Cultural Industries

AS POLÍTICAS PÚBLICAS DE PROMOÇÃO DO DIREITO HUMANO À DIFUSÃO DA MANIFESTAÇÃO CULTURAL NO BRASIL: uma apreciação teórica dos principais modelos de incentivo e fomento à cultura

by Francisco Mata Machado Tavares (Franck)

Distributed Centralization: Web 2.0 as a Portal into Users' Lives

by Robert Gehl

Published in Lateral: The journal of the cultural studies association, 1.1

This paper uses the concept of the Web portal to explore the complex articulations between Web 2.0 sites such as... more This paper uses the concept of the Web portal to explore the complex articulations between Web 2.0 sites such as Facebook, Google, and Twitter. By using the portal model, we see how the interconnections between these sites, built on de facto protocols, is creating the Web as Portal, an architecture built to capture value produced by users, value that was previously hidden as unstructured data. Web 2.0 as a portal is rife with contradictions: on the one hand, the Web (and Internet) remain distributed networks, and Web 2.0 applications could easily be mapped as distributed. On the other hand, extremely popular sites such as Facebook (for social networking) and Google (for search), as well as the increasing interconnection between them, are rendering Web 2.0 to be a centralized network. This distributed centralization is part of the larger portal architecture, wherein heterogeneous sites are articulated into a network of networks.

Indústria cultural 2.0

by Rodrigo Duarte

Constelaciones Nr. 3 - Deciembre 2011

Esquematismo e semiformação

by Rodrigo Duarte

This paper aims at showing the relationship between “Theory of semi-erudition” by Adorno and his (and Horkheimer’s)... more This paper aims at showing the relationship between “Theory of semi-erudition” by Adorno and his (and Horkheimer’s) suggestion found in the Dialectic of enlightenment, that the culture industry removes the individual capacity to “schematize”, that is – according to Kant’s point of view in the Critique of pure reason – to refer their sensible perception to fundamental concepts. Since in the Dialectic of enlightenment, in the chapter on the culture industry, the authors do not develop this idea, I try to find a development of it in the part entitled “Elements of anti-Semitism”, particularly in the section on the “false projection”. It is then possible to show that the same conception of “semi-erudition”, which, in the Dialectic of enlightenment, links the theory on anti-Semitism to the critique to the culture industry, may be considered as a concept applied to
educational issues.

Toward a network sociality

by Andreas Wittel

published 2001 in 'Theory, Culture & Society'

Mediating cosmopolitanism: crafting an allegorical imperative through Beijing 2008

by Rodanthi Tzanelli

The paper examines intertwined cosmopolitan and national narratives in the context of the Beijing 2008 Games. Through... more The paper examines intertwined cosmopolitan and national narratives in the context of the Beijing 2008 Games. Through a discursive analysis of the opening and closing ceremonies it seeks to provide some insight into understandings of Chinese national identity as a ‘displaced’ agent in the ‘birth’ and ‘evolution’ of Western European civilisation, who returns to claim a central place in human history. The artistic production of such resentful discourses develops alongside its technological counterpart, providing insight into the ways national citizenships remain gendered and racialised. For activist networks and the critics of the Olympic project this ‘mediated’ cosmopolitanism harbours a performative contradiction, as it sanctions Chinese policies that erase certain social identities from the nation-state. The multiculturalist ambiance of the Olympic mega-event symbolically resolves the crisis generated by the calls for national development through careful urban planning that violates human rights. An interdisciplinary analysis of the two ceremonies and secondary material suggests that national self-narration takes place simultaneously in different expressive/visual modes, enabling the coexistence (and communication) of the ‘symbolic’ with the ‘material’ in what I will term an ‘allegorical imperative’. This imperative, a miniature of the Olympic discourse on human dignity, is constitutive of the anthropopoetic project.

Globalization, cultural industries and free trade. The Mexican audiovisual sector in the NAFTA age.

by Enrique E. Sanchez-Ruiz

2001.
In Vincent Mosco and Dan Schiller, Continental Order? Integrating North America for Cybercapitalism.
Lanham: Rowman and Littlefield.

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Las industrias creativas en Chile

by Cristian Antoine

Quaderns de Animació y Educació Social, 14, 2011

La dimensión económica de la cultura suena a muchos como ajena a nuestra realidad. Se ignora que las industrias... more La dimensión económica de la cultura suena a muchos como ajena a nuestra realidad. Se ignora que las industrias creativas constituyen un sector con un enorme potencial de riqueza y generación de empleo a partir del fomento y la explotación de la propiedad intelectual y la prestación de servicios. El artículo avanza en la historia del concepto, aludiendo a las experiencias latinoamericanas más relevantes vinculadas con la contribución de la cultura a la riqueza de un país, el crecimiento económico en armonía con ampliación de oportunidades, los medios para producir y circular bienes y servicios culturales y el fomento a la producción cultural local. Probablemente sea cada vez más necesario que se formulen políticas públicas más completas e inclusivas de esa dimensión económica que tiene la cultura.

