Hope and Creative Work in Conflict Zones: Theoretical Insights from Israel

Sociology ◽  
2021 ◽  
pp. 003803852110562
Author(s):  
Amal Jamal ◽  
Noa Lavie
Keyword(s):  
National Identity ◽  
Cultural Production ◽  
Cultural Industries ◽  
Creative Work ◽  
Temporal Dimension ◽  
Conflict Zones ◽  
Ethical Agency ◽  
Creative Workers ◽  
The Impact ◽  
Passive Action

This article contributes to the theorization of hope in the cultural industries in conflict zones. Although the merits of hope in explicating the behavior of creative workers in cultural production in western countries has won some attention, the literature has fallen short of addressing the impact of conflict on the meaning of hope for minority creative workers in this field. To fill this lacuna, we explore the experience of Palestinian creative workers in Israeli cultural industries, which are very functional in national identity making and branding. Our evidence is helpful in illuminating the temporal dimension of hope, as a resource and a form of passive action that takes place in the present in order to keep the horizon open for a better future, also when this future does not entail a clear referent. It also sheds light on the affinity of hope with ethical agency claiming in the cultural industries.

Resisting subalternity: Palestinian mimicry and passing in the Israeli cultural industries

2020 ◽  
Vol 42 (7-8) ◽  
pp. 1293-1308
Author(s):  
Amal Jamal ◽  
Noa Lavie
Keyword(s):  
Cultural Production ◽  
Cultural Industries ◽  
Media Industry ◽  
Full Compliance ◽  
Subaltern Agency ◽  
Common Notion ◽  
Creative Workers ◽  
The Media ◽  
The Common

This article explores the complexity of minority creative workers in the media industry. It challenges the common notion in the literature that minority creative workers are fully submissive to the dominant power structure and examines whether such workers could still be conceived as active agents by resisting submission and marginalization even when they cannot influence their own representation in hegemonic media texts. To answer this question, it explores the performances of minority creative workers in a hegemonic cultural industry. To determine whether one can speak of subaltern agency and, if possible, examine how it manifests itself in reality, it addresses the daily performances of Palestinian creative workers during the production of the second season of the Israeli television series, Fauda. Observations conducted during production demonstrate that since in such contexts minority creative workers cannot avoid being projected in negative roles in the media text, they adopt creative subversive practices of passing and transgressive mimicry, resisting full compliance with the production, without endangering their own position. By doing so, the article contributes not only to the emerging field of creative entrepreneurship in cultural production, but also enables determination of common practices of creative subversion in the cultural industries.

scholarly journals Creative work and affect: Social, political and fantasmatic dynamics in the labour of musicians

2017 ◽  
Vol 71 (10) ◽  
pp. 1348-1370 ◽  
Author(s):  
Casper Hoedemaekers
Keyword(s):  
Lived Experience ◽  
The Self ◽  
Cultural Industries ◽  
Creative Work ◽  
Self Presentation ◽  
Creative Workers ◽  
Social Logics

How can we understand contradictory identifications within work to which one is passionately attached? This article explores how seemingly competing accounts of the self at work can not only appear side by side within the self-presentation of creative workers, but also how dominant patterns within the daily socio-economic realities of creative work are reproduced through faux-contestations of them. Following Glynos and Howarth, I will argue that such transgressive notions often recall earlier historical arrangements that have been displaced by current dominant social grammars, or were vital components of the institution of current social hegemony. In a study of musicians, I analyse how alongside dominant logics of employability and virtuosity, traditional notions of artists’ craft and autonomy drive counter-identifications that allow dominant social logics to fill the gaps in the indeterminacy and ambiguity of everyday lived experience. By applying an understanding of discursive logics to creative work, this article seeks to contribute to literatures spanning work in the cultural industries, identification, affect and transgression at work, and commons and immaterial labour.

scholarly journals Business Model: Economic Value and Sociocultural Impact

2020 ◽  
pp. 145-156
Author(s):  
G. D. Paksiutov
Keyword(s):  
Cultural Production ◽  
Automatic System ◽  
Economic Value ◽  
Economic Feasibility ◽  
Cultural Industries ◽  
Economic Success ◽  
Global Culture ◽  
Search Optimization ◽  
High Degree ◽  
The Impact

The article examines the reasons for Netflix's economic success. It is noted that Netflix's growing popularity is an example of the processes of digitization and globalization characteristic of modern cultural industries. Among the main reasons for Netflix's economic success are an effective automatic system of recommendations and a high degree of vertical integration – a combination of the service of all stages of the film business: from the decision to produce content to its display to final consumer. The impact of Netflix on the practice of consuming films in the digital age has been considered, noting that the automatic system of recommendations used by the service and algorithms of search optimization can pose a threat to the free choice of consumers. Netflix's success is seen in terms of the West's unsymmetrical influence on global culture. The author concludes that Netflix's model is an example of the growing commercialization of cultural industries, the commodification of culture and carries certain risks of an aesthetic and cultural nature. However, it shows economic feasibility. For minimization of the related sociocultural risks it is important to keep alive a variety of forms of cultural production and consumption – a task in which the state can play a significant role.

