Key Concepts in Creative Industries

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"This guide to the emerging language of creative industries field is a valuable resource for researchers and students alike. Concise, extensively referenced, and accessible, this this is an exceptionally useful reference work."
- Gauti Sigthorsson, Greenwich University

"There could be no better guides to the conceptual map of the creative industries than John Hartley and his colleagues, pioneers in the field. This book is a clear, comprehensive and accessible tool-kit of ideas, concepts, questions and discussions which will be invaluable to students and practitioners alike. Key Concepts in Creative Industries is set to become the corner stone of an expanding and exciting field of study"
- Chris Barker, University of Wollongong

Creativity is an attribute of individual people, but also a feature of organizations like firms, cultural institutions and social networks. In the knowledge economy of today, creativity is of increasing value, for developing, emergent and advanced countries, and for competing cities.

This book is the first to present an organized study of the key concepts that underlie and motivate the field of creative industries. Written by a world-leading team of experts, it presents readers with compact accounts of the history of terms, the debates and tensions associated with their usage, and examples of how they apply to the creative industries around the world.

Crisp and relevant, this is an invaluable text for students of the creative industries across a range of disciplines, especially media, communication, economics, sociology, creative and performing arts and regional studies.

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About the author

John Hartley, AM (Order of Australia), is John Curtin Distinguished Professor at Curtin University Australia, and Professor of Journalism, Media and Cultural Studies at Cardiff University Wales.

Recent books include: Cultural Science: A Natural History of Stories, Demes, Knowledge and Innovation (with Jason Potts, Bloomsbury, 2014); Key Concepts in Creative Industries (co-authored, SAGE, 2013); A Companion to New Media Dynamics (co-edited, Wiley-Blackwell, 2013); and Digital Futures for Cultural and Media Studies (Wiley-Blackwell, 2012).

He is editor of the International Journal of Cultural Studies (SAGE) and publisher of Cultural Science Journal (online). He is a Fellow of the Australian Academy of Humanities and the International Communication Association, Honorary Professor of Zhejiang University of Media and Communications (Hangzhou), and Guest Researcher, Institute for Cultural Industries, Shenzhen University, China.

Jason Potts is Professor of Economics at RMIT University, Australia.

Stuart Cunningham is Distinguished Professor in the Faculty of Creative Industries at Queensland University of Technology, Australia.

Terry Flew is Professor of Media and Communications in the Creative Industries Faculty at the Queensland University of Technology, Brisbane, Australia. He has been seconded from QUT to act as a Commissioner of the Australian Law Reform Commission from May 2011 to February 2012, chairing the Inquiry into the National Classification Scheme in Australia.

Professor Michael Keane is Professor of Chinese Media and Cultural Studies at Curtin University, Perth.

John Banks is Associate Professor of the Creative Industries Faculty at Queensland University of Technology, Australia.

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Additional Information

Publisher
SAGE
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Published on
Oct 4, 2012
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Pages
200
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ISBN
9781446290422
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Language
English
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Genres
Business & Economics / Industries / Media & Communications
Social Science / Media Studies
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Content Protection
This content is DRM protected.
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How digital technology is upending the traditional creative industries—and why that might be a good thing

The digital revolution poses a mortal threat to the major creative industries—music, publishing, television, and the movies. The ease with which digital files can be copied and distributed has unleashed a wave of piracy with disastrous effects on revenue. Cheap, easy self-publishing is eroding the position of these gatekeepers and guardians of culture. Does this revolution herald the collapse of culture, as some commentators claim? Far from it. In Digital Renaissance, Joel Waldfogel argues that digital technology is enabling a new golden age of popular culture, a veritable digital renaissance.

By reducing the costs of production, distribution, and promotion, digital technology is democratizing access to the cultural marketplace. More books, songs, television shows, and movies are being produced than ever before. Nor does this mean a tidal wave of derivative, poorly produced kitsch; analyzing decades of production and sales data, as well as bestseller and best-of lists, Waldfogel finds that the new digital model is just as successful at producing high-quality, successful work as the old industry model, and in many cases more so. The vaunted gatekeeper role of the creative industries proves to have been largely mythical. The high costs of production have stifled creativity in industries that require ever-bigger blockbusters to cover the losses on ever-more-expensive failures.

Are we drowning in a tide of cultural silt, or living in a golden age for culture? The answers in Digital Renaissance may surprise you.

