Further industrialization

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來自 National Research University Higher School of Economics 的課程

Cultural and creative industries

6 個評分

National Research University Higher School of Economics

Cultural and creative industries

6 個評分

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).

從本節課中

Evolution of cultural industries in digital age

During this week we'll learn transformations of cultural industries after digital revolution. We'll touch upon changes in business models, platforms and general logics shaping cultural industries in digital era.

Diversification of channels5:32

Appearance of new products: material vs immaterial8:41

Further industrialization7:34

Mediatization of everyday life8:44

Individualization of cultural practices9:46

Theory of communication needs and its evolution in digital environment9:27

與講師見面

Iliya Kiria
Professor
Department of Media

[MUSIC]

Another trend is Further Industrialization.

We have deal with a growing number of goods,

which previously hasn't been included into industrial realm.

And actually, we can see that they progressively include it in.

For example, in field of dramatic art or performing art,

because we can see some particular forms of the new theaters,

which are more and more standardized, and

of course any kind of standardization of the content could be

considered as their step to their industrializations.

Such as, for example, the industry of musicals which became very,

very global actually, Could

be considered as such kind of quasi-industrialized dramatic realm.

It's also the case of what we call the theatrical spectacles and festivals,

especially.

Theatrical festivals, it means that the festival is a big,

we'll say, real time platform, where a lot of different theaters,

a lot of different actors, a lot of different performing art dealers,

if we can use this term presenting their performances.

Of course it becomes a particular industry,

because such kind of festival becomes more and

more spreadable, more and more popular.

They have a particular marketing strategies to organizing, etc.

It's a very messy way of projection.

The same with music festivals.

Huge part of them is organized conjointly by media and pornographic industries,

for example, in order to promote tracks.

So it doesn't mean that musical, for example,

could be considered the industry as it is,

because the core creative production remains non-reproducible.

Each time you have to play something on a scene,

each time the troupes should be appeared on a scene, but at the same time,

we have deal with a very, very particular standardization.

And kind of requirements for show to the troupes,

and which makes such a good examples of

global industries of musical, such as Mamma Mia musical, and some others,

Chicago and others, makes them absolutely unique.

Absolutely universal, we'll say, across all the world.

It means that the Mamma Mia musical in Moscow, Mamma Mia musical in London,

Mamma Mia musical in Paris, Mamma Mia musical in New York will be the same.

Music will be the same.

Choreography will be the same,etc., because the owner of rights for

such kind of of musicals will say, could emboss norms and

standards of playing of doing such kind of of show,

which is of course very different from the classic performing arts,

and where you deal with some kind of improvisation simultaneous play,

individual play of different tactics, etc.

And here, we have deal with a very strong standardization,

even the music standardization inside such kind of products.

Another field, which also

is progressively industrialized, is the sector of education.

And, of course, this sector, for the long time,

has been considered at the margin of industrialization, but

actually the mass education, the global growth of enrollment in universities.

And especially in the second half of the 20th century, forced university to find

strategies to cut off some costs and implement new managerial practices.

And among such practices,

we have deal with some kind of media ties practices such as distant education,

mediatized means of video transmission, online learning, etc.

And all such trends are actually one of the prominent market sector

in field of culture industries, because of course universities should be

considered not only as they reproduction of knowledge.

It's also the reproduction of culture, say symbolic, good producing.

So another important trend is also

the enlargement of industrialization of what we call the amateurism.

Amateurism means any kind of content which is made by people themself.

It means that proliferation of platforms for

user generated content made some forms of amateurism, such as amateur photo,

amateur video films, non-mass music singers, etc, etc.

And this sector becomes industrialized, which means that sometimes

from this non-industrialized sector, we can see some music tracks,

some videos, etc., which becomes extremely popular.

And the singers coming from this bottom up field,

or bloggers, or via bloggers, or particular via bloggers, etc.,

becomes very popular, and starting

to produce something and starting to, we'll say,

move progressively to the classic commercial industrial realm.

So of course the access to the platform,

the access of audience to platforms,

make such kind of products very spreadable.

And of course it also drives the crowdfunding model and

some kind of advertising these models,

which becomes the driver on the for such kind of process,

the process of the amateurism industrialization.

Amateurism becomes a particular industry, and

of course create a particular dependence relationship,

particular power relationship,

of the power especially of the big platforms over such kind

of amateur users, or what we call also the prosumers,

people which are at the same time consumer and producer.

[MUSIC]

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