The Supply-Demand Research of Cultural and Tourism Industries Policies in China with the Impact of COVID-19

2020 ◽  
Vol 11 (1) ◽  
pp. 24-24
Author(s):  
Dr. Jianfei Yang
Keyword(s):  
Tourism Industry ◽  
Chinese Government ◽  
Cultural Industries ◽  
Real Situation ◽  
The Real ◽  
The World ◽  
The Impact ◽  
Near Future ◽  
Post Period

COVID-19 has made a bad influence on economic and society including cultural and tourism industry in China，2020.The industry has received a huge loss in the first quarter of the year and the situation is getting worse in the near future. It is believed that there will be a long impact for the country even the world. In order to recover the industry, Chinese government has published series of policies to support the enterprises and clusters to reduce the bad influence of COVID-19. This paper mainly uses filed survey and documentary research to map the real situation of the industry. It tries to find the policy demand of the industries and then analyze the policies published by government to conquer COVID-19. Meanwhile it will focus on whether the supply meet the demand and give suggestions on how to promote the policy efficiency in the post period of COVID-19 in China. Keywords: Evaluation; Cultural Industries; Policy; Park; Pandemic

Diasporic and Gendered Identities in Moroccan Transnational Cinema: Mohammed Ismail’s Ici et là (Here and There)

2018 ◽  
Vol 2 (1) ◽  
pp. 29-33
Author(s):  
Mouhcine El-Hajjami ◽  
Souad Slaoui
Keyword(s):  
National Identity ◽  
Female Subject ◽  
Transnational Cinema ◽  
Visual Discourse ◽  
Gendered Identities ◽  
Feminist Discourse ◽  
The Impact ◽  
The Way

The present paper aims at examining the extent to which Moroccan cinema could establish a diasporic visual discourse that cements national identity and contests the impact of westernization on migrants. Moreover, through the analysis the way in which independent identities are constructed in the host land, the article tries to incorporate a feminist discourse to highlight the role of the female subject in retrieving its own agency by challenging patriarchal oppression. Therefore, we argue that Mohammed Ismail’s feature-length film Ici et là (Here and There) has partially succeeded in creating a space for its diasporic subjects to build up their own independent identities beyond the scope of westernization and patriarchy.

scholarly journals The Nested Precarities of Creative Labor on Social Media

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Ecological Model ◽  
Creative Economy ◽  
Cultural Industries ◽  
Professional Success ◽  
Social Media Platforms ◽  
The Media ◽  
Depth Interviews

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.

Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

Organization ◽  
2017 ◽  
Vol 24 (3) ◽  
pp. 330-354 ◽  
Author(s):  
Patrizia Zanoni ◽  
Annelies Thoelen ◽  
Sierk Ybema
Keyword(s):  
Ethnic Minority ◽  
Identity Work ◽  
Creative Industries ◽  
The Other ◽  
Politics Of Representation ◽  
Cultural Industries ◽  
Creative Work ◽  
The West ◽  
The Subject ◽  
Creative Subject

Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

The impact of Political Parties Law no. 36 of 2015 on requlatinq political parties pluralism in Iraq

2021 ◽  
Author(s):  
Kurdistan Saeed
Keyword(s):  
National Identity ◽  
Political Parties ◽  
Legal Framework ◽  
The Political ◽  
Political Opposition ◽  
The Law ◽  
Lack Of Commitment ◽  
The Impact

This study deals with the political parties’ pluralism in Iraq under the Parties Law No. 36 of 2015. The importance of the study lies in the fact that it looks at a topic that is at the heart of democracy and it is necessary for the success of any democratic processes. The study focuses on parties’ pluralism in Iraq since the establishment of the Iraqi state in 1921 until the end of the Baath Party regime in 2003, it also covers the period after 2003 and pays particular attention to the Parties Law No. 36 of 2015. It focuses on the legal framework of political parties after the adoption of the Political Parties Law and studies the impact of this law on parties’ pluralism in Iraq after its approval in 2015. The study concludes that Law No. 36 of 2015 is incapable of regulating parties’ pluralism for reasons including: the lack of commitment by the political parties to the provisions of the law, the inability of the Parties Affairs Department to take measures against parties that violate the law the absence of a strong political opposition that enhances the role of political parties, the association of most Iraqi parties with foreign agendas belonging to neighboring countries, and the fact that the majority of Iraqi parties express ethnic or sectarian orientations at the expense of national identity.

The impact of red tourism on national identity of tourists

2021 ◽  
Vol 36 (7) ◽  
pp. 1673
Author(s):  
Run-jia LIU ◽  
Zhen-fang HUANG ◽  
Run-zhe YU ◽  
Jia-qi BAO ◽  
Yu-ting MO
Keyword(s):  
National Identity ◽  
The Impact

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

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