, cultural context, and the spatial practices of its residents. Walking does not mean just the act of moving through the city on foot but also include related processes of standing, casual interaction, and observation.
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2. Focus on the Geography of Flows, Boundaries, and Connections For instance, start to walk to the location from the university, home or train station. Alternatively, spend some time in a local café or restaurant and start from there. Start to develop questions about contrasts with what is familiar. Is the university district tightly constrained or does it blend into surrounding neighborhoods? Do you feel comfortable is this area? Is it more of a driving or a walking district?
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2. Focus on the Geography of Flows, Boundaries, and Connections For instance, start to walk to the location from the university, home or train station. Alternatively, spend some time in a local café or restaurant and start from there. Start to develop questions about contrasts with what is familiar. Is the university district tightly constrained or does it blend into surrounding neighborhoods? Do you feel comfortable is this area? Is it more of a driving or a walking district?
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1. Start from a Location of Familiarity and Comfort After wandering around the universities, I would recommend to head toward downtown with direction towards the Sheffield’s train station. While making this journey, observe the boundaries with, and connections between, other neighborhoods. You may want to consider questions, like how to buildings, people, business, traffic change? Do people walk faster or slower? Is there age, gender, ethnicity different? Is there clothing different? What are the buildings like? Is it busy with people going to work or more residential?
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1. Start from a Location of Familiarity and Comfort After wandering around the universities, I would recommend to head toward downtown with direction towards the Sheffield’s train station. While making this journey, observe the boundaries with, and connections between, other neighborhoods. You may want to consider questions, like how to buildings, people, business, traffic change? Do people walk faster or slower? Is there age, gender, ethnicity different? Is there clothing different? What are the buildings like? Is it busy with people going to work or more residential?
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3. Iterate Across Spatial and Temporal Boundaries Repeating the walk enables the researcher to understand patterns and assess the typicality of the observations. On your journey back to university or over subsequent weeks or months, try to build an internal map of neighborhoods, extending from the places already visited and becoming familiar with notable areas with multiple return trips. You may consider to consciously try to revisit neighborhoods at different times of day: Is downtown at night busy or empty? Am I comfortable or not at 10 PM? Does the composition of people on the street change after rush hour? Do people run in the morning predawn?
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3. Iterate Across Spatial and Temporal Boundaries Repeating the walk enables the researcher to understand patterns and assess the typicality of the observations. On your journey back to university or over subsequent weeks or months, try to build an internal map of neighborhoods, extending from the places already visited and becoming familiar with notable areas with multiple return trips. You may consider to consciously try to revisit neighborhoods at different times of day: Is downtown at night busy or empty? Am I comfortable or not at 10 PM? Does the composition of people on the street change after rush hour? Do people run in the morning predawn?
ppt/diagrams/data13.xml
4. End with Questions, Not Answers The central goal of walking is to shape questions rather than support specific conclusions, requiring you to further interrogate impressions generated from walking. In part, this is simply best practice qualitative research, emphasizing to use multiple data sources. Such other sources may include the analysis of images that you collected, secondary data, existing statistics about the area, mapping of spaces and people.
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4. End with Questions, Not Answers The central goal of walking is to shape questions rather than support specific conclusions, requiring you to further interrogate impressions generated from walking. In part, this is simply best practice qualitative research, emphasizing to use multiple data sources. Such other sources may include the analysis of images that you collected, secondary data, existing statistics about the area, mapping of spaces and people.
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Working the Creative and Cultural Industries II
Working in Fashion and Music
Four themes in cultural work..
Subjectivity
Affect
Temporality
Solidarity
Working the Creative and Cultural Industries II
Working in Fashion
A day in the life…
James Steward – Fashion Designer (London)
https://v.youku.com/v_show/id_XOTQyNjg0NjI4.html?spm=a2hbt.13141534.1_2.d_4&scm=20140719.manual.114461.video_XOTQyNjg0NjI4
Start 0:43
Four themes in cultural work..
Subjectivity
Affect
Temporality
Solidarity
A day in the life…
Melissa Fleis – Fashion Designer (L.A.)
Four themes in cultural work..
Subjectivity
Affect
Temporality
Solidarity
Reflective Exercise
How does the day in the life of a student compares to their working days?
