Creative Industries

Culture & Médias 2030 (note de lecture)

by Cyprien Tasset

'Treating it as a normal business': Researching the pornography industry

by Georgina Voss

Forthcoming in 'Sexualities', 2012.

This article examines the lack of research on the pornography industry and the means of addressing this situation.... more This article examines the lack of research on the pornography industry and the means of addressing this situation. Much contemporary pornography research invokes the apparent economic prowess of the pornography industry as justification for its work, yet focuses on the product and its reception rather than on the industry that produces it. In this paper I identify and discuss the specific institutional challenges around studying pornography within business studies, and also the opportunities that arose through this work. The research methods used in this study of the North American pornography industry are presented and discussed, together with considerations around access, authentication, and stigma. I challenge the dependence by current scholars on secondary data about the industry by offering theoretical frameworks and methodological approaches with which to gather rich empirical material, thus furthering the wider field of pornography research.

User innovation in the music software industry: The case of Sibelius

by Georgina Voss

Book chapter. Forthcoming in 'The Oxford Handbook of the Creative Industries', 2012. Co-authored with Stephen Flowers

The trouble with creatives: Negotiating creative identity in advertising agencies. Hackley, C., Kover, A.

by Chris Hackley

Hackley, C., Kover, A. (2007) The trouble with creatives: Negotiating creative identity in advertising agencies.International Journal of Advertising 26(1), pp. 63–78

Advertising creatives are often characterised in terms of stereotypes such as genius or maverick. Relatively few... more Advertising creatives are often characterised in terms of stereotypes such as genius or maverick. Relatively few studies have focused on the complexities and contradictions
that face creatives in their professional role. In this paper we draw on depth interviews conducted with a small sample of senior-level creatives working in a cross-section of New
York agency settings to explore the ways in which they negotiate and resolve their senses of personal and professional identity. We find that ad agencies are a site of conflict and
insecurity for these creatives, yet also of potential fulfilment. We suggest that these creatives may be complicit in the conflict because their sense of professional identity has a
substantial investment in it. We suggest that the advertising industry has not evolved working practices that fully assimilate those creatives who experience such dilemmas of
identity.

From Data to Wisdom: Building the Knowledge Base for Cultural Policy

by Colin Mercer

Originally prepared as a Challenge Paper for the Accounting for Culture: The Building Blocks of Cultural Citizenship conference, Ottawa, 2003. Published online by the European Cultural Foundation in 2004 in its Insight Magazine, No. 3, December 2004

GoGlobal: How can contemporary design collaboration and e-commerce models grow the creative industries in developing countries?

by Ashley Hall

IASDR 2009, Seoul, S. Korea
Co-authored with Prof Tom Barker

Using previous case studies by the authors and a current live project, this paper considers whether the creative... more Using previous case studies by the authors and a current live project, this paper considers whether the creative industries in a developing country (Ghana, Africa) can be nurtured through design collaboration and an e-commerce model to contribute significant economic growth through increasing international trade. The paper draws on practical experience of five annual projects, with a focus on GoGlobal Africa. Initiated in 2005, GoGlobal is a collaborative design research activity between the University of Technology Sydney, the Royal College of Art, the London School of Economics, RMIT Melbourne, and other partnering organisations. GoGlobal Africa was initiated in 2008 with 3 phases: creative studio with design students from the RCA UK and KNUST Ghana; an e-commerce process for supply, distribution and marketing; and a “hub” location to facilitate project delivery and dissemination. The context to GoGlobal is informed by the UNCTAD studies of global creative industries.

Professional capabilities for 21st century creative careers : lessons from outstandingly successful Australian artists and designers

by Ruth Bridgstock

Artists and designers are positioned at the centre of the 21st century creative economy. In order to recognise and... more Artists and designers are positioned at the centre of the 21st century creative economy. In order to recognise and make the most of the opportunities afforded by this new era, artists and designers still require the creativity, disciplinary depth of knowledge, and technical skills traditionally possessed by professionals in these fields – skills which are a core strength of higher and further art and design education. However, they may also require a range of other, ‘21st century’ creative capabilities which are harder to define, teach for and assess, and are not the focus of traditional art and design pedagogies. This article draws upon the findings of nine in-depth interviews with award-winning Australian artists and designers about their careers and working practices, along with recent international research about the characteristics of the 21st century creative career, in order to highlight the importance of certain professional capabilities for art and design. It discusses the implications of these findings for art and design educators in universities, and curricular and pedagogic considerations associated with embedding these capabilities into undergraduate courses.

