A CRITIQUE OF DEFINITIONS OF THE CULTURAL AND CREATIVE INDUSTRIES IN PUBLIC POLICY

2007 ◽  
Vol 13 (1) ◽  
pp. 17-31 ◽  
Author(s):  
Susan Galloway ◽  
Stewart Dunlop
Keyword(s):  
Public Policy ◽  
Creative Industries ◽  
Cultural And Creative Industries

scholarly journals There was no golden age: social mobility into cultural and creative occupations

2018 ◽  
Author(s):  
Orian Brook ◽  
Dave O'Brien ◽  
Mark Taylor
Keyword(s):  
Public Policy ◽  
Longitudinal Study ◽  
Social Mobility ◽  
Golden Age ◽  
Cultural Theory ◽  
Creative Industries ◽  
Future Research ◽  
The Stability ◽  
Cultural And Creative Industries ◽  
Over Time

Cultural and creative industries are currently narrated as one of the greatest forces for openness and social mobility that Britain has (Hancock 2016). However, there is little, if any, evidence to support this position. Recent research has suggested the creative and cultural occupations are dominated by those from professional or managerial backgrounds (O’Brien et al 2016, Oakley et al 2017), with cultural theorists arguing this reflects declining rates of social mobility over time (Banks 2017). This paper provides the first empirical assessment of claims made by policy and cultural theory concerning changing patterns of social mobility into cultural and creative occupations. We use the England and Wales Longitudinal Study, along with three birth cohort studies, to offer the first analysis of social mobility into cultural and creative occupations over time. We demonstrate that: cultural and creative occupations have always been characterised by overrepresentations of those from privileged social origins, with little evidence of a classless meritocracy; rates of absolute social mobility are declining in these occupations, contradicting policymakers’ faith in a ‘meritocracy’ for talented individuals aiming to work in artistic and cultural jobs; this decline in absolute levels of social mobility is in contrast to the stability in relative social mobility, indicating there was no ‘golden age’ for social mobility into cultural occupations. These three points illustrate the importance of occupational perspectives on cultural and creative industries and the value of sociological analysis for public policy questions in this area. In particular, the lack of social fluidity in the occupations producing culture is a key issue for future public policy intervention. The paper concludes with suggestions for future research on longevity of cultural careers and the importance of gender using the Longitudinal Study dataset.

scholarly journals MODELING OF STATE POLICY OF ECONOMIC DEVELOPMENT IN THE CULTURAL AND CREATIVE INDUSTRIES (CCI)

2021 ◽  
Author(s):  
Mariia Proskurina ◽  
◽  
Iryna Parkhomenko ◽  
Keyword(s):  
Public Policy ◽  
Economic Development ◽  
State Policy ◽  
Business Environment ◽  
The State ◽  
Creative Industries ◽  
Successful Implementation ◽  
Management Decisions ◽  
Modeling Process ◽  
Cultural And Creative Industries

The article is devoted to one of the most dynamic sectors of the world economic system - to the sector of cultural and creative industries and to the issue of modeling its economic development public policy. One of the current trends today is intensifycation of the transformation process of the subsidized cultural sector into a dynamic business environment through a combination social services and market mechanisms. The creative economy has the potential to support developing countries in diversifying production, exports and providing sustainable development. In a context pandemic COVID-19, the sector has suffered significant losses and today needs comprehensive support. The question of applying a strategic approach to the state policy of CCI economic development, which involves determining its main directions, has become acute. The system approach in modeling process can ensure the successful implementation of an such policy in practice. In the article are identificated strategic directions for the state policy of CCI economic development in Ukraine using the method of modeling, to ensure the holistic development of the sector, taking into account the specific risks in the absence of such a policy. The main method in the article is the method of modeling, as well as used of strategic and systematic approaches for studing and analysis of the public policy specifics in the field of cultural economy in such countries as Ukraine. In the article is presents the developed model of the economic development state policy of the CCI, which consists of the main directions, its main elements, as well as a group of management decisions aimed at the development of the sector. The modeling process is based on taking into account the possible risks of the lack of a holistic approach in the implementation of public policy in the Ukrainian CCI sector. The proposed model with the main directions and elements, further focused on the separation of subsectors in the CCI sector and the development of legislative support for their functioning, establishing intersectoral cooperation, the relationship of their development strategies, taking into account and minimizing risks associated with lack of policy in the field of culture, as well as creates the preconditions for the use of economic and mathematical apparatus to substantiate forecasts and prospects for adaptation of management decisions to the changing internal and external environment.

scholarly journals Drag Performers’ Perspectives on the Mainstreaming of British Drag: Towards a Sociology of Contemporary Drag

Sociology ◽  
2021 ◽  
pp. 003803852110083
Author(s):  
Mark McCormack ◽  
Liam Wignall
Keyword(s):  
Performing Arts ◽  
Social Stigma ◽  
Creative Industries ◽  
Public Data ◽  
Career Opportunity ◽  
Cultural And Creative Industries ◽  
British Culture ◽  
Depth Interviews ◽  
Inductive Analysis

Drag performance has entered mainstream British culture and is gaining unprecedented appreciation and recognition, yet no sociological accounts of this transformation exist. Using an inductive analysis of in-depth interviews with 25 drag performers, alongside netnography of media and other public data, this article develops a sociological understanding of the mainstreaming of drag. There are two clear reasons for the success of drag. First, there is a pull towards drag: it is now seen as a viable career opportunity where performers receive fame rather than social stigma in a more inclusive social zeitgeist, even though the reality is more complex. Second, there is a push away from other creative and performing arts because heteronormative perspectives persist through typecasting and a continued professional stigma associated with drag. In calling for a sociology of drag, future avenues for research on contemporary drag are discussed, alongside the need for the sociology of cultural and creative industries to incorporate sexuality as both a subject and analytic lens.

Torn between the Old and New World of Work: Insights into the Modernised Semi-Profession of the Fashion IndustryDate submitted: December 31, 2019Date accepted after double-blind review: February 1, 2021

2021 ◽  
Vol 32 (3) ◽  
pp. 244-265
Author(s):  
Alexandra Manske
Keyword(s):  
Role Model ◽  
New World ◽  
Creative Industries ◽  
Gender Inequalities ◽  
Fashion Industry ◽  
Double Blind ◽  
Blind Review ◽  
Training Structures ◽  
Cultural And Creative Industries ◽  
Low Pay

This paper explores how persistent gender inequalities of the old world of work are amplified by the new world of work. Focusing on the fashion industry of Berlin, the article offers insight into a female-dominated field of labour as a particular field of labour of the cultural and creative industries (CCI). The CCI is regarded as a role model for new work. However, they entail deep gender inequalities in terms of segregation, low status and low pay. The paper addresses the question of how these gendered inequalities in the fashion industry are intertwined with its professional mechanisms and training structures. Based on a qualitative study, I argue that the fashion industry is a modernised semi-profession, which has been undergoing a market-driven professionalisation. However, this new pathway into the fashion industry fails to fully professionalise that industry. On contrary, it erects new occupational barriers into the field of labour that help establish high qualified and low qualified fashion work that also aids in polarising the still mostly female workforce in terms of status and rewards. Overall, it should become clear that the fashion industry is torn between the old and new world of work which helps to maintain or even reinforce traditional gender inequalities.

Sign in / Sign up

Export Citation Format

Share Document