scholarly journals Genres and inequality in the creative industries

2021 ◽  
pp. 136754942110060
Author(s):  
Ana Alacovska ◽  
Dave O’Brien
Keyword(s):  
Cultural Production ◽  
Career Advancement ◽  
Division Of Labour ◽  
Creative Industries ◽  
Specific Production ◽  
Special Issue ◽  
Theoretical Approaches ◽  
Production And Consumption ◽  
Cultural And Creative Industries ◽  
Fitness To Work

Genres organize and facilitate cultural, creative and media production and consumption but are rarely central categories in extant research on creative industries. With this editorial article, we aim to reassert, reassess and revisit the salience of genres for understanding inequalities in the cultural and creative industries. We argue that genres, as classificatory devices, structure and order a gendered and racialized division of labour and occupational practice. Genres sanction what is and what is not aesthetically and ethically appropriate to do and think within specific textual categories and, hence also, within genre-specific production cultures. Genres draw boundaries, shaping and normalizing the gendered and racialized professional values and norms that underpin unequal patterns of access, distinction and career advancement within creative occupations. Cultural producers, in turn, are compelled to forge professional genre identities at the same time as constantly having to negotiate their gender and racial fitness to work and prosper in specific categories of cultural production. The contributions to this special issue elucidate, through a plethora of methodological and theoretical approaches, the links between genres and persisting inequalities across the book, screen and music industries.

scholarly journals Inequality talk: How discourses by senior men reinforce exclusions from creative occupations

2019 ◽  
pp. 136754941988602 ◽  
Author(s):  
Orian Brook ◽  
Dave O’Brien ◽  
Mark Taylor
Keyword(s):  
Cultural Production ◽  
Creative Industries ◽  
Creative Industry ◽  
Structural Barriers ◽  
White Middle Class ◽  
Production And Consumption ◽  
Marginalised Groups ◽  
Outright Rejection ◽  
Class Origin ◽  
Cultural And Creative Industries

Cultural Studies has drawn attention to the way that cultural and creative industries are marked by significant inequalities. This article explores how these inequalities are maintained, through fieldwork with senior men making decisions in cultural and creative industries. Drawing on 32 interviews with senior men across a range of cultural and creative industry occupations, conducted as part of a larger (N = 237) project, the analysis shows that misrecognition and outright rejection of inequalities are now not the norm. Rather, ‘inequality talk’ and the recognition of structural barriers for marginalised groups is a dominant discourse. However, individual careers are still explained by gentlemanly tropes and the idea of luck, rather than by reference to structural inequalities. The distance between the discourse of career luck and ‘inequality talk’ helps to explain the persistence of exclusions from the workforce for those who are not white, middle class origin, men. This has important implications for inequalities in cultural production and consumption, and in turn for wider social inequality.

scholarly journals Promoting cultural production in Serbia

2020 ◽  
Vol 15 (47) ◽  
pp. 137-152
Author(s):  
Mirjana Kovačević
Keyword(s):  
Empirical Study ◽  
Cultural Production ◽  
Modern Technology ◽  
Creative Industries ◽  
Decision Makers ◽  
Support Programs ◽  
Digital Environment ◽  
Economic Gain ◽  
The Future ◽  
Cultural And Creative Industries

The paper presents the empirical study which aims to describe problems encountered by actors in the cultural and creative industries during the realization of ideas and activities in a modern digital environment. The results pointed out a discrepancy in the use of modern technology when it comes to the creation, availability and use of products of culture and creativity, and the ways they are communicated and promoted. Highlighting the problems that this sector faces, besides the knowledge of economic gain and overflows to other areas of the economy and society, should stimulate the interest of the competent institutions and decision-makers in finding more productive support programs for Serbian cultural and creative production in the future.

scholarly journals TYPOLOGY OF MODERN THEORETICAL CONCEPTS OF CULTURAL ECONOMY

2018 ◽  
pp. 30-32
Author(s):  
I. I. Parkhomenko
Keyword(s):  
Cultural Production ◽  
Modern Society ◽  
Scientific Discipline ◽  
Cultural Development ◽  
Creative Industries ◽  
Cultural Economy ◽  
Cultural Industries ◽  
The European Union ◽  
Theoretical Concepts ◽  
Production And Consumption

