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.

scholarly journals The Benefit of Failure: On the Development of Ostrava’s Culture

2019 ◽  
Vol 11 (9) ◽  
pp. 2592 ◽  
Author(s):  
Jan Suchacek
Keyword(s):  
Research Question ◽  
Creative Industries ◽  
Cultural Industries ◽  
Structured Interviews ◽  
The Czech Republic ◽  
Cultural Management ◽  
Traditional Industry ◽  
Cultural And Creative Industries ◽  
The Town

Peculiar cultures are symptomatic for areas of traditional industry. The purpose of this paper is to analyze and evaluate cultural and creative industries in Ostrava, the third largest town of the country that at the same time constitutes a typical representative of old industrial urban fabrics in the Czech Republic. Special attention will be devoted to the emerging cultural clusters that appear to be indispensable in terms of sustainable cultural management. Unique qualities of Ostrava’s culture culminated in 2009, when the town decided to stand for the prestigious title of the European Capital of Culture. Finally, Ostrava did not succeed, nonetheless the contest vivified the discourse on Ostrava’s culture and a distinctive potential for the creation of cultural clusters was revealed. Semi-structured interviews accomplished with relevant actors of the town’s culture facilitated contextual interpretation of the role of cultural and creative industries as well as mapping the potential cultural clusters in the town. The research question posed in this article is as follows: do development effects formed by the concentration of creative and cultural industries in Ostrava exist? It turned out that the paths towards cultural management sustainability can differ substantially from recipes, which are well-proven in leading developed territories. The results of our analysis confirmed some developmental effects evoked by the concentration of cultural industries and cultural clusters in Ostrava can be identified, but genuine qualitative transformation towards a more cultural and sustainable milieu in Ostrava undoubtedly requires more time.

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.

Trolling in the Cultural and Creative Industries

2021 ◽  
pp. 46-71
Author(s):  
Avina Mendonca ◽  
Premilla D'Cruz ◽  
Ernesto Noronha
Keyword(s):  
Literature Review ◽  
Creative Industries ◽  
Future Research ◽  
Cultural Industries ◽  
Research Directions ◽  
Cultural Workers ◽  
External Sources ◽  
Future Research Directions ◽  
Cultural And Creative Industries ◽  
Interpersonal Level

This chapter presents an international state-of-the-art literature review of abusive trolling experienced by workers in the creative and cultural industries (CCIs), bringing target experiences and organizational/occupational perspectives to the forefront and contributing to the still-evolving understanding of trolling. The abusive trolling encountered by creative and cultural workers essentially reflects workplace cyberbullying at the interpersonal level stemming from external sources, as captured by D'Cruz and Noronha's ‘varieties of workplace bullying' framework, and provides evidence for the category-based cyber abuse at the workplace. Apart from discussing the responses of creative and cultural workers to abusive trolling, interventions employed to manage trolling in the CCIs are reviewed and future research directions are forwarded.

scholarly journals Funky Days Are (Not) Back Again: Cool Britannia and the Rise and Fall of British South Asian Cultural Production

2020 ◽  
Vol 17 (1) ◽  
pp. 6-23
Author(s):  
Anamik Saha
Keyword(s):  
South Asian ◽  
Cultural Production ◽  
Cultural Policy ◽  
Creative Industries ◽  
Cultural Industries ◽  
Production Studies ◽  
Television Film ◽  
British Asians ◽  
The Moment ◽  
The Uk

This article explores the conditions that led to the rise and fall of British South Asian cultural production. Following a high point in the 1990s when for the first time a South Asian diasporic presence was felt in British popular culture, across television, film, music, literature and theatre, Asians have now returned to the periphery of the cultural industries. But this is not a simple case of British Asians falling in and out of fashion. Rather, as this article explores, British Asian cultural producers were enabled but then ultimately constrained by shifts in cultural policy (and specifically ‘creative industries’ policy) and, more broadly, by the politics of multiculturalism in the UK and beyond. In particular, it focuses on the moment of New Labour and ‘Cool Britannia’ as a significant cultural and political moment that led to the rise and subsequent demise of British Asian cultural production. Through such an analysis the article adds to the growing body of work on race and production studies. It demonstrates the value of the historical approach, outlined by the ‘cultural industries’ tradition of political economy, which is interested in how historical forces come together to produce a particular set of institutional and social arrangements that shape the practices of British Asian creative workers. While the article foregrounds television and film, it explores the field of British Asian cultural production more broadly and, in doing so, marks the ascendency of the ‘diversity discourse’ that characterises cultural policy in the present day.

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 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 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 THE CONCEPT OF CULTURAL AND CREATIVE INDUSTRIES IN THE EUROPEAN ACADEMIC FIELD AND POLICIES OF THE EU AND GREAT BRITAIN

2017 ◽  
pp. 74-78
Author(s):  
I. I. Parkhomenko
Keyword(s):  
Sustainable Development ◽  
Creative Industries ◽  
Cultural Value ◽  
Cultural Industries ◽  
Academic Field ◽  
Goods And Services ◽  
Critical Interpretation ◽  
The Uk ◽  
Cultural And Creative Industries ◽  
The Eu

Current European integration course in Ukraine requires rethinking Ukrainian scientific and policies meaning of the cultural sphere as the set of cultural industries, which produce and distribute goods or services with special cultural value, irrespective of the commercial value they may have. According to the main UN Resolutions, UNESCO Conventions and legal activity of the European Commission since 90th of XX century cultural assets are considered to be - an instrument and resource of economic, cultural and social sustainable development of states, cities and regions. New conditions require scientific methods for modelling Ukrainian cultural industries, identification of the priority industries. Besides the concept of cultural industries European scientists and governmental officials, use the concept of creative industries, especially, for the policymaking. All that show the need for clarification of these concepts in Ukrainian scientific field and policies making practice for governmental purposes. The purpose of this article is to study the meaning of the concepts of cultural and creative industries according to the European scientific discourse and policies making documents in the EU and the UK. The article shows that modern European scientists do not use the tradition of critical interpretation of the cultural industry, which was offered by representatives of the Frankfurt School in the mid-twentieth century. Scientists improve concepts to identify the sphere of culture as an economic reality, which is reflected in the specific governmental documents of the UK, the EU and UNESCO for policies making to improve sustainable development. The models of cultural and creative industries offer a logic of distinction according to the basis of the value component: the output of the creative activity has utility that is more functional for the consumers; it could be a component of the production of other industries, not only cultural industries. Cultural output has cultural value. The purpose of the creative industries is to produce goods and services for the commercial trade. Cultural industries produce cultural content, which embodies or conveys cultural expressions.

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