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

2018 ◽  
Author(s):  
Orian Brook ◽  
Dave O'Brien ◽  
Mark Taylor
Keyword(s):  
Cultural Production ◽  
Race And Ethnicity ◽  
Social Life ◽  
Dominant Mode ◽  
Creative Industries ◽  
British Society ◽  
Structural Barriers ◽  
White Middle Class ◽  
Marginalised Groups ◽  
Outright Rejection

Cultural production is crucial in shaping society. Recent scholarship has drawn attention to the way that the occupations involved with cultural production, brought together under the banner of cultural and creative industries (CCIs), do not reflect the demographics of British society. In particular, research has demonstrated significant exclusions based on gender (e.g. Conor et al 2015), race and ethnicity (e.g. Saha 2018, Nwonka and Malik 2018), and class (e.g. Hesmondhalgh 2018). This paper seeks to understand how these inequalities are maintained by looking at a comparatively under-researched group: senior men in positions of power making decisions in CCIs. The paper presents data from 32 interviews with senior men across a range of CCI occupations, conducted as part of a larger set (N=237) of interviews on inequality and careers in CCIs. The analysis shows that misrecognition and outright rejection of inequalities is now unusual; that ‘inequality talk’ and the recognition of structural barriers for marginalised groups is a dominant mode for senior CCI men; that gentlemanly tropes and the idea of luck, rather than structural advantages, were used by senior men to explain their own success and separate and distance them as individuals from the inequalities they described; and that men felt they had limited capacity to effect genuine change in the context of a set of occupations they understood as fairer than other professions. Overall, the analysis shows how ‘inequality talk’ and the awareness of structural issues differs significantly from senior CCI men’s own accounts of their career success. This difference, and 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 inequality in other professions and areas of social life.

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.

MAPPING VILNIUS AS CREATIVE CITY / VILNIAUS KAIP KŪRYBINIO MIESTO ŽEMĖLAPIO KONTŪRAI

2011 ◽  
Vol 4 (1) ◽  
pp. 89-100 ◽  
Author(s):  
Jūratė Černevičiūtė
Keyword(s):  
Cultural Production ◽  
Social Life ◽  
Urban Economy ◽  
Creative Industries ◽  
Creative City ◽  
Cultural Districts ◽  
The World ◽  
Business Enterprises ◽  
Urban Complex ◽  
The City

Urban development is increasing the ability to develop a distinct and attractive position in the world. Cities are changing their role as the cultural production sites as well as the life style and creativity become the material for the creative industries development. The creative city is understood as an urban complex, where a variety of cultural activities are an integral part of the urban economy and social life. The concept of creative city has not yet been well established: we can point to even three such concepts, highlighting different agency of the creative city – from the creative city-dwellers to the business enterprises of the creative industries. On the basis of the creative city concept, the article analyses Vilnius city, revealing the most important factors, which promote the creativity of the city: the organizations and activities of Arts category; business enterprises and projects of Media category; active creative and civil communities of the city. The activity of the creative communities takes on an expression in the forms of emerging cultural districts in Užupis, Naujamiestis and Pilaitė. The above-mentioned activities of the categories of creative industries are illustrated on the basis of the data, collected under the development of The Map of Vilnius Creative Industries. The article concludes that the weakest activity in Vilnius city is the economic clustering of the business enterprises of creative industries. Santrauka Miestų raida vis labiau priklauso nuo gebėjimo plėtoti aiškią ir patrauklią laikyseną pasaulyje. Miestai tampa kultūros gamybos centrais, o miestiečių gyvensena ir kūrybiškumas – medžiaga kūrybinių industrijų plėtrai. Kūrybinis miestas suprantamas kaip miesto kompleksas, kuriame įvairios kultūrinės veiklos neatsiejamos nuo miesto ekonomikos ir socialinio gyvenimo. Kūrybinio miesto samprata iki šiol nėra nusistovėjusi: galima išskirti net tris tokias sampratas, išryškinančias skirtingus kūrybinio miesto veiksnius – pradedant kūrybingais miestiečiais, baigiant kūrybinių industrijų verslo įmonėmis. Remiantis kūrybinio miesto samprata, straipsnyje analizuojamas Vilnius, išryškinami svarbiausi miesto kūrybingumą skatinantys veiksniai: menų kategorijos organizacijos ir veiklos; medijų kategorijos verslo įmonės ir renginiai; aktyvios miesto kūrybinės ir pilietinės bendruomenės. Kūrybinių bendruomenių aktyvumas konkrečią išraišką įgauna mieste besiformuojančių kultūros kvartaų pavidalu Užupyje, Naujamiestyje ir Pilaitėje. Minėtų kūrybinių industrijų kategorijų veiklos iliustruojamos duomenimis, kurie buvo surinkti rengiant Vilniaus kūrybinių industrijų žemėlapį. Straipsnyje daroma išvada, kad silpniausiai mieste vyksta ekonominė kūrybinių industrijų įmoni ų klasterizacija.

