Creative Labour provides an insight into the unique employment issues affecting workers in film, television, theatre, arts, music, radio and new media. In the UK alone, more than 1 million people work in the creative industries, generating billions of pounds in exports each year. These workers have to contend with elastic working hours, employment and promotion uncertainty and vigorous competition for each role. Creative Labour offers a contemporary perspective on a fascinating area of study and a rapidly growing area in developed economies. Key benefits: • Grasp the realities of work behind the industry façade • Evaluate real-life case-studies through a flexible, critical mindset • Tailor your management decisions to the needs of creative staff
Since the Second World War there has been considerable growth in the importance of non-manufacturing based forms of production to the performance of many Western economies. Many countries have seen increased contributions being made by industries such as the media, entertainment and artistic sectors. Gathering together a leading international, multi disciplinary team of researchers, this informative book presents cutting-edge perspectives on how these industries function, their place in the new economy and how they can be harnessed for urban and regional economic and social development.
This article contributes to an understanding of temporary or event-based economic phenomena in economic and industrial geography by drawing on research conducted on the furniture and interior design industry. It argues that trade fairs should be seen not simply as temporary industry gatherings, but as central, though temporary, spaces for knowledge and market processes that symbolize microcosms of the industry they represent and function as effective marketplaces. It suggests that these temporary events should be viewed not as isolated from one another, but as arranged together in an almost continual global circuit. In this sense, trade fairs are less temporary clusters than they are cyclical clusters; they are complexes of overlapping spaces that are scheduled and arranged in such a way that spaces can be reproduced, reenacted, and renewed over time. Although actual fairs are short-lived events, their presence in the business cycle has lasting consequences for the organization of markets and industries and for the firms of which they are comprised.
Destination Culture takes the reader on an eye-opening journey from ethnological artifacts to kitsch. Posing the question, "What does it mean to show?" Barbara Kirshenblatt-Gimblett explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions. She talks about how objects—and people—are made to "perform" their meaning for us by the very fact of being collected and exhibited, and about how specific techniques of display, not just the things shown, convey powerful messages. Her engaging analysis shows how museums compete with tourism in the production of "heritage." To make themselves profitable, museums are marketing themselves as tourist attractions. To make locations into destinations, tourism is staging the world as a museum of itself. Both promise to deliver heritage. Although heritage is marketed as something old, she argues that heritage is actually a new mode of cultural production that gives a second life to dying ways of life, economies, and places. The book concludes with a lively commentary on the "good taste/bad taste" debate in the ephemeral "museum of the life world," where everyone is a curator of sorts and the process of converting life into heritage begins.
Nobody knows anything’, said William Goldman of studio filmmaking. The rule is ever more apt as we survey the radical changes that digital distribution, along with the digitisation of production and exhibition, is wreaking on global film circulation. Digital Disruption: Cinema Moves On-line helps to make sense of what has happened in the short but turbulent history of on-line distribution. It provides a realistic assessment of the genuine and not-so-promising methods that have been tried to address the disruptions that moving from ‘analogue dollars’ to ‘digital cents’ has provoked in the film industry. Paying close attention to how the Majors have dealt with the challenges – often unsuccessfully – it focuses as much attention on innovations and practices outside the mainstream. Throughout, it is alive to, and showcases, important entrepreneurial innovations such as Mubi, Jaman, Withoutabox and IMDb. Written by leading academic commentators that have followed the fortunes of world cinema closely and passionately, as well as experienced hands close to the fluctuating fortunes of the industry, Digital Disruption: Cinema Moves On-line is an indispensable guide to great changes in film and its audiences.
Investment in cultural heritage (and other forms of culture) are often claimed to be beneficial for a local economy, not only in terms of cultural consumption, but also in the form of increased employment and income. This article addresses some methodological questions regarding economic impact studies of investments in cultural heritage projects. Different types of direct and indirect impacts are being discussed, especially how these can be calculated. We also give a short overview over some studies of economic impact of different cultural and/or tourism activities, and the pros and cons of these studies. In a study of the Norwegian town of Røros, we find that tourism related to the cultural heritages in the region contribute some 7 per cent to overall employment and income.
In an increasingly globalised world, economic and cultural imperatives can be seen as two of the most powerful forces shaping human behaviour. This book considers the relationship between economics and culture both as areas of intellectual discourse, and as systems of societal organisation. Adopting a broad definition of culture, it explores the economic dimensions of culture, and the cultural context of economics. The book is built on a foundation of value theory, developing the twin notions of economic and cultural value as underlying principles for integrating the two fields. Ideas of cultural capital and sustainability are discussed, especially as means of analysing the particular problems of cultural heritage, drawing parallels with the treatment of natural capital in ecological economics. The book goes on to discuss the economics of creativity in the production of cultural goods and services; culture in economic development; the cultural industries; and cultural policy.
Economy of Experiences sheds light on the fundamental process of change whereby society is currently searching for new forms of value creation. The ‘Experience Economy’ is the first symptom of this process. The Economy of Experiences is more than ‘feed me’ or ‘entertain me’. Businesses and organisations have a larger, more significant role to play in supporting individuals in their search to find their own way and a significant role for themselves. This book describes, step‐by‐step, the foundations of new forms of value creation and how businesses can avoid the downward escalation of price competition (commoditisation). It starts by placing individuals at the centre of their social context as well as events that are important to them in the world in which they live. In order to facilitate these, we present new business models in which co‐ creation plays an important role. Concrete design principles are given that can be used as a basis for creating meaningful experiences. Both theory and practice are discussed; numerous cases studies are dissected. The last three chapters focus on practical applications in health care, financial service innovation and developing creative cities.
I dette kapitlet diskuterer jeg hvordan sosial interaksjon kan foregå innenfor en festivals rammer. Empirien er generert gjennom deltakende observasjon og intervjuer på Storåsfestivalen 2007. Hovedtemaet mitt er hvordan en festival kan sette rammer for forventninger, fellesskapsfølelse, tilgjengelighet og åpenhet mot andre og brudd på forventninger som deltakerne besitter. Hvordan foregår sosial interaksjon innenfor en festivals rammer?
Etablerte medier og deres forventinger for fortjeneste: en kompartiv analyse av konkurranseforholdene i norsk avis-, radio- og fjernsynsbransje
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.