Festival-Norge har blitt framstilt som et økonomisk kaos. Men festivaløkonomien er slett ikke så dårlig. Countryfestivalen i Seljord er en av vinnerne.
Freelance workers and contract uncertainty: the effects of contractual changes in the television industry
Changes in the competitive and regulative conditions of British television over the 1980s and 1990s make for an environment of increased uncertainty for those who work in television. Broadcasting legislation, increased competition and technological advances have changed the working practices of the UK's 28,000 production workforce. The introduction of a 25 per cent quota of independent productions on all terrestrial channels, the implementation of Producer Choice in the BBC and the creation of a Network Centre in ITV, leading to a new commissioning process along with merger rationalisation and increasing competition have all contributed to constructing a workforce in which over 50 per cent are freelance and face much uncertainty. This paper focuses on some of the ways workers have experienced and responded to these changes by analysing the postal questionnaire and diary-data collected in an eight-wave panel study of 436 creative production workers in British television 1994-97, collected by the British Film Institute.This paper considers whether uncertainty is a problem and finds that it is for the majority of these workers. The question of what makes uncertainty a problem is also considered. Individuals were found to cope with uncertainty by diversifying the income sources, by collecting information, building informal networks and by thinking of leaving work in television.
Creative Labour provides an insight into the unique employment issues affecting workers in film, television, theatre, arts, music, radio and new media.
This illuminating Handbook presents the state of the art in the scientific field of experience economy studies. It offers a rich and varied collection of contributions that discuss different issues of crucial importance for our understanding of the experience economy. Each chapter reflects diverse scientific viewpoints from disciplines including management, mainstream economics and sociology to provide a comprehensive overview. The Handbook is divided into three subsections to explore progression in the scientific field of experience economy studies. The first section focuses on fundamental debates surrounding the nature and importance of the experience economy. The second section presents more specific topics including innovation, networks and the design of experiences. Finally, the last section explores issues such as cultural events, cuisine, theatre and video games. Moreover, the Handbook gives an insight into how receivers react to experiential elements of experience economy studies. An innovative presentation of experience economics, this is a remarkable collection of new theory and analyses. This book will prove an invaluable resource to researchers and students in management, marketing, psychology and economics.
Twitter is now well-established as the world’s second most important social media platform, after Facebook. Its 140-character updates are designed for brief messaging, and its network structures are kept relatively flat and simple: messages from users are either public and visible to all (even to unregistered visitors using the Twitter Website), or private and visible only to approved ‘followers’ of the sender; there are no more complex definitions of degrees of connection (family, friends, friends of friends) as they are available in other social networks.Over time, Twitter users have developed simple but effective mechanisms for working around these limitations: ‘#hashtags’, which enable the manual or automatic collation of all tweets containing the same #hashtag, as well allowing users to subscribe to content feeds that contain only those tweets which feature specific #hashtags; and ‘@replies’, which allow senders to direct public messages even to users whom they do not already follow.
This paper documents a methodology for extracting public Twitter activity data around specific #hashtags, and for processing these data in order to analyse and visualise the @reply networks existing between participating users – both overall, as a static network, and over time, to highlight the dynamic structure of @reply conversations. Such visualisations enable us to highlight the shifting roles played by individual participants, as well as the response of the overall #hashtag community to new stimuli – such as the entry of new participants or the availability of new information. Over longer timeframes, it is also possible to identify different phases in the overall discussion, or the formation of distinct clusters of preferentially interacting participants.
This paper conducts an historical and conceptual review of the idea of ‘cultural intermediaries’ and sets up a contrast between the cultural and creative industries. It draws on theorizations of ‘economic imaginaries’ and reconstructs the respective imaginaries of cultural and creative industries. It suggests that the former was organized around the culturalization of the economy and the second around the economization of culture. Nevertheless, there are complicities between them, not least in the contention that a new set of economic developments would redeem the traditional promises of culture.
International Perspectives on Business Innovation and Disruption in the Creative Industries Film, Video, and Photography
As knowledge-based economies continue to grow, creative fields are becoming increasingly important for economic growth and development. Within these fields, disruptive innovations are reshaping industry boundaries and challenging conventional business models. This highly original volume explores the digital disruptions and related industry transformations in film, video and photography. The authors highlight new sources of creative content and examine alternative business models and value propositions currently emerging in a number of different countries. The book incorporates work on disruption from innovation scholars in business schools as well as insights from academics and practitioners in other disciplines, including the broader social sciences. This authoritative volume is vital reading for scholars and researchers specializing in knowledge management and innovation, as well as practitioners working in a variety of image-based creative fields.
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.
Mange land og regioner har gjennomført kartlegginger av kulturnæringenes økonomiske omfang målt i sysselsetting og/eller verdiskaping. Selv om både begreper, definisjoner og operasjonaliseringer varierer, indikerer de fleste studiene at disse næringene har hatt en betydelig vekst og spiller en viktig rolle i de fleste økonomier. Dette kan ha sammenheng med en utvikling i retning av det som ofte betegnes som opplevelsesøkonomien.
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