Culture and Commerce

2017 ◽  
Author(s):  
Mukti Khaire
Keyword(s):  
Cultural Change ◽  
Cultural Production ◽  
Field Research ◽  
Market Mechanism ◽  
Creative Industries ◽  
Royal Patronage ◽  
Commerce Building ◽  
Production And Distribution ◽  
Necessary Evil ◽  
The Relationship

This book describes how commercial ventures in creative industries have cultural impact. Since royal patronage of arts ended, firms in the creative industries, working within the market mechanism, have been responsible for the production and distribution of the cultural goods—art, books, films, fashion, and music—that enrich our lives. This book counters the popular perception that this marriage of art and business is a necessary evil, proposing instead that entrepreneurs who introduce radically new cultural works to the market must bring about a change in society’s beliefs about what is appropriate and valuable to encourage consumption of these goods. In so doing, these pioneer entrepreneurs change minds, not just lives; the seeds of cultural change are embedded in the world of commerce. Building on theories of value construction and cultural production, integrated with field research on pioneer firms (like Chanel and the Sundance Institute) and new market categories (like modern art and high fashion in India), the author develops conceptual frameworks that explain the structure and functioning of creative industries. Through a systematic exposition of the roles and functions of the players in this space—creators, producers, and intermediaries—the book proposes a new way to understand the relationship among markets, entrepreneurship, and culture. Khaire also discusses challenges inherent in being entrepreneurial in the creative industries, paying special attention to the implications of digitalization and globalization, and suggests prescriptive directions for individuals and firms wishing to balance pecuniary motivations with cultural convictions in this rapidly changing world.

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

scholarly journals A GOOD LIFE? CRITICAL FEMINIST APPROACHES TO INFLUENCER ECOLOGIES

2020 ◽  
Author(s):  
Zoë Glatt ◽  
Sarah Banet-Weiser ◽  
Sophie Bishop ◽  
Francesca Sobande ◽  
Elizabeth Wissinger ◽  
...  
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Good Life ◽  
Social Economic ◽  
Creative Industries ◽  
The Good Life ◽  
Barriers To Entry ◽  
High Profile ◽  
Social Media Platforms

Social media platforms are widely lauded as bastions for entrepreneurial self-actualisation and creative autonomy, offering an answer to historically exclusive and hierarchical creative industries as routes to employability and success. Social media influencers are envied by audiences as having achieved ‘the good life’, one in which they are able to ‘do what they love’ for a living (Duffy 2017). Despite this ostensive accessibility and relatability, today’s high-profile influencer culture continues to be shaped by ‘preexisting gendered and racial scripts and their attendant grammars of exclusion’ as Sarah Banet-Weiser (2012) argued in the early days of socially mediated entrepreneurship (p. 89; see also Bishop, 2017). In Western contexts only a narrow subset of white, cis-gender, and heterosexual YouTubers, Instagrammers, TikTokers, and Twitch streamers tend to achieve visibility as social media star-creators, and celebratory discourses of diversity and fairness mask problematic structures that exclude marginalized identities from opportunities to attain success. A key aim of this panel is thus to draw attention to marginalized creator communities and subjectivities, including women, non-white, and queer creators, all of whom face higher barriers to entry and success. More broadly, by taking seriously both the practices and discourses of social media influencers, the panellists aim to challenge popular denigrations of influencers as vapid, frivolous, or eager to freeload. We locate such critiques in longstanding dismissals of feminized cultural production (Levine, 2013) and argue, instead, that we need to take seriously the role of influencers in various social, economic, and political configurations.

scholarly journals The role of cultural industries in modern cultural life of the region (on the example of N. D. Neustroev's comedy “Tieteybit”)

2021 ◽  
pp. 47-52
Author(s):  
Nurgun Vyacheslavovich Afanasev ◽  
Ul'yana Valer'evna Titova
Keyword(s):  
Cultural Heritage ◽  
Social Life ◽  
Creative Industries ◽  
Creative Industry ◽  
Young Generation ◽  
Regional Culture ◽  
Classical Literature ◽  
Cultural Life ◽  
The Impact

The object of this research is the role of the comedy “Tieteybit” by N. D. Neustroev in cultural life of the Sakha Republic (Yakutia). The subject is the impact of modern creative industries upon cultural life of the region. On the example of Nikolay Denisovich Neustroev's comedy play “Tieteybit”, the authors examine the use of creative approaches towards preservation and popularization of cultural heritage of the Sakha people. It is noted that over the recent years, a major event in the development of spiritual culture and cultural life of the region overall has become the innovations introduced by the contemporaries in staging the Yakut comedies. Motifs of the comedy “Tieteybit” served as the prototype for staging the the first Yakut musical comedy, and even a film. A survey was conducted touching upon the following questions: are the innovations introduced in culture in form of a screen version of classical literature with the elements of innovation encourage the young generation to studying the Yakut cultural heritage?; what is the relevance of the work by N. D. Neustroev “Tieteybit”? The conclusions is made that in the XXI century, N. D. Neustroev's comedy “Tieteybit” has become one of the basics for the development of creative industry of the region. As an instrument for the development of regional culture, creative industry may play the strongest and highly effective role in the development of social life of the region.