Working in Fashion
‘I live for my work, I can’t imagine doing anything else’
‘Yes, you work long hours, or sometimes through the night, but that’s what you must to do to make the best designs’
‘I have the best job in the world, I am my own boss, doing what I love’
‘Blood, Sweat and Shears’
‘Blood, Sweat and Shears’ – study of NZ fashion students (Amanda Bill 2012)
“[w]e have all worked crazy hours […], I don’t even want to speculate how many. We have been living it, eating it, sleeping it. It has been insane”.
“..dream preposterous dreams, be brave, be ambitious—and remember [you ] have to work really hard.”
Fashioning Subjects
What are the psychic costs on working in fashion and creative labour generally?
McRobbie, A. (1998) British Fashion Design: Rag Trade or Image Industry? Routledge, London.
Banks, M. (2007) The Politics of Cultural Work, Palgrave, Basingstoke, Chapter 3.
Reflective Exercise
How does the fashioning of subject (in fashion) compare to the making of subjectivity for students?
Sonia – self-employed designer
‘If I’d been on my own I just couldn’t have done it. But the girl I was with it made it easier, it was brilliant, she virtually moved into my house, one of us would be working here the other would be sewing at home. We’d come home, have tea, watch TV until about eight o clock and then we’d start work again and we’d work until about three in the morning and one of us would go to bed, whoever was going into the shop, the other person would stay up. And we did that solidly for six months and we looked dreadful. Nobody could believe how hard we worked’.
Sonia – pain and pleasure….
But if you’re successful and things are going [well], then you’re on that circle where you don’t find out anything about the business, you don’t learn anything because you don’t have the time to think hang on how can I make this easier? How can I offload some of this? Because you’re just in a panic you know?
Sometimes it’s really really awful because like your friends are all in fabulous jobs and it’s really really secure, and they’ve finished their PhD’s and just managed to find the job of their dreams and you just think…..then you remind yourself that you actually like what you’re doing and I have a fabulous lifestyle. (…) It’s not really about money long term because you wouldn’t be doing this, no way. It’s just about satisfying something.
Sally and Louise
The business was totally secondary. It was nothing to do with anything, I mean I was just….making things that I liked. Money was good but it was I kind of would have done it regardless I think. I would imagine I would have carried on, I can’t imagine not doing it.
Usually I work every day of the week, three days last week I did over 12 hours (…) But I do it not for money but for love.
Reflective Exercise
How do you see your priorities in relation to that? Money or love?
Other labour?
Modelling Labour
Manufacturing Labour
Model employees?
It’s hard to be as skinny as models are anyway. I work out a lot but, I get tired. But some girls, honestly, I don’t think a lot of girls eat. They smoke cigarettes. I work out every day. It’s difficult. I mean, not difficult, but I have to stay on top of myself all the time with my weight.
You’re always on display; you have to put on that show 24 hours a day. It’s not as though you can go to the office and then go home and relax. You’re always watching what you eat. You’re always worrying about how you’re coming across, always worried about being seen at the right places at the right times. It’s just never ending.
Entwistle, J. and Wissinger, E. (2006) Keeping up appearances: aesthetic labour in the fashion modelling industries of London and New York, The Sociological Review, 54, 4, pp. 774-794
Reflective Exercise
Is modelling labour?
Global Chains of Labour
The sweatshop is as much a part of the ‘creative economy’ as fashion design – by providing manufacture and assembly, low-wage economies and precarious workers are structurally linked to the catwalk and high street…
Reflective Exercise
What do you think are the side-effects of the global sweat-shop industry?
Working the Creative and Cultural Industries II
Working in Music
Internships in Music
‘…positivity, energy….always come into work with smile’
Four themes in cultural work..
Subjectivity
Affect
Temporality
Solidarity
Model Interns
….a good internship demands immersive subjectivity, tolerance of intensive temporalities, affective passion and high emotional labour, and a bit of commercial solidarity in the form of serving a ‘team ethic’.
Intern Labour – Frenette
Frenette, A. (2013) Making the Intern Economy: Role and Career Challenges of the Music Industry Intern, Work and Occupations 40, 4, pp.1-34.
A study of music industry internships in the USA, including participant observation as an intern.
Nate – the executive view
‘Sitting on a black leather couch in his Chelsea apartment, Nate recounts managing interns at an independent record company. According to him, some of these interns were not very smart, but still of some use:
There’s always shit work to be done and no one else is going to do it. And if [the intern] is that dumb, there’s always something like cleaning up the store-room that you should make him [sic] do. . . . There’s always shit to be done. Always’.
