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Hesmondhalgh. Cultural and Creative Industries. - Coggle Diagram
Hesmondhalgh. Cultural and Creative
Industries.
MAIN CLAIM
the term ‘creative industries’ represents a refusal of the forms of critical analysis associated with the cultural industries approach
neoliberalism
THE CULTURAL INDUSTRIES
IN THEORY
A common misconception about the term :recycle: Adorno and Horkheimer’s critique of ‘the Culture Industry’
political economy of culture
approach
Garnham: high risks associated with capital investment in the media area
high production costs BUT reproduction costs
are usually very low =
high ratio of production to reproduction costs
the cultural commodities produced by cultural industries act as
"public goods"
- goods where the act of consumption by one individual does not reduce the possibility of consumption by others > how to control
the circulation of these goods
‘formatting’ (Ryan, 1992): to identify products with particular stars, or as particular genres, or as part of a serial.
artificial scarcity by control of release
schedules, and via limitations on copying
this approach avoids portraying
cultural producers
as monolithically powerful actors.
Emphasis on contradiction and complexity
THE CULTURAL INDUSTRIES
IN POLICY
The first impact on cultural policy - through the auspices
of UNESCO (1982)
the more lasting - IN LOCAL rather than
international cultural policy
government cultural subsidy tended to go mainly to the ‘classical’,legitimated arts, the principal exceptions being public broadcasting and film
Greater London Council
against elitist and idealist notions of art
cultural policy should take full account of
the fact that most people’s cultural tastes + practices were shaped by commercial forms of culture and by public service broadcasting
policy should be focused on distribution and exhibition – reaching the audiences
public investment in this sector as a means to
economic regeneration
:recycle: desire in the 1980s and 1990s to think about all areas of public policy
in terms of a return on public investment
><
neoliberalism
linked to the goals of regeneration and employment
creation
economic and social effectiveness of local cultural policies oriented towards the cultural industries remains controversial
THE RISE OF CREATIVITY: CITIES,
CLUSTERS AND UK NATIONAL POLICY
creative cities & creative clusters
promoting cultural diversity and democracy, place-marketing in the interests of tourism and employment, stimulating a more entrepreneurial approach to the arts and culture
National creative industries policy
the defence of intellectual property became associated with ‘the moral prestige of the “creative artist”
a discourse of skills
based on an ‘artist’-centred
notion of subsidy rather than an audienceoriented policy of infrastructural support
CREATIVITY AND CREATIVE
INDUSTRIES THEORY
Richard Florida on he
role of creativity in modern economies
‘the rise of human creativity as the key factor in our economy and society’
CRITIQUING CREATIVE INDUSTRIES
POLICY AND THEORY
CREATIVE LABOUR AS THE BASIS FOR A CRITIQUE OF CREATIVE INDUSTRIES POLICY
A new international division
of cultural labour
the purchase of, or partnership with, non-US firms by US corporations and financial institutions
the use of cheaper sites
overseas for animation
the harmonization
of copyright law and practice
runaway production – the practice of shooting
Hollywood films overseas
Autonomist Marxism
the concept of immaterial labour – ‘labor
that produces an immaterial good, such as a service, a cultural product, knowledge, or communication’