Creative Industries, Creative Clusters and Cultural Policy in Shanghai

Author(s):  
Xin Gu
2021 ◽  
pp. 1329878X2110441
Author(s):  
Terry Flew ◽  
Amanda D Lotz

This essay introduces the special issue of Media International Australia dedicated to the work of Stuart Cunningham. We note the scholarly contributions made by Stuart Cunningham to communications, media and cultural studies, including screen studies, creative industries and cultural policy studies. We also note his extensive contributions to institution building and academic leadership in engaging with industry and policy agencies from an applied humanities perspective.


2021 ◽  
pp. 1329878X2110438
Author(s):  
Julian Thomas

This essay offers an appreciation of Stuart Cunningham's substantial and diverse contributions to ‘reframing culture’ in Australian research, policy and industry practice, from his early reformulations of Australian film history to his recent work on digital media disruption. The essay discusses the range of Cunningham's institutional and intellectual legacies, suggesting that his advocacy for cultural policy and the creative industries together with his leadership of major collaborative research initiatives in the humanities and social sciences have been especially important for media and cultural studies in Australia. Further, his approach to the project of ‘reframing culture’ is likely to remain a critical task.


2016 ◽  
Vol 158 (1) ◽  
pp. 80-89 ◽  
Author(s):  
Terence Lee

The city-state of Singapore commemorated its 50th year of independence in 2015. In that 50-year period, Singapore defied the odds by forging itself into an important media and communication hub, one that services the Asian region by linking it to other global media centres. This article examines Singapore’s efforts to develop its media sector over the years from a historical (and) policy perspective. The article begins by explaining how early policy discourses were bifurcated along internal versus external lines, where the development of a national media system to mould a fledgling society was the internal mission, while externally, the vision was to promote Singapore to the rest of the world as a reliable port (where media and cultural goods can be safely and reliable transported to/through) and teleport (where messages and satellite signals can be exchanged via reliable telecommunications infrastructure and uplink–downlink facilities). It was not until the early 2000s, with the launch of Media 21 and the Creative Industries Development Strategy (both in 2002), that the external mission began to dominate. In 2009, the Singapore Media Fusion Plan (SMFP) declared that Singapore would become a ‘Trusted Global Capital for New Asia Media’. While articulating that a strong media sector engenders a better understanding of Singapore culture, the latest policy does little to promote local culture. Instead, the cultural footprint of Singapore has expanded to include not just Asia, but ‘new Asia’, defined very problematically in the report as ‘newly confident Asian countries’ (p. 26). This article unpacks the ‘Asian media fusion’ discourse and contends that the positioning of Singapore as a 21st century media hub is arguably the most overtly economic media and cultural policy that Singapore has yet produced. It is clear that the media sector is a little more than a cluster of economic activity, where the goal of the government and the agencies involved is to boost Singapore’s status as the best business city. The media hub policy rationales have thus been, for better or worse, coherent with the Singapore government’s broader economic ideologies over the past 50 years and look set to continue into the foreseeable future.


2018 ◽  
Vol 5 (1(8)) ◽  
pp. 11-28
Author(s):  
Stella Kaczmarek

When we start thinking about culture, the following associations come to our mind: cultural policy, cultural sector, situation of culture, financing of culture, cultural education, etc. Culture constitutes an inseparable part of each country’s economy and politics. Important aspects of the functioning of culture in modern times comprise globalization, the appearance of cultural industry, creative industries and the so-called third sector of culture. The article discusses issues regarding key aspects of the functioning of culture in Poland, both previous and current forms of financing cultural activities as well as information on possible solutions for the future. The situation of artists and authors will also be discussed – the rules governing financing, remuneration and pursuing their own cultural-artistic activities.


2015 ◽  
Vol 5 (2) ◽  
pp. 78-87 ◽  
Author(s):  
Rene Mäe

Abstract The aim of this paper is to examine the emergence of the idea of the creative industries in a particular former socialist country – Estonia. Instead of regarding the creative industries as an economic sector, the article (re)conceptualises it as an ‘empty signifier’. The paper borrows its central theoretical concepts (hegemony, empty signifier, floating signifier) from post-Marxist discourse theory and employs them to explore the ways in which the creative industries are instituted within particular social, discursive or political struggles. The article proposes that Laclauian (or post-Marxist) discourse theory can raise some new fruitful methodological problems and challenging research directions among the researchers of the creative industries and cultural policy, especially in the Eastern European context.


2017 ◽  
Vol 8 (3) ◽  
Author(s):  
Tomas Mitkus ◽  
Dimitrios I. Maditinos

Research background: In order to achieve systematic development and growth of creative industries, instead of its being a random process, effective cultural policy tools need to be implemented. This task is greatly burdened by the fact that creative industries are a heterogeneous concept. Evidence suggests that indirect state aid is one of the most effective ways to stimulate growth and development of audiovisual segment. Lithuanian indirect state aid case suggests that there is still a great deal of confusion and misconception with the implementation and exploitation of this tool. Purpose of the article: To analyze how effectively indirect state aid is constructed to stimulate growth and development of the Lithuanian animation industry. Methods: This paper uses two methods to gather data. The first one is a quantitative questionnaire design to evaluate the overall situation of Lithuanian animation industry. The second method involves qualitative semi-structured interviews to collect specific data about Lithuanian film tax incentive from representatives of government institutions that administrate local fiscal incentive scheme and representatives of audiovisual industries. Findings & Value added: Results show that although Lithuanian film tax incentive can be considered as a successful cultural policy tool that brought a noticeable inward investment to the local film industry and economy in general, it had no positive effect on the local animation industry. The gathered evidence suggests that indirect aid tool should be constructed with more of surgical precision for each industry, rather than a fit-for-all cultural policy tool.