Cultural Science introduces a new way of thinking about culture. Adopting an evolutionary and systems approach, the authors argue that culture is the population-wide source of newness and innovation; it faces the future, not the past. Its chief characteristic is the formation of groups or 'demes' (organised and productive subpopulation; 'demos'). Demes are the means for creating, distributing and growing knowledge. However, such groups are competitive and knowledge-systems are adversarial.

Starting from a rereading of Darwinian evolutionary theory, the book utilises multidisciplinary resources: Raymond Williams's 'culture is ordinary' approach; evolutionary science (e.g. Mark Pagel and Herbert Gintis); semiotics (Yuri Lotman); and economic theory (from Schumpeter to McCloskey).

Successive chapters argue that:

-Culture and knowledge need to be understood from an externalist ('linked brains') perspective, rather than through the lens of individual behaviour;

-Demes are created by culture, especially storytelling, which in turn constitutes both politics and economics;

-The clash of systems - including demes - is productive of newness, meaningfulness and successful reproduction of culture;

-Contemporary urban culture and citizenship can best be explained by investigating how culture is used, and how newness and innovation emerge from unstable and contested boundaries between different meaning systems;

-The evolution of culture is a process of technologically enabled 'demic concentration' of knowledge, across overlapping meaning-systems or semiospheres; a process where the number of demes accessible to any individual has increased at an accelerating rate, resulting in new problems of scale and coordination for cultural science to address.

The book argues for interdisciplinary 'consilience', linking evolutionary and complexity theory in the natural sciences, economics and anthropology in the social sciences, and cultural, communication and media studies in the humanities and creative arts. It describes what is needed for a new 'modern synthesis' for the cultural sciences. It combines analytical and historical methods, to provide a framework for a general reconceptualisation of the theory of culture – one that is focused not on its political or customary aspects but rather its evolutionary significance as a generator of newness and innovation.

"This text does a sterling job at identifying, outlining and defining the many elements that go to make up this booming sector of industry. What makes it particularly interesting is that it includes the view of the creative industries from the perspective of working in it, then the definitions of what products and producers are involved, and ends with the broader picture of the creative economy and predictions for future trends. Add to this that they include both theory and practice, and this really is an all-round guide to the vast domain that is loosely titled 'the creative industries'"
- Angela Birchall, School of Media, Music & Performance, Salford University

This is your complete guide to studying and succeeding in the creative industries. This book takes you through the history, trends, products and markets of the creative industries, showing how success depends on a mix of ideas, tactics and talent.

When understanding social networks and cultural economy is just as important as hands-on skills or an entrepreneurial spirit, Introducing the Creative Industries shows you how to use theories, concepts and practical skills to get ahead in their course and professional life. Creatively imagined and beautifully written, this book:

Interweaves theoretical concepts and professional practice on every page Uses cultural economy to teach the essential concepts and thinkers Integrates case studies from fashion and gaming to journalism and music Teaches strategies for navigating the links between skills, industries, creativity and markets.
This book shows you how to spot opportunities and use your knowledge and savvy to take kickstart your career in this fast-moving industry. It is an essential guidebook for students of creativity in media and communication, design, creative industries and business.

"At once brilliant and accessible, it is without peer when it comes to detailing the big picture and complex nuances of how cultural industries work. Every student of the media should have this book on their shelf"
- Jennifer Holt, University of California

"Sometimes provocative, always insightful and refreshingly direct. No-one could study the culture industries without engaging with its vision and argumentation"
- Sonia Livingstone, LSE

"Comprehensive and critical, authoritative and analytical, this is a wonderful book that will absorb, stimulate and educate students of media and cultural studies for years to come"
- Des Freedman, Goldsmiths, University of London

"An exceptional achievement - for its scale, for its comprehensiveness, and for the level-headed intelligence that is the hallmark of Hesmondhalgh's writing"
- Graeme Turner, University of Queensland

Undisputedly a classic, the third edition of this essential media studies text scrutinizes the changes in creative economy and cultural production in the global media. This book gives you:

Guided further reading that takes you directly to the must-read research articles and online resources Brand new examples covering social media, digital publishing, reality TV and talent shows Examples spotlighting the emerging markets in China, India, Asia and Africa Analysis of the economic crisis and its impact on media structures and industries Insight into new products and the influence on consumer electronics and IT companies, including Apple, Facebook and Google.
As one of the most read, most studied and most cited media studies texts, this new edition is a must for any student of media and communication studies, the creative industries, cultural studies and the sociology of the media.
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