Ceci n'est pas un cluster: Die junge Architekturindustrie in Santiago de Chile

by Ignacio Farías

(2010) published in WZB Mitteilungen

Bilder können den Betrachter täuschen. Die räumliche Agglomeration kreativer Industrien (Abb. 1) und insbesondere des... more Bilder können den Betrachter täuschen. Die räumliche Agglomeration kreativer Industrien (Abb. 1) und insbesondere des Architektursektors (Abb. 2) in Santiago de Chile ist eindeutig und kann schnell zur Annahme führen, dass Architekturproduktion hier als Cluster organisiert ist. Der Architektursektor sieht zwar wie ein Cluster aus, aber er verhält sich nicht so. In der wissenschaftlichen Literatur und in der Politik wird oft übersehen, dass der Clusterbegriff viel mehr als eine räumliche Agglomeration spezialisierter produktiver Aktivitäten bezeichnet. Damit werden starke Annahmen über den Typ produktiver Akteure, die Organisation der Kollaboration in industriellen Distrikten und die Innovationsdynamik gemacht, deren Gültigkeit in der aktuellen Forschung zu Kultur- und Kreativindustrien zunächst unklar bleibt. Durch ihre Abweichungen vom Clustermodell bietet sich der Architektursektor in Santiago de Chile als einschlägiger Fall, nicht nur, um die Grenzen des Clusterbegriffes zu beleuchten, sondern auch, um Konfigurationen agglomerierter Kulturproduktion neu zu überdenken.

Halifax’s Nocturne and the spectacle of neoliberal civics

by Max Haiven

Forthcoming in the journal Public, no.45, 2012.

Halifax’s Nocturne: Art at Night has been met with almost universal enthusiasm from both the city’s arts community as... more Halifax’s Nocturne: Art at Night has been met with almost universal enthusiasm from both the city’s arts community as well as local political and business elites. This essay argues that, while there is much laudable about civic spectacles like Nocturne, and while many of the works and performances they feature are reflexive and critical, they risk participating in (and promoting) what I term “neoliberal civics.” Ironically, these public events take place and have resonance only within a cultural, social and political landscape already dramatically privatized, one where the meaning of “creativity” has become a battleground.

Geographies of production II: fashion, creativity and fragmented labour

by Suzanne Reimer

Enthusiasm as Affective Labour: On the Productivity of Enthusiasm in the Media Industry

by Andreas Wittel

co-authored 2009 with Goetz Bachmann

Shifting new media: from content to consultancy, from heterarchy to hierarchy

by Andreas Wittel

Toward a network sociality

by Andreas Wittel

published 2001 in 'Theory, Culture & Society'

Tourism trends: Tourism, culture and cultural routes

by greg richards

Paper produced for Council of Europe as input to the report "Impact of European Cultural Routes on SMEs’ innovation and competitiveness" (2011)

This paper looks at macro trends and major drivers in tourism as these impact on cultural tourism in general and the... more This paper looks at macro trends and major drivers in tourism as these impact on cultural tourism in general and the Council of Europe cultural routes in particular. It considers the emergence of new forms of tourism, such as creative tourism.

The Imaginary SXSWi: If SXSWi is a Dream, Then How Do We Wake Up From It?

by Jon Hickman

Co-authored with Jennifer M. Jones, UWS.

Published in Flow.TV 15.08 - Special Issue: SXSW.
First published 13th March 2012.

SxSWi is a dream. A trades fair in a desert, a pilgrimage, a Mecca, where stories are created and product is launched.... more SxSWi is a dream. A trades fair in a desert, a pilgrimage, a Mecca, where stories are created and product is launched. It is a sign, a referent, a display. SxSWi is cultural capital, it is intangible and hard to reify beyond an outward peacock show, the badges of ownership that say: “I have been to SxSWi, I know whereof technology happens, you can touch me if you like”.

This paper considers SxSWi as a mega-event, and as a technological imaginary (Flichy 1999). We consider how it is given meaning by its consumers, and how this validation allows it to confer meaning on technology. We look at the ways in which SxSWi attendees construct their attendance through their own (social) media accounts, and how they construct their own media and their social position as digital workers through their attendance.