Nate – continued…
Nate describes the use of intern labor as “a pretty efficient system” for companies. Interns he deems unhirable for paid positions are not dissuaded from interning. Laughing slightly, Nate adds:
“You can stick around and just stuff envelopes and waste your time. We’re not going to hire you, but we will use you for the other crap.”
Free Labour and Orang-utans
It’s all about free labor. I mean, anyone who says [the opposite] is completely deluded or rationalizing. It’s not about getting people opportunities, it’s about getting things done without paying for it. . . .’ (Mark, record executive)
“I need you to get in a cab, go down to Sterling Sound, tell them who you are, you need to meet this girl, you’re going to pick up this CD, you’re going to make sure it’s got these three songs on it, here’s 20 bucks and I want you to come back and I want you to have two receipts. Now, a fucking orangutan can do that’ (Jerry, record executive)
Frenette concludes…
‘..internships potentially provide a democratizing path to launch careers, but the act of doing an unpaid internship far from guarantees transitioning into a paid position. The symbolic challenges of being an intern in the music industry point to a long and costly path to full-time employment, one that advantages those people who can afford to work for free’.
Reflective Exercise
How does your last internship compares to their experiences?
Reforming Internships
UK Music: Internships Code of Conduct (2018)
We believe:
Internships should be advertised openly and transparently and should be recruited on merit.
Interns should always be paid at least the national minimum wage to ensure young people are judged on their talent – not their ability to work for free.
It is important that internships are high quality, and structured to ensure both parties benefit from the opportunity.
An internship should be a short period of work experience (ideally between two weeks and 12 months).
Is Pop too ‘posh’?
In [2010] ‘60% of that year’s successful pop and rock acts were former public school pupils compared with just 1% 20 years ago’.
See Sean O’Hagan (2014)
http://www.theguardian.com/culture/2014/jan/26/working-class-hero-posh-britain-public-school?CMP=twt_fd
Elite professions?
See: http://www.theguardian.com/news/datablog/2014/aug/28/elitism-in-britain-breakdown-by-profession
Source: Social Mobility and Child Poverty Commission (2014)
% Privately Educated Senior Judges Diplomats Lords TV, Film and Music Newspaper Columnists MPs BBC Executives Pop Stars University Vice Chancellors UK POPULATION 71 53 50 44 43 33 26 22 20 7
Reflective Exercise
Why do you think is the role of education increasingly important in the music industry?
Chris Bryant v James Blunt
‘we can’t have a culture dominated by posh stars like James Blunt and [his] ilk’
‘…it is really tough forging a career in the arts….if you don’t know anybody who can give you a leg up, if your parents can’t subsidise you for a few years whilst you make your name and if you can’t afford to take on an unpaid internship’
Chris Bryant, Shadow Culture Minister 2014
‘You classist gimp. I happened to go to a boarding school. No one helped me at boarding school to get into the music business’ – James Blunt
http://www.theguardian.com/politics/2015/jan/16/arts-diversity-chris-bryant-eddie-redmayne
Musicians pay
http://www.musiciansunion.org.uk/wp-content/uploads/2012/12/The-Working-Musician-report
The Working Musician (Musicians’ Union 2018)
Over 50% musicians earn less than £20,000 a year*
One in five earn less than £10,000 a year
60% reported working for free in the last year
Highly trained (most have a degree) but very low paid
Most have no steady income, pension or savings**
Most must take second jobs to survive
* UK average wage is around £26,000 a year (2018)
**Beyonce earned around 115 million dollars in 2017, while Ed Sheeran has to get by on around 7 million pounds a year;
Conclusions
Workers do it for the love not the money – which just happens to be highly convenient for those who do it for the money and not the love, the companies, managers, and capitalists who see in culture a means to a ready profit.
The passion and the pain co-exist….this is the contradiction of cultural work….
