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 ‘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.

scholarly journals ДО ПИТАННЯ КОНЦЕПТУАЛІЗАЦІЇ ПОНЯТТЯ КУЛЬТУРНИХ ТА КРЕАТИВНИХ ІНДУСТРІЙ

2019 ◽  
pp. 91-99
Author(s):  
Nataliia Valeriivna Shakun
Keyword(s):  
Social Transformation ◽  
Creative Industries ◽  
Creative Economy ◽  
Cultural Industries ◽  
The European Union ◽  
Initial Stage ◽  
Wide Range ◽  
European Philosophy ◽  
Western Experience ◽  
Cultural Sector

Urgency of the research. In the context of the Ukraine’s integration into the European Union, it is necessary to take into account the advanced western experience in the development of the cultural sector, to rethink it taking into account our native, ethno-mental specifics. Target setting. The study of the processes of social transformation in modern Ukraine involves the development and analysis of new concepts that can reproduce them and comprehensively present them theoretically. They include the concept of cultural and creative industries. Actual scientific researches and issues analysis. The theme of the culture-creating potential of creative industries is developed by such scientists as Ye. Bohatyrova, O. Lazarieva, S. Oliinyk, I. Petrova, V. Solodovnyk et al. Uninvestigated parts of general matters defining. Consequently, the priority for the research are the concept, prerequisites for the emergence and prospects of the formation of creative industries. The research objective. The purpose of the publication is the study of the role of creative (cultural) industries with the analysis of the origin and semantic layers of the concept "culture", "creativeness", "creativity" and derivatives of the terms "cultural industries" and "creative industries", which today are often used in scientific studios. The statement of basic materials. There are significant differences in the interpretation of the term "creative industries" even at the initial stage of its study. The great attention of scientists to the problems of the creative economy and creative industries, a wide range of approaches and the phenomena under investigation generate the ambiguity of this concept, which is relatively new in the Ukrainian scientific discourse. An analysis of the semantic load of the term “creative industry” and the peculiarities of its interpretation by foreign and domestic scientific thought allows us to state that the problem of interaction between culture and economics at the present stage of social transformation becomes common in the aforementioned studies. Conclusions. A comprehensive study of the phenomenon of creative industries is possible only if we take into account the multiplicity of approaches to the interpretation of culture in Western European philosophy and the peculiarities of the interpretation of culture in the context of domestic worldview tradition.

scholarly journals The scope of criminal liability for misappropriation of authorship in EU countries: comparative analysis

2020 ◽  
pp. 192-217
Author(s):  
Ramunė Steponavičiūtė
Keyword(s):  
Intellectual Property ◽  
Criminal Liability ◽  
Legal Protection ◽  
Modern Society ◽  
Cultural Development ◽  
The European Union ◽  
Ways Of Coping ◽  
Eu Countries ◽  
The World ◽  
The Eu

Intellectual property legal protection is undoubtedly one of the most important factors and conditions of effective economic, social and cultural development in modern society. According to researchers, absolute majority of countries in the world have set criminal liability for certain crimes against intellectual property rights, including all of the European Union (hereinafter – EU) countries. One of those crimes is misappropriation of authorship. Yet the criminal laws of EU countries criminalise misappropriation of authorship very differently - some protect not only author rights but also related rights, the conditions for criminal liability in the general corpus delicti are of a very different scope as well as the punishments for those crimes differ significantly. This analysis will present the scope of criminal liability in all the EU countries, including the reasons why, as well as will try to find the answer whether ways of coping with these difficulties exist.

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 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 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 Of Culture, the Economy, Cultural Production, and Cultural Producers: An Orientation

1994 ◽  
Vol 19 (3) ◽  
Author(s):  
Rowland Lorimer ◽  
Nancy Duxbury
Keyword(s):  
Cultural Production ◽  
Relevant Literature ◽  
Cultural Development ◽  
Cultural Industries ◽  
Cultural Workers ◽  
Closed Economies ◽  
Development Policies ◽  
Cultural Implications ◽  
The Status ◽  
Policies And Programs

Abstract: The task of this orientation paper is to connect the explorations of cultural industries that are contained in the following papers to a concern with cultural development broadly defined in Canada's opening economy. It addresses this task in Parts I and II by defining a series of connecting terms and reviewing the adequacy of the relevant literature. Part I outlines the nature of culture and cultural development, four models of cultural development, cultural development policies and programs, and cultural development and political realities. Part II discusses the economy, open and closed economies, and the likely socio-economic and socio-cultural implications of Canada's opening economy. Part III considers the nature of the infrastructure which supports cultural industries in Canada. It then turns to provisions for education in the creative arts and the status of cultural workers. Résumé: Le but de cet article d'orientation est d'associer les explorations des industries culturelles dans les articles qui suivent à un souci de développement culturel se manifestant dans l'économie canadienne en voie d'ouverture. L'article adresse cette question dans les parties I et II en définissant une série de termes pertinents, et en évaluant la documentation ayant rapport au sujet. La première partie parle brièvement de culture et de développement culturel, de quatre modèles de développement culturel, des politiques et programmes de développement culturel, et du rapport entre développement culturel et réalités politiques. La deuxième partie discute l'économie en général, les économies ouvertes et fermées, et les effets socio-économiques et culturels probables de l'ouverture de l'économie canadienne. La partie III considère la nature de l'infrastructure qui soutient les industries culturelles au Canada. Elle examine ensuite des efforts d'instaurer une éducation dans les arts et le statut de travailleurs culturels.