Educating Fashion Designers for a Creative Economy

by Amanda Bill

anti-po-des design research journal vol. 1, november 4, 2011

This paper discusses the future of fashion education in the context of near universal tertiary participation and new... more This paper discusses the future of fashion education in the context of near universal tertiary participation and new globalized, co-creative production systems that muddy the distinction between producer and consumer. This has implications for tertiary teaching and learning in countries where most young people expect to gain a degree and where creative, entrepreneurial work has high social status. In order to explain how these factors impact on fashion design education, the discussion draws upon post-structuralist ethnographic research into a ‘creativity explosion’ in New Zealand tertiary institutions in the years 2002–2006. Firstly I argue that neoliberalised education systems (and the way they are managed) generate skill shortages, while at the same time producing new types of flexible workers for a creative economy. Secondly I outline a model for tertiary fashion design education that takes into account the different needs of creative industry and the apparel manufacturing industry. This enables the links between these to be made explicit for fashion design students.

Latent Organizations in the Film Industry: Contracts, Rewards and Resources.

by Joris Ebbers

Ebbers, J.J. and N.M. Wijnberg (2009).
Published in: Human Relations, 62 (7), 987-1009.

The main aim of this article is to study the extent to which the project-based organization (PBO) and the latent... more The main aim of this article is to study the extent to which the project-based organization (PBO) and the latent organization determine the actual behavior of actors in a project-based industry and how this is mediated by the types of contracts and rewarding practices these organizational forms allow. Labor contracts connected to the PBO are mostly transactional in nature, while the members of the latent organization are linked by relational contracts. Interviews with Dutch film producers show that the transactional contracts connected to the PBO are less important than the relational contracts connected to the latent organization in governing the actual behavior of the involved actors. Relational contracts that structure relationships in the latent organization allow flexible rewarding practices, just as in `normal' organizations. In turn, employees prove willing to assist the organization in handling environmental uncertainty by making resources available without insisting on immediate compensation.

Nascent Ventures Competing for Start-up Capital: Matching Reputations and Investors.

by Joris Ebbers

Ebbers, J.J. and N.M. Wijnberg (2012).
Published in: Journal of Business Venturing, 27, 372-384.

Although nascent ventures have not yet developed a performance-based reputation, the individual reputations of their... more Although nascent ventures have not yet developed a performance-based reputation, the individual reputations of their founders, based on the performance of their earlier ventures, can function as important signals to investors. Selection system theory distinguishes between different types of reputations as well as different types of investors, in order to analyze how particular types of reputations affect the investment behavior of particular types of investors. The empirical setting of this paper is the Dutch film industry, in which we study the impact of different types of reputations of producers and directors on the investment decisions of the three main investors.

“Wasted” – the green arts project & urban redevelopment, rebranding Ipskay’s iron foundry

by Gavan Bright

Development of a creative industries project proposal.

In small groups, you will develop and present a proposal for a creative industries project to be funded by the... more In small groups, you will develop and present a proposal for a creative industries project to be funded by the business council of (Ipsky) a fictional Queensland town.

This proposal will be based on opportunities, which as you will demonstrate as part of the proposal, exist within the current creative industries environment in the town as well as within the overall regional, state, national, and international creative industries environment.

The proposal may suggest creative initiatives, research projects, policy developments, or other relevant developments to be undertaken by the business council, and will include basic funding and staffing requirements as well as a timeline.

In addition to the written proposal, your group will also submit an electronic copy of an A3-size poster presenting the project, which will be exhibited in Z2 level 3 during week 7.

Groups will be expected to identify individual group members’ contributions to the proposal. See the Group Work Declaration from the OLT site.

Length: 1500 words + presentation = equivalent to 2000 words
Weighting: 40%

NIDA a Little Aussie Milieu

by Gavan Bright

Week 5 KKB018 Group Essay Question

Briefly list all team members’ skills and interests, and then identify a specific industry cluster or creative milieu.... more Briefly list all team members’ skills and interests, and then identify a specific industry cluster or creative milieu.

Use the readings to demonstrate why it deserves to be regarded as a cluster or creative milieu, and show why this would be a cluster or milieu your skills and interests would enable you to participate in, Include a link to a website for the cluster / milieu if available.

Do not use clusters or milieux, which have been used as examples in the lectures, or in the Landy or Porter readings.