"The most ambitious, thoughtful and internationally aware assessment to date of the creative economy. Defining creativity as the production of newness in complex, adaptive systems, the authors make the case that together the creative economy, along with other cultural outputs, represent a planet-wide innovation capability which marks an epochal turn in human affairs." – Ian Hargreaves, CBE, Professor of Digital Economy, Cardiff University Creativity, new ideas and innovation - and with them the growth of knowledge - have spilled out of the lab, studio and factory into the street, scene, and social media. Now, everyday life is productive, everyone is creative, and new ideas can come from anywhere around the world. Instead of confining cultural expression to talented artists and expert professionals, this book investigates creative new ideas from everyone. Instead of confining the ‘creative industries’ to one sector of the economy and one type of productivity, this book extends the idea of creative innovation to everything. Instead of confining the growth of knowledge to wealthy countries or markets, this book looks for it in developing and emergent countries, everywhere. The productivity of creativity can now be seen as a global phenomenon. It demands a systems-based and dynamic mode of explanation. Creative Economy and Culture pursues the conceptual, historical, practical, critical and educational issues and implications. It looks at conceptual challenges, the forces and dynamics of change, and prospects for the future of creative work at planetary scale. It is essential reading for upper level students and researchers of the creative and cultural industries across media and cultural studies, communication and sociology.

"Moving from age-old warnings about the influence of the cultural industry to a tentative embrace of a global creative society, Terry Flew′s new book provides an excellent overview of this exciting field. Warmly recommended for students and policymakers alike." - Mark Deuze, Indiana University "A comprehensive text on the state of the art of the creative industries... a running commentary on the ebb and flow of both the academic debates (from cultural studies, cultural economics, organisational studies, economic geography and urban sociology) and the policy initiatives that seek to frame the field for outsiders. An ideal primer." - Andy C Pratt, King′s College London The rise of creative industries requires new thinking in communication, media and cultural studies, media and cultural policy, and the arts and information sectors. The Creative Industries sets the agenda for these debates, providing a richer understanding of the dynamics of cultural markets, creative labour, finance and risk, and how culture is distributed, marketed and creatively re-used through new media technologies. This book: Develops a global perspective on the creative industries and creative economy Draws insights from media and cultural studies, innovation economics, cultural policy studies, and economic and cultural geography Explores what it means for policy-makers when culture and creativity move from the margins to the centre of economic dynamics Makes extensive use of case studies in ways that are relevant not only to researchers and policy-makers, but also to the generation of students who will increasingly be establishing a ′portfolio career′ in the creative industries. International in coverage, The Creative Industries traces the historical and contemporary ideas that make the cultural economy more relevant that it has ever been. It is essential reading for students and academics in media, communication and cultural studies.

This book nuances our understanding of the contemporary creative economy by engaging with a set of three key tensions which emerged over the course of eight European Colloquiums on Culture, Creativity and Economy (CCE): 1) the tension between individual and collaborative creative practices, 2) the tension between tradition and innovation, and 3) the tension between isolated and interconnected spaces of creativity. Rather than focusing on specific processes, such as production, industries or locations, the tensions acknowledge and engage with the messy and restless nature of the creative economy. Individual chapters offer insights into poorly understood practices, locations and contexts such as co-working spaces in Berlin and rural Spain, creative businesses in Leicester and the role and importance of cultural intermediaries in creative economies within Africa. Others examine the nature of trans-local cultural flows, the evolving "field" of fashion, and the implications of social media and crowdfunding platforms. This book will be of interest to students, scholars and professionals researching the creative economy, as well as specific cultural and creative industries, across the humanities and social sciences.

This book analyses the Korean film industry emergence and development in a global business and economic perspective. This is one of the first books to compare the film policies and industries of the world’s six largest film industries – featuring Korea as the central character – with the aim of defining the contours of what constitutes an effective film policy. It presents many cases showing that, contrary to what is often believed, an economically sound policy is a good instrument for achieving desired cultural goals. It uses a set of analytical tools – borrowed from the economic analysis of international trade policies – to provide a rich harvest of new, rigorous, and often unexpected results on the effectiveness of the existing film policies. The implications found in this book are relevant not only for Korea, but for all other countries that wish to foster or enhance the competitiveness of their film industries. This book will be of interest to a wide spectrum of scholars interested in cultural studies – media and cultural specialists, political scientists, sociologists, historians – in addition to business analysts and economists specialized in cultural economics. As this book focuses on film policies and how to improve them, it will also appeal to policymakers, business figures, public relations officials, and staff from international organizations working on the film industry.

This book contends that mainstream considerations of the economic and social force of culture, including theories of the creative class and of cognitive and immaterial labor, are indebted to historic conceptions of the art of literary authorship. It shows how contemporary literature has been involved in and has responded to creative-economy phenomena, including the presentation of artists as models of contentedly flexible and self-managed work, the treatment of training in and exposure to art as a pathway to social inclusion, the use of culture and cultural institutions to increase property values, and support for cultural diversity as a means of growing cultural markets. Contemporary writers have tended to explore how their own critical capacities have become compatible with or even essential to a neoliberal economy that has embraced art's autonomous gestures as proof that authentic self-articulation and social engagement can and should occur within capitalism. Taking a sociological approach to literary criticism, Sarah Brouillette interprets major works of contemporary fiction by Monica Ali, Aravind Adiga, Daljit Nagra, and Ian McEwan alongside government policy, social science, and theoretical explorations of creative work and immaterial labor.

In this exciting new book Angela McRobbie charts the ‘euphoric’ moment of the new creative economy, as it rose to prominence in the UK during the Blair years, and considers it from the perspective of contemporary experience of economic austerity and uncertainty about work and employment. McRobbie makes some bold arguments about the staging of creative economy as a mode of ‘labour reform’; she proposes that the dispositif of creativity is a fine-tuned instrument for acclimatising the expanded, youthful urban middle classes to a future of work without the raft of entitlements and security which previous generations had struggled to win through the post-war period of social democratic government. Adopting a cultural studies perspective, McRobbie re-considers resistance as ‘line of flight’ and shows what is at stake in the new politics of culture and creativity. She incisively analyses ‘project working’ as the embodiment of the future of work and poses the question as to how people who come together on this basis can envisage developing stronger and more protective organisations and associations. Scattered throughout the book are excerpts from interviews with artists, stylists, fashion designers, policy-makers, and social entrepreneurs.

Justin O’Connor and Lily Kong The cultural and creative industries have become increasingly prominent in many policy agendas in recent years. Not only have governments identified the growing consumer potential for cultural/creative industry products in the home market, they have also seen the creative industry agenda as central to the growth of