Samenvatting
Samenvatting artikelen Cultural Industries
- Instelling
- Universiteit Van Amsterdam (UvA)
Deze samenvatting bevat alle 22 artikelen van de tentamenstof voor het vak Cultural Indstustries 2014/2015.
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Voorbeeld 3 van de 99 pagina's
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Voorbeeld van de inhoud
Week 1 (past and present)Throsby, 2008, Modelling the Cultural Industries
An economic approach to interpreting the scope of the creative and cultural industries can
lead to a reasonable basis for defining them. Asking the question: is it possible to find a
common core group of industries on which all of the models agree?
The definition of the ‗cultural industries‘ remains a contested topic. This is due partly to:
- continuing confusion and disagreement as to the distinction, if there is any, between cultural
and creative industries
- and partly to differences between the discourses in which the term ‗cultural industries‘ is
used
To add to the confusion
- terminology arises and is put to use in a political context, such that the meaning of concepts
may be imposed by a particular policy-making agenda rather than evolving from definitional
first principles.
Different emphases in defining the cultural industries lead to the construction of different
models of the cultural production sector of the economy and hence to a different array of
specific industries which are contained within the sector therefore important to identify
alternative approaches to modelling the cultural industries as a basis for understanding the
differences in classification systems they entail and as a means towards a more useful policy
analysis.
Usage of the terms ‗creative industries‘ and ‗cultural industries‘ varies widely amongst
researchers, policy analysts and policy-makers in different countries. The term ‗cultural
industries‘ was in use in the UK and elsewhere during the 1980s, but reference to the
‗creative industries‘ came later subsequently term gained much wider acceptance with its
adoption in the UK by the Department of Culture, Media and Sport, which set up its Creative
Industries Task Force in 1997.
Elsewhere the ‗cultural industries‘ nomenclature has remained more prominent
UNESCO: cultural industries are regarded as those industries that combine the creation,
production and commercialisation of contents which are intangible and cultural in nature.
These contents are typically protected by copyright and they can take the form of goods or
services + they are central in promoting and maintaining cultural diversity and in ensuring
democratic access to culture.
How might a strictly economic approach to industry definition be applied to cultural
production? For present purposes the most relevant is a definition based on a ‗product group‘
i.e. goods or services with some common characteristics that make them complements or
substitutes in consumption definition of a creative or cultural product would be sufficient to
,define a creative or cultural industry the industry would comprise those individuals and
enterprises that produce the product so defined.
Creativity: there is no simple definition that encompasses all the various dimensions of this
phenomenon. The characteristics of it can at least be articulated in different areas of human
endeavour artistic creativity involves imagination and a capacity to generate original ideas
and novel ways of interpreting the world, expressed in text, sound and image.
Culture: this definition can be simplified if it is accepted that culture can be interpreted in an
anthropological sense (shared means, customs, ways of life, etc.) or in a functional sense
(activities such as the practice of arts).
Cultural goods and services share the following characteristics:
* The require some input of human creativity in their production
* They are vehicles for symbolic messages to those who consume them, i.e. they are more
than simply utilitarian, insofar as they serve in addition some larger communicative purpose
and
* They contain, at least potentially, some intellectual property that is attributable to the
individual or group producing the good or service.
Conclusion: cultural goods and services can be seen as a subset of a wider category of
goods that can be called creative goods and services ‗creative goods‘ extends beyond
cultural goods as to include products such as advertising and software because these
goods and services can be seen as essentially commercial products, but they do involve
some level of creativity in their production.
Wide-ranging group of creative industries of which the cultural industries are identified as a
sub-set.
A range of different models exist to categorise the cultural industries and to interpret the
structure of the cultural production economy 6 models are drawn for discussion in the
article.
1) UK – DCMS Model: creative industries are those driven by creativity skill and talent, with
potential for wealth and job creation through exploitation of their intellectual property 13
industries included in this model could also be seen as ‗cultural‘ in the terms defined earlier
but the UK government preferred ‗creative‘ to widen the scope of the industries included.
2) Symbolic Texts Model: differentiates between high and popular culture on the ground of
their different power dynamics in regard to social class, gender, and race/ethnicity. A
society‘s culture is formed and transmitted via the industrial production, dissemination and
consumption of symbolic texts or messages, which are conveyed by means of various media
such as film, broadcasting and the press.
3) Concentric Circles Model: it is the cultural value of cultural goods that gives these
industries their most distinguishing characteristic the more pronounced the cultural content
, of a particular good or service, the stronger is the claim to inclusion of the industry producing
it. Creative ideas originate in the core of creative arts in the form of sound/text/image and
these ideas and influences diffuse outwards through a series of layers or ‗concentric circles‘,
with the proportion of cultural to commercial content declining as one moves further outwards
from the centre basis for recent studies in UK and Europe.
4) WIPO Copyright Model: based on industries involved directly or indirectly in the creation,
manufacture, production, broadcast and distribution of copyrighted works. Focus is on
intellectual property as the embodiment of creativity that has gone into the making of the
goods and services. A distinction is made between * industries that actually produce the
intellectual property, and * industries that are necessary to convey the goods and services to
the customer.
5) UNESCO Institute for Statistics (UIS) Model: Still in the process of development. In its
application to the cultural industries, the model identifies five ‗core cultural domains‘: cultural
and natural heritage, performance and celebration, visual arts, crafts and design, books and
press, and audio-visual and digital media. Also extends to the ‗related domains‘ of tourism,
sports and leisure.
6) Americans for the Arts Model: Based on identifying businesses involved with the
production and distribution of the arts, labelled as ‗arts-centric businesses‘ specific
intention is to demonstrate the economic importance of the arts in the US, particularly in
regional and local economics.
Each of these models gives rise to a different set of industries that go to make up the cultural
production sector of the economy implicitly or explicitly specify groupings of industries.
Focus on the Symbolic Texts, the Concentric Circles and WIPO to answer the following 2
questions:
- how do they compare in their overall coverage of the cultural production sector?
- is it possible to define a common ‗core‘ that might enable an agreed definition of the cultural
industries?
Reasonable degree of commonality in their coverage
Not possible to define a common ‗core‘
Problems:
* Cultural as distinct from the commercial value of the goods and services produced by the
industries listed will vary between and within the groupings shown (music industry ranges
from composing music because the last one has more cultural value but the first one is
primarily driven by commercial motives) affect statistical classification systems for the
cultural industries in different countries UIS model is attempting to address this.
* Different combinations of industries included in each model estimates of the size and
economic contribution of the cultural industry sector to the national economy will differ
significantly between the models WIPO Model, most wide-ranging model, estimates the
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