The article proposes theoretical concepts typology of the modern cultural economy, which proves the existence of economic relations in the field of culture according to the Western European scientific tradition of XX-XXI centuries: 1) cultural and philosophical (T.W.Adorno, J. Baudrillard, P.Bourdieu, M.Horkheimer, S.Lash, C.Lury, J.Urry); 2) cultural industries approach (R.Williams, B.Miege, N.Garhnam, P.L.Sacco); 3) economic and managerial (W.J.Baumol, W.G.Bowen, M.Blaug, V.A.Ginsburg, D.Hesmondhalgh, A.Klamer, B.Miege, A.J.Scott, D.Throsby, B.S.Frey). According to these modern theoretical concepts, culture is the sphere of production and consumption of goods and services; it is functioning as a resource for economic, social and cultural development. This understanding of culture is the basis of the current policy of cultural and creative industries in the European Union and the United Kingdom. Cultural production is an interdisciplinary object of study, since the cultural good has its own peculiarity: its cultural value determines economic value. The article analyzes production in the field of culture and, at first, determines economy of culture as a scientific approach for understanding the functioning of the modern society in the categories of production and consumption; secondly, economics of culture is a scientific discipline in the field of economics. Theoretical and methodological bases were interdisciplinary scientific approaches to the understanding of culture as a sphere of production and consumption. For that reason were organized and systematized approaches to the understanding of culture as an economic reality in scientific discourse: 1) critical theory of T.W.Adorno, W.Benjamin and M.Horkheimer and the concept of "cultural industry"; 2) the interaction of cultural and power institutions in the processes of democratization of society and industrialization of culture (R.Williams, N.Garhnam, P.L.Sacco); 3) culture as a set of cultural industries, which form cultural capital (P.Bourdieu, D.Hesmondhalgh, B.Miege, D.Throsby); 4) the functioning of modern society as global culture industry in theory of S.Lash and C.Lury; 5) cultural economics theory (W.J.Baumol, W.G.Bowen, M.Blaug, V.A.Ginsburg, A.J.Scott, D.Throsby, B.S.Frey).

scholarly journals Institutional Field of National Development of Culture and Arts in Ukraine

2021 ◽  
pp. 84-92
Author(s):  
Volodymyr Komar
Keyword(s):  
Higher Education ◽  
Mass Media ◽  
Cultural Production ◽  
National Development ◽  
Creative Industries ◽  
Institutions Of Higher Education ◽  
Institutional Field ◽  
Government Management ◽  
The Government ◽  
Cultural And Creative Industries

The purpose of the article is to give a review of the current environment of management and the development of culture and arts in the system of cultural and creative industries in Ukraine. The methodology of research is the application of the descriptive method and definitive analysis, functional analysis, formal characterization in the process of research regarding the national field of management and development of culture and arts segment in Ukraine. The scientific novelty is the analysis of the institutional field of national development of culture and arts in Ukraine. The scientific novelty is an analysis of the institutional field of development of national culture and art in the aspects of public administration, institutions of higher education (HEI) in the indicated areas, and government mass media channels. Conclusions: Effective organization of national management of institutional field development of national forms of cultural and art interaction – that is the Ukrainian cultural need in the process of its civilizational development. The main aspects of development and support of culture and arts from the government institutions side, in our opinion, are coordination of means of the government management system in the cultural and arts industry, institutions of higher education in culture and arts industries, and mass media broadcasting channels, which are owned by the government. National artistic, cultural-and-artistic, artistic-and-technological, scientific, educational, cultural and intellectual-and-creative capable part of a human capital asset (involved in the systems of the national arts and creative production, including government management organizations in the field of cultural and creative industries) must support the organization of national arts and cultural platforms of interaction based on communicative cooperation of groups of arts and cultural production, as well as comprehensive rebroadcasting of the best-produced products by unions of arts and cultural production by informative, mass media, arts, educational governmental means (tangible and intangible). The country should unite the efforts of specialists in this sector in the field of institutional communication of cultural-and-arts interaction, should support the formation of bases for the practical production of the national arts and cultural production of all branches of the sector of cultural and creative industries of Ukraine.

