Main objective of this course is to trace the development of the Cultural and Creative Industries as an idea and as concept and to identify the key points of changes within it in relations with contemporary digital connected world. Another important task of this course is to provide the deep understanding of the difference between cultural and symbolic meaning products (such as films, recorded music, book and periodicals, online media content etc) and other kind of goods. This course will help you to: - Identify main peculiarities of cultural and symbolic goods in their difference with other branches of economy in terms of production chain, risks, relationship between different stages of production. - Be able to analyze cultural products and symbolic goods from the organizational, economic, business model point of view. - Be able to invent new business models and analyze cultural products in terms of their productions risk. - Be able to analyze cultural policies and creative industries/clusters policies. Main prerequisite to this course is to be able to produce analytical texts in humanities. Normally the course addresses all students of master level interested in peculiarities of media and cultural economy and management. This course is strongly not recommended for those who: - Analyse any market or industry only in microeconomic terms (supply and demand, level of competitions etc). This course is not about market but about peculiarities of symbolic goods; - Try to interpret culture only in terms of marketing and management (i.e. culture is considered like a simple good to be sold to the consumer). This course considers it more broadly like a human agency to produce meanings of everyday life. That’s why cultural goods are different and can not be interpreted exclusively in terms of consuming and need more or less state support; - Try to interpret culture like pure “art” and consequently are absolutely not preoccupied by organizational aspect of its working. This course uses a large number of concepts coming from different fields of science: political economy of communications, cultural studies, sociology etc. Some aspects of the course are commented by known scholars in this field such as David Hesmondhalgh (University of Leeds), Phillipe Bouquillion (University Paris 13 Nord), Bernard Miege (Grenoble Alpes University).
Creative industries and creative economy as political idea
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來自 National Research University Higher School of Economics 的課程
Cultural and creative industries
6 個評分
從本節課中
Creative industries and cultural industries
Theoretical concepts of creative industries will be covered during this week. We'll also operationalize such terms as creative class, creative economy and creative work. Some worrds will be said about different approaches to creative policy.
與講師見面
Iliya KiriaProfessor
Department of Media
Now, let's move to the second part of this week,
which is devoted to the creative industries as political concept,
which is very important because creative industries were born inside the political realm,
which is different from the cultural industries because the idea of cultural industry and
cultural industries was born inside the academic realm.
First of all, we'll speak about creative industries
and creative economy as political idea,
where first it was used, it was implemented.
And, of course, this is the idea of
the New Labour Party under Tony Blair's government in UK,
and this new Labour Party implemented
this idea to boost economic development without significant economic growth.
So they're trying to
explain the absence of the economic growth by the structural change,
structural shift of the economy to a well creative economy.
So even if we don't considerably increase the growth of economy,
we contribute to the positive economic change
by revising the nature of the economy because
economy is moving from
the previous industrial information economy toward creative economy,
which is very good because in the future,
it will probably completely shift the way of work,
the way of their labor,
will completely change the landscape of the economy.
So this is the political idea of course.
And starting from mid-2000s,
we can see the introduction of different programs over
the so-called creative economy development or creative industries development.
There were initiated by different governments.
It could be program in field of general economic growth,
such as program of creative economy in general, for example,
or a program of so-called digital economy right now for example.
It could be a field of cultural heritage,
an idea of creative spaces,
creative monuments, creative clusters et cetera to the field of cultural industries.
So the governments implementing
a particular programs which are oriented toward creative economy but
the core field of policy is more or less the cultural industries or creative theater,
audiovisual creativity, user's creativity et cetera.
You could also there programs in fields of art,
such as creative museums,
creative art, digital art et cetera.
And, finally, a very large field of urban development and urban planning programs,
such as creative clusters,
creative cities et cetera.
And, of course, it creates a lot of confusions in
statistics because in different countries it's estimated differently,
it's measured differently because,
for example, in some countries,
it's quite difficult to separate architecture as a separate field
from the building and we understand perfectly that
they will say the real volume of the building as an economic domain is much more larger,
bigger than they're part of what we call architecture because architecture
is just the basics
for any building project for any development project.
Of course, it created a lot of international program also.
In Europe, we can refer here to the European governments green paper on creative economy,
unlocking the potential of culture and creative industries,
which are pointing out the idea of generating new experience.
So creative is something which is generating,
inventing new social experience.
But the core idea that creativity is a driver of economic innovation is still here.
Another is, of course,
the UNESCO creativity economy program,
which is oriented towards
sustainable development and creativity as a driver of such sustainable development.
So the idea that creativity is something
which will help a society to solve a lot of problems,
to solve our problems since sustainable development in
green policies in smart urban planning et ceter et cetera.
So and focus here is done on cities or urban development and program creative cities.
We know the notion of creative cities program in UNESCO.
So and three domains of actions was distinguished by this UNESCO program.
First of all, domain over the development of cultural expression.
So, we need to develop the cultural expression of
people because it's empowering particular social groups.
So cultural expression, so the ability of people
to express their idea by cultural means, by cultural forms,
by symbolic forms will empower such social groups,
empower deprived social groups,
make them more visible and probably will improve their quality of life.
The second domain of action is the tangible and intangible cultural heritage,
memories forming sustainable relationships.
Because in cultural heritage is considered as
the main cultural identity including global cultural identity,
which is very broad idea.
So this idea of development of cultural heritage,
which is the one of the foundation of what we
call the cultural code of a particular nation.
And, finally, the third is the domain of urban planning and innovation,
influencing the capacity of people to create.
So the idea, which is based on also concept which also could be criticized,
the idea that if you would like to inside the people to create,
to innovate, you should build creative houses.
You should create new projects and renovate the urban planning.
You should create new urban spaces
et cetera because it will create a kind of environment,
where people would like to innovate.
Of course, nobody explained why inside
such building people will innovate more than inside old buildings.
But it's one of the ideological dimension over these programs.
Of course, it means that this doctrine of creativity could be considered
as the ideology or ideology of
the so-called digital age if you will use the term of Philip Schlesinger,
one of the British scholar.
So it's probably the attempt to rationalize interdepartment cooperation.
So to make effective the flow of business intelligence,
to encourage the networking,
to bring together dispersed creative clusters and foster talent.
So the idea that if you want creativity,
it's something which connects culture and culture policy with economic policy in general,
which is much more broader felt.
And since the economic policy doesn't move in a particular field,
we will probably include the culture inside this economic policy and saying, yes,
actual economic policies, the creative economic policy orient
toward the development of creativeness of people et cetera.