…but
The cultural industries, and work in culture, are precisely as we described them: part culture and part industry, places where culture as meaning, politics, ambition and identity, co-exists with the rational pursuit of economy, financial returns and accumulations
– the very idea of the cultural industries is an expression of this contradiction
Research Methodologies and Creative and Cultural Industries
Research and research methods
Research methods are split broadly into quantitative and qualitative methods
Research and research methods
Research methods are split broadly into quantitative and qualitative methods
Quantitative data is about quantities, and therefore numbers
Research and research methods
Research methods are split broadly into quantitative and qualitative methods
Quantitative data is about quantities, and therefore numbers
Qualitative data is about the nature of the thing investigated, and tends to be words rather than numbers
There is no right or wrong answer to choosing your research methods
What is the unit of analysis? For example, country, company or individual.
Are you relying on universal theory or local knowledge? i.e. will your results be generalisable, and produce universally applicable results, or are there local factors that will affect your results?
Will theory or data come first? Should you read the literature first, and then develop your theory, or will you gather your data and develop your theory from that? (N.B. this will likely be an iterative process)
Will your study be cross-sectional or longitudinal? Are you looking at one point in time, or changes over time?
Will you verify or falsify a theory? You cannot conclusively prove any theory; the best that you can do is find nothing that disproves it. It is therefore easier to formulate a theory that you can try to disprove, because you only need one ‘wrong’ answer to do so.
Quantitative approaches
Attempts to explain phenomena by collecting and analysing numerical data
Tells you if there is a “difference” but not necessarily why
Data collected are always numerical and analysed using statistical methods
Variables are controlled as much as possible (RCD as the gold standard) so we can eliminate interference and measure the effect of any change
Randomisation to reduce subjective bias
If there are no numbers involved, its not quantitative
Some types of research lend themselves better to quant approaches than others
Quantitative data
Data sources include
Surveys where there are a large number of respondents (esp where you have used a Likert scale)
Observations (counts of numbers and/or coding data into numbers)
Secondary data (government data; SATs scores etc)
Analysis techniques include hypothesis testing, correlations and cluster analysis
Qualitative approaches
Any research that doesn’t involve numerical data
Instead uses words, pictures, photos, videos, audio recordings. Field notes, generalities. Peoples’ own words.
Tends to start with a broad question rather than a specific hypothesis
Develop theory rather than start with one
inductive rather than deductive
Gathering qualitative data
Tends to yield rich data to explore how and why things happened
Don’t need large sample sizes (in comparison to quantitative research)
Some issues may arise, such as
Respondents providing inaccurate or false information – or saying what they think the researcher wants to hear
Ethical issues may be more problematic as the researcher is usually closer to participants
Researcher objectivity may be more difficult to achieve
Sources of qualitive data
Interviews (structured, semi-structured or unstructured)
Focus groups
Questionnaires or surveys
Secondary data, including diaries, self-reporting, written accounts of past events/archive data and company reports;
Direct observations – may also be recorded (video/audio)
Ethnography
Analysing qualitive data
Content analysis
Grounded analysis
Social network analysis (can also be quant)
Discourse analysis
Narrative analysis
Conversation analysis
Most Common Methods in Research on Cultural and Creative Industries
Query, which involves acquiring material from archival sources at offices and institutions.
obtain the information we need, based on documents, such as reports, balances or contracts stored by the organisers.
reports about the organisers, budget, number of festival visitors, its programme, history, etc.
Most Common Methods in Research on Cultural and Creative Industries
In-depth interviews, which are guided conversations with the organiser, but may also include sponsors or other participants.
These interviews can be based on guided questionnaires or conversation guidelines.
There is certain flexibility with interviews in order to cope with the subjectivity of the interviewee.
Most Common Methods in Research on Cultural and Creative Industries
Participant or ethnographic observation, which involves shadowing key representatives of the field of study.
This method is highly explorative and often used in contexts, where very little is known about a certain social practice or social field.
Participant observation can be online as well as offline.
Most Common Methods in Research on Cultural and Creative Industries
Focus groups are used to draw out immediate reactions with view to finding solutions to a certain issue.
Focus groups gather diverse groups of people in order to maximise on the reactions to a given problem.
Focus groups are typically used to ”fix” a certain problem.
Most Common Methods in Research on Cultural and Creative Industries
Quantitative evaluations or quantitative data often involve conducting a survey, collecting feedback from as many as possible or using secondary statistics.
This method is often used to collect feedback, to understand why people participate in the cultural industries or to understand broader structures of this field.
Statistics can be mainly descriptive, often used in reports, but they can also have a more explanatory role if they focus on understanding correlations.
Case Studies
Analysing Urban Art Scenes
Analysing Music Networks
Analysing Creative Work
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