scholarly journals The Invisible Institution? Reconstructing the History of BAFTA and the 1958 Merger of the British Film Academy with the Guild of Television Producers and Directors

2020 ◽  
Vol 17 (4) ◽  
pp. 449-472
Author(s):  
Emma Pett ◽  
Helen Warner
Keyword(s):  
Historical Context ◽  
Creative Industries ◽  
British Society ◽  
Film And Television ◽  
History Of ◽  
The Media ◽  
Post War ◽  
Training Schemes ◽  
Set Up ◽  
Television Producers

As a cultural institution of national and global significance, the British Academy of Film and Television Arts (BAFTA) is notably absent from existing scholarship on the media industries. More importantly, BAFTA's role as an independent arts charity set up by the industry to support and develop new talent is often overlooked. Instead, references to BAFTA made by media and film scholars most frequently take the form of footnotes or digressions that detail particular awards or nominations. Drawing on a range of archival sources, including BAFTA's own records, we address this significant omission within existing scholarship on the British cultural and creative industries. In particular, we examine the period 1947–68, focusing on the 1958 merger of the British Film Academy with the Guild of Television Producers and Directors to form a new institution, known as the Society of Film and Television Arts (SFTA, later renamed BAFTA). This was achieved despite the well-documented tensions existing between the two industries throughout the period, which we identify and analyse within this historical context. We argue that a crucial factor driving the 1958 merger was the desire to develop quality training schemes across both industries. This, in turn, was partly enabled by an egalitarian turn in post-war British society towards the development of greater social equality and mobility. In reconstructing these events, we therefore interrogate and reassess the role played by this key national institution on the development of the creative and cultural industries, offering an expansion and revision of scholarship on media histories of post-war Britain.

scholarly journals Engaged Humanities. New Perspectives of Experience-Oriented Humanities

2018 ◽  
Vol 15 (1) ◽  
pp. 47-55
Author(s):  
Klaudia Muca
Keyword(s):  
Disability Studies ◽  
Cultural Production ◽  
Social Life ◽  
Social Groups ◽  
Social Sustainability ◽  
Scientific Texts ◽  
New Model ◽  
Social Sphere ◽  
The Disabled ◽  
The Status

Abstract The term engagement was used in critical cultural studies as a term that name an attitude of scholars, and a feature of cultural and scientific texts, that are based on the experience of an individual or a group of people. In the recent two decades, many of Polish academic narrations on the field of cultural production focused on the issue of engagement. In the article, a phenomenon of engagement in the context of disability studies is considered. The main objective of the article is the analysis of disability studies as a new model of experience- oriented discipline. What is particularly interesting is a possibility to relabel experiences of the disabled as a significant report on the status of modern narrations, which should include different minority bodies. The main aim of disability studies is to present a project of engaged attitudes towards social sustainability that is not based on exclusions of any social groups of people. Studies on disability are also introduced as an experience-oriented discipline in the field of engaged humanities. This article aims at presenting critical narrations on the issue of engagement in other to connect disability studies to the engaged humanities. Promoting engagement in many areas of culture and social life seems to be a way of introducing more open politics towards difference, and social sphere of life that is equally accessible for everyone.

Reducing Structural Barriers to Improve the Social Life of Three Adults with Severe Disabilities

1997 ◽  
Vol 22 (3) ◽  
pp. 138-150
Author(s):  
Kate Werner ◽  
Robert H. Horner ◽  
J. Stephen Newton
Keyword(s):  
Social Life ◽  
Severe Disabilities ◽  
Future Research ◽  
Social Activities ◽  
Structural Barriers ◽  
Baseline Design ◽  
Social Barriers ◽  
The Social ◽  
Independent Variable ◽  
The Stability

Social life can be diminished by barriers inadvertently associated with “support.” Social barriers were identified for three adults with severe intellectual disabilities. A multiple baseline design across subjects was used to examine the effects of removing these barriers on the social life of each participant. The dependent variables in the study were (a) the number of social activities done per week, (b) the number of different people with whom social activities were done each week, and (c) the stability of social relationships across time as indexed by the number of different weeks in which activities occurred with a companion across the 27 weeks of the study. The independent variable was a seven-component “barrier reduction” package. Support staff were taught to use each component of the package, and pre-post measurement of package use was obtained. Results indicate that the staff successfully implemented the barrier reduction package, and that implementation was associated with change in the social life of each participant. The study raises implications for (a) assessing structural barriers, (b) modifying structural barriers, and (c) measurement of “social stability” as an important index of social life for future research.

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