PROFILE OF INTERCULTURAL INNOVATORS

by Adam Strickson

The Value of Shared Leadership in Cultural Organisations: When “two heads are better than one”.

by George Zifkos

Research Proposal

Undoubtedly, we live in an era of great social, economic, and cultural transformations. Many scholars call this... more Undoubtedly, we live in an era of great social, economic, and cultural transformations. Many scholars call this development cycle the “Creative Economy”, arguing that it is human creativity and cultural capital which constitute the ultimate economic resources. As a result, companies which mainly exploit the above agents of production - the “Cultural” or “Creative” Industries - are regarded as paradigmatic and, consequently, they suggest innovative ways of production, organisation, and corporate culture. The present study will focus on the micro-environment of mid-level cultural organisations such as orchestras, dance and theatre groups, museums, opera houses, and art centres, in order to explore the ways in which the Creative Industries succeed despite the tension between culture and the economy, which is a fundamental characteristic of this sector. Specifically, we propose to analyse one of the organisational innovations of these enterprises, which is the structure of “leadership duos” at the highest level of management. We will explore what shared leadership and management in cultural organisations look like, what personal values leaders and managers apply to these organisations, and how leadership practice works practically in such organisational environments, in order to increase our understanding of the interface between creativity, culture and economics.

A study of stakeholders in reference to the production of performing arts festivals: the case of the “Music Village”.

by George Zifkos

Zifkos, G. (2011) 'A study of stakeholders in reference to the production of performing arts festivals: the case of the “Music Village”'. M.A. dissertation, University of Leeds.

Festivals are dependent entities which are brought about and sustained by individuals or groups of stakeholders who... more Festivals are dependent entities which are brought about and sustained by individuals or groups of stakeholders who perform - collaborate and compete - towards the attainment of their own objectives. Festivals, thus, as “synergistic group processes” have recently been at the centre of interest among scholars in the field of events/arts management, in particular, the study of their stakeholders. Many of these studies, however, have been theoretical and rather descriptive, lacking organisational modelling. The present study aims to develop a conceptual framework, as well as a stakeholder network model, in relation to actors involved in the production of performing arts festivals. A case study will be employed in order to identify and categorise the stakeholders of the Music Village festival as well as explore their relative importance, from a managerial perspective, as a tool to draw meaningful implications for festival management research.

Une cyberculture ludique collaborative et paradoxale

by Vincent Berry

Berry Vincent, « », Mediamorphoses, n°22, février 2008, pp. 55-61.

Comment resituer la « culture » des jeux en ligne dans un ensemble plus large de pratiques économiques, technologiques... more Comment resituer la « culture » des jeux en ligne dans un ensemble plus large de pratiques économiques, technologiques et ludiques ? Et, puisqu’il s’agit de parler de culture, quelles en seraient les caractéristiques et/ou spécificités ?

Erickson, Mary and Dewey, Patricia. (2011). EU media policy and/as cultural policy: economic and cultural tensions in MEDIA 2007. International Journal of Cultural Policy 17(5), pp. 490-509.

by Mary Erickson

This article is an examination of the cultural and economic tensions that arise in the formulation and implementation... more This article is an examination of the cultural and economic tensions that arise in the formulation and implementation of media policy in the European Union. Through an analysis of the MEDIA 2007 program, the authors investigate how the priorities of cultural policy and media policy interact and conflict. EU policy goals from the mid‐2000s onwards have emphasized attention to the economic potential of the creative and cultural industries, which complicates the cultural potential of audiovisual media. MEDIA 2007 in particular demonstrates these tensions, as the design of this policy mechanism emphasized audiovisual media’s potential for European economic growth as a precondition for achieving cultural objectives.

Una vanguardia conservadora. La revista Martín Fierro ante la emergencia de las industrias culturales

by Mateo Haymes

Karachalis N., Deffner A. (2011), «Cultural Industries, Creative Clusters and City Branding: The Case of Athens”, paper at the European Urban Research Conference “The City without Limits”, 23-25 June, Copenhagen 2011.

by Nicholas Karachalis

Digital Labor is the New Killer App

by Adam Fish

From the Ground Up: Growing Toronto's Cultural Sector

by Daniel Silver

From the Ground Up: Growing Toronto’s Cultural Sector investigates the fundamental link between culture, economy and... more From the Ground Up: Growing Toronto’s Cultural Sector investigates the fundamental link between culture, economy and place in Toronto’s pursuit of long-term prosperity and competitiveness.

Congrès AFS 2011–Création et Innovation Grenoble, Juillet 2011

by Kevin Mellet

Applying Program Logic Modeling to Project Grant Funding: A Case Study of Barbados' Cultural Action Fund

by Ian Walcott

“Export Orientation and the Cultural Industries: The Case of Barbados

by Ian Walcott

This paper will examine the case of Barbados and how it is strategically repositioning its economy towards export... more This paper will examine the case of Barbados and how it is strategically repositioning its economy towards export orientation by looking at its policies for culture and the cultural industries. Part I will examine very briefly the successes and challenges of Barbados after 40 years of Independence as a backdrop to understanding its current cultural policy in the framework of development. Part II will review the goals of the national strategic plan and the emanating cultural policy before an analysis of
the cultural exports, and their support mechanism in Part III.