scholarly journals Factors of evolution and coevolution of cultural and creative industries in economics

2021 ◽  
Vol 2021 (54) ◽  
pp. 242-263
Author(s):  
Marianna Kichurchak ◽  
Keyword(s):  
Cultural Production ◽  
Economic Thought ◽  
Creative Industries ◽  
Cultural Industries ◽  
Economic Activities ◽  
Cultural Products ◽  
Economic Agents ◽  
Major Factors ◽  
Economic Nature ◽  
Cultural And Creative Industries

It is important to determine the main directions of evolution of economic views on the formation of scientific approaches to the interpretation of the economic nature of cultural and creative industries. The purpose of the article is to find out the main social and economic conditions for the formation of the conception of cultural and creative industries in economics based on the analysis of evolution and co-evolution of the Ukrainian and world economic thought on that subject. The scientific methods of induction and deduction, historical and logical analysis, comparison are used. The author has shown that the key reasons for the formation of theoretical and methodological principles of the conception of «cultural» and «creative» industries were related to social and economic environment for the society development, and the peculiarities of the integration of cultural and creative activities into the system of economic relations and production processes. It is defined that the features of the formation of theoretical and methodological approaches to the interpretation of the economic nature of these industries are scientific discussions about: the importance of creativity/art in order to produce competitive goods; inclusion of specific types of cultural production in the system of division of labor; the methodology for determining the value of works of art and creative activity; clarification of the subject of economics taking into account the character of cultural activity and manufacturing of cultural products; interpretation of the essence of culture and creativity and their influence on the economic system evolution; and identification of the definitions of «cultural Industry», «cultural Industries» and «creative Industries». It is revealed that the major factors of the evolution and co-evolution of cultural and creative industries are the increase in the interaction between economic agents and economic activities in this sector of the national economy, and improving the technologies of replicating cultural products and relationships with potential consumers. The author has substantiated that the foundation of the theoretical processes of evolution and co-evolution of these industries is the inclusion in the creative and cultural industries of all types of economic activity, which belong to them according to the classification criterion.

Work and Play: Vagaries Surrounding Contemporary Cultural Production in Sydney's Dance Music Culture

2007 ◽  
Vol 123 (1) ◽  
pp. 123-137 ◽  
Author(s):  
Chris Brennan-Horley
Keyword(s):  
Social Relations ◽  
Cultural Production ◽  
Electronic Music ◽  
Research Direction ◽  
Creative Industries ◽  
Cultural Work ◽  
Dance Music ◽  
Music Culture ◽  
Music Scenes ◽  
Cultural And Creative Industries

Much recent research has documented how, under ‘creative’ capitalism, approaches towards work and types of work are changing. This paper extends this research direction, uncovering the discourses that influence conditions of work in one sector of the cultural industries: what can loosely be defined as the ‘dance music industry’. It examines the role that networking and social relations play in maintaining a music scene through which work opportunities are created. The paper also explores how attitudes toward work in this particular cultural pursuit are emblematic of wider shifts in working practices within the cultural and creative industries. The findings are based on interviews with various DJs and promoters within dance and electronic music scenes in Sydney. It is argued that the boundaries between work and non-work, and between ‘industry’ and ‘scene’, are porous for those engaged in this form of cultural production, with a need to further discuss the implications of these observations for the future of cultural work under advanced capitalism.

scholarly journals Substantiating the Creative Industry Criteria

2021 ◽  
Vol 1 (516) ◽  
pp. 27-33
Author(s):  
I. M. Pererva ◽  
Keyword(s):  
Creative Industries ◽  
Industrial Society ◽  
Creative Industry ◽  
Cultural Industries ◽  
Organizational Models ◽  
Universal System ◽  
Theoretical Approaches ◽  
Definition Of ◽  
Cultural And Creative Industries

The article is aimed at researching the specifics and features of the concept of «creative industries» and defining the criteria that would identify activities as belonging to the creative sector precisely; studying the concept of «creative industries» and their relationship with «cultural industries»; disclosing the essence of various classifications of cultural and creative industries; generalization of theoretical approaches to the studies on this sector. As result of the research, the main approaches of scholars, practitioners and organizations on the definition of the concepts of «cultural industries» and «creative industries» and the peculiarities of the development of this sector of the economy are analyzed and disclosed. The genesis of these concepts in various literary sources is highlighted and the formation of the creative industry as an integral part in the transition from industrial society to intellectual is shown. The relationship and the proportion of cultural and creative industries are examined. The role of creative industries in innovative processes is considered, which allows to identify their impact on both economic and social development of society. Both the personal and the organizational models of classification of creative industries in historical retrospective of periods of creative industries development are provided. The peculiarities and characterizations of the models of classification of creative industries and the basic conditions for the inclusion of industries in the creative sector are determined. Based on the analysis and generalization, the main criteria are allocated that will allow identifying activities as belonging to the creative sector. Prospects for further research in this direction are the use of creative industry criteria to develop a universal system of classification of creative industries and a comprehensive idea of development of the creative sector in general.

scholarly journals Fashion Film and Genre Ecology

2016 ◽  
Vol 3 (2) ◽  
pp. 30-51 ◽  
Author(s):  
Synne Skjulstad ◽  
Andrew Morrison
Keyword(s):  
Cultural Production ◽  
Creative Industries ◽  
Communication Studies ◽  
Developmental Models ◽  
Production And Consumption ◽  
Advertising Strategies ◽  
Digital Branding ◽  
Genre Ecology ◽  
Media And Communication

We analyse the challenges and changing character, production and consumption of the emerging genre fashion lm through a genre as ecology approach. This approach accounts for the complexity of various rhetorical practices used within the creative industries, such as fashion. We find that digital mediation compels genre innovation in networked cultures in the mediation of fashion. We examine three fashion films to ascertain how they function as cultural production within web- and mobile-based communication and networked articulations. These need to be understood as part of distributed, polyvocal and multimodally mediated digital branding and advertising strategies that have largely not been addressed as genre by media and communication studies. Genre ecology is proposed as an addition to typological and developmental models of (media) genre innovation.

Cultural and Creative Industries

2018 ◽  
Author(s):  
Vicki Mayer
Keyword(s):  
Cultural Production ◽  
Mass Culture ◽  
Capital Accumulation ◽  
Culture Industry ◽  
Creative Industries ◽  
Critical Study ◽  
Creative Economy ◽  
Industrial Complex ◽  
Production Of Culture ◽  
Cultural And Creative Industries

The critical study of cultural and creative industries involves the interrogation of the ways in which different social forces impact the production of culture, its forms, and its producers as inherently creative creatures. In historical terms, the notion of “the culture industry” may be traced to a series of postwar period theorists whose concerns reflected the industrialization of mass cultural forms and their attendant marketing across public and private spheres. For them, the key terms alienation and reification spoke to the negative impacts of an industrial cycle of production, distribution, and consumption, which controlled workers’ daily lives and distanced them from their own creative expressions. Fears of the culture industry drove a mass culture critique that led social scientists to address the structures of various media industries, the division of labor in the production of culture, and the hegemonic consent between government and culture industries in the military-industrial complex. The crisis of capitalism in the 1970s further directed critical scholars to theorize new dialectics of cultural production, its flexibilization via new communications technologies and transnational capital flows, as well as its capture via new property regimes. Reflecting government discourses for capital accumulation in a post-industrial economy, these theories have generally subsumed cultural industries into a creative economy composed of a variety of extra-industrial workers, consumers, and communicative agents. Although some social theorists have extended cultural industry critiques to the new conjuncture, more critical studies of creative industries focus on middle-range theories of power relations and contradictions within particular industrial sites and organizational settings. Work on immaterial labor, digital enclosures, and production cultures have developed the ways creative industries are both affective and effective structures for the temporal and spatial formation of individuals’ identities.

Sign in / Sign up

Export Citation Format

Share Document