2020 ◽  
Vol 29 (4) ◽  
pp. 625-636
Author(s):  
Valentina V. Barabanova ◽  
Galina A. Bohatyryova ◽  
Ganna O. Gorina

The development of the tourism industry must take into account the peculiarities of the modern economic space, which is constantly changing and has many negative factors. Such an unstable environment is characterized by an uneven relationship and interdependent factors that affect the creation and consumption of the tourism product and create the multidimensionality of the tourist services market. On the basis of studying the mobility and variability of environmental factors as the modern information cooperation between producers and consumers in the tourist services market, we address the problem ofimplementing marketing mechanisms and their influence on the formation of consumer demand for tourist services. The use of marketing approaches and the mechanism of their implementation, the creation of a modern marketing environment will add stability in the market of tourist services and enhance its competitiveness. It is a question of changing the conceptual model of setting the problem of development of the tourist services market, which should be based on the totality of beliefs, values that are consumer oriented, the system of communication with specific people; finding effective ways to transform the perception of the customer’s expectations into the criteria for the desired quality of the tourism product, etc. An effective marketing strategy in the market of tourist services is possible provided that the mechanisms of influence of marketing instruments on the work of the tourism enterprise are explored in the conditions of an unstable environment, taking into account communicative and social methods of increasing the effectiveness of marketing activity in the market of tourist services. It is marketing that allows you to study and analyze the market as an object that is constantly evolving and changing under the influence of human activity. The marketing mechanisms identified by the authors in the context of environmental stabilization (research on consumer motivation and psychology, creation of new types of tourism product, involvement of employees in the formation of marketing policy of the enterprise, public-private partnership, development of creative industries, etc.) imply the recognition of culture as an instrument for the development of regional cultural industries, which implies the formation of a market for tourist services, taking into account the opportunities of the region and its cultural characteristics. The choice of the region is explained by the fact that the characteristic feature of Kryvyi Rih is the excessive technological load, its pollution under the influence ofthe activities of mining, metallurgical and other industrial enterprises and therefore the search for ways to overcome the environmental crisis.We analyze the possibilities of the Kryvyi Rih region from the point of view of forming the promotional environment through the cultural policy of the region, promotion of the brand of the city, formation of its image. Potential development opportunities in the industrial tourism industry have been identified. The theoretical and methodological basis of the research is provided by the position of modern economic theory, management theory, psychology of communications, works of domestic and foreign specialists in the field of tourism marketing. The research work uses methods that provide its logical essence – the dialectical method of scientific knowledge, the method of system-structural analysis, the method of modeling complex systems.


2020 ◽  
Vol 83 ◽  
pp. 01036
Author(s):  
Mária Kozáková ◽  
Kristína Krúpová

The aim of the paper is to analyse the models describing the development of the Creative Industries in Slovakia. Creative industries are described as the industrial components of the economy in which creativity is an input and content or intellectual property is the output. The creative industries have therefore appeared to be newly represented as a significant and rapidly growing set of industries; an important sector, in other words, for policy consideration. Based on the following findings, we can conclude that the second model is precisely predicting the relationship between the growth in the creative industries and in the aggregate economy in Slovakia. With improved cultural statistics, also a more developed and theoretically better founded analysis would be possible. We therefore see our article primarily as a much-needed step towards developing statistical tools in empirical cultural policy on a consistent basis.


2020 ◽  
Vol 2 (1) ◽  
pp. 109-120
Author(s):  
Stine Agnete Sand

AbstractThe creative industries have had a major impact on cultural policy, and it is often argued that these industries can be a vehicle for regional growth. Using regional film production in Norway as a case, I discuss the creative industries, the cluster concept and its impact on policy. I analyse two film policy documents from 2007 and 2015 in order to show how the issue of size and critical mass is an unsettled topic within the creative industries, and I question the relevance of film as an economic and regional development tool in a country with a small film industry, such as Norway. This article shows that the creative industries concept, adopted from international discourses, especially creative industries policies in the UK, has influenced Norwegian film policy, reducing the importance of cultural objectives and increased the focus on the business potential and economic aspects of culture.


2021 ◽  
Vol 9 (3) ◽  
pp. 93-112
Author(s):  
Kristína Baculáková ◽  
Martin Grešš

Culture is one of the main tools for developing regions and reducing regional disparities. It is a significant job creator; it participates in social cohesion representing a catalyst for economic growth. In practice, when boosting the potential of cultural and creative industries, we encounter an insufficiently developed approach to evaluating the initial conditions for the allocation of financial resources for its development. This paper’s objective is to identify, map, and analyse spatial concentration of cultural institutions in Slovakia. The intention of the analysis was the identification of regions and districts with the potential for full use of cultural capital as a tool for sustainable regional development as well as the setting of cultural policy. The cluster analysis pointed out significant differences in the representation of cultural institutions in individual regions and districts of Slovakia. The regions with the most desirable results (e.g., Bratislava, Trnava, or Nitra) have some common characteristics linked to the local context, such as historical development, good infrastructure, concentration of educational institutions. The results also confirmed the assumption that within the regions, cultural institutions will be concentrated in larger district cities, specifically in the case of Bratislava even inside the city. From the cluster analysis it is possible to observe a “belt of districts” of Southern, Central, and Eastern Slovakia, which do not have sufficient cultural infrastructure. Since the process of shaping the supportive policy for cultural industries is now ongoing in Slovakia, we consider mapping the situation as one of the key elements in the policy-making process.


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