scholarly journals Co-operatives in the Cultural Industries

2015 ◽  
Vol 13 (1) ◽  
Author(s):  
Marisol Sandoval ◽  
Jo Littler ◽  
Robin Murray ◽  
Rhiannon Colvin ◽  
Sion Whellens ◽  
...  
Keyword(s):  
Cultural Production ◽  
Culture Industry ◽  
Creative Industries ◽  
Individual Responsibility ◽  
Cultural Work ◽  
Cultural Industries ◽  
Senior Lecturer ◽  
Birkbeck College ◽  
The Government ◽  
Cultural Commons

This podcast is a recording of a roundtable discussion on Co-operatives in the Cultural Industries, that took place at City University London on April 1, 2015, organised by Marisol Sandoval and Jo Littler. Speakers were Robin Murray, Rhiannon Colvin, Sion Whellens and Tara Mulqueen. The lives of cultural workers are complex and contradictory; often combining work satisfaction, pleasure and autonomy with job insecurity, low pay, long hours, anxiety and inequality.The roundtable discussed the potentials and limits of worker co-operatives as an alternative way of organizing cultural work. It explored how worker co-operation might contribute to new collaborative forms of cultural production; how they do, or might, strengthen a 'cultural commons'; and the role cultural co-ops play in the wider context of movements for workers' rights. Questions that were discussed include: To what extent can worker co-operatives be a means to confront precariousness and individualisation in work in the cultural sector? Do worker co-ops open up new possibilities for the collaborative production of cultural commons? What role can worker co-operatives play within a broader movement for creating more just, equal and humane cultural work and an alternative to capitalist economies? Where lies the boundary between neoliberal calls for self-help and individual responsibility and a radical co-op movement? What is the relation between worker co-ops and other forms of progressive politics such as the union movements, social protests and civil society activism? Can cultural co-ops contribute to reinventing the meaning and practice of work in the 21st century? About the speakers:Marisol Sandoval is a Lecturer at the Department of Culture and Creative Industries at City University London. Her research critically deals with questions of power, responsibility, commodification, exploitation, ideology and resistance in the global culture industry. Jo Littler is Senior Lecturer at City University London's Department of Culture and Creative Industries. Her work explores questions of culture and power from an interdisciplinary, cultural studies-informed perspective. Rhiannon Colvin after graduating in 2010 to find the world of work competitive and brutal, Rhiannon founded AltGen to empower young graduates to get together and create their own work. http://www.altgen.org.uk/ Tara Mulqueen is a PhD candidate at Birkbeck College School of Law. Her thesis concerns the development of legislation for co-operatives in the 19th century. Robin Murray is an industrial economist. He was Director of Industry at the Greater London Council (GLC) in the 1980s, and has been a Research Fellow at the University of Sussex, the Director of Development for the Government of Ontario and co-founder of Twin and Twin Trading. He is an associate of Co-operatives UK and author of Co-operation in the age of Google. http://www.uk.coop/ageofgoogle Sion Whellens is a member of the graphic design and print co-operative Calverts. As part of the Principle Six partnership, he also advises and supports co-ops in creative industries. http://www.calverts.coop

Ottoman Painter’s Society

2018 ◽  
Author(s):  
Wendy Shaw
Keyword(s):  
Ottoman Empire ◽  
Cultural Production ◽  
Fine Arts ◽  
Modern Society ◽  
Professional Organization ◽  
Book Arts ◽  
Artistic Production ◽  
The Arts ◽  
Production And Consumption ◽  
Constitutional Revolution

Established in 1909, the Society of Ottoman Artists (Osmanlı Ressamlar Cemiyeti) was the first professional organization of artists in the Ottoman Empire. Initiated by the artist Mehmet Ruhi Arel and financed by Prince Abdülmecid, it aimed to integrate artistic production and consumption into the modern society envisioned after the Second Constitutional Revolution. By including practitioners of traditional book arts in addition to artists working in Western modes of painting and sculpture, it reflected an integrated vision of modern local cultural production. It disseminated technical and historical information about the arts in the Ottoman and European traditions through its Journal of the Society of Ottoman Artists. After its dissolution in 1919 due to the instability of the Ottoman Empire, similar organixations were established including the Society of Turkish Painters (Türk Ressamlar Cemiyeti, 1921), the Union of Turkish Fine Arts (Türk Sanayii Nefise Birliği, 1926), and the Güzel Sanatlar Birliği (1929). Following nearly a century of reforms, which implemented a mode of modernization modeled after Europe, the Second Constitutional Revolution of 1909 realized a long-standing dream among many progressives to establish a constitutional monarchy. It followed the long reign of Sultan Abdülhamid II (1876–1909), who had used the war with Russia in 1877 to foil the first constitutional revolution, following his ascension to power after a coup against Sultan Abdulaziz the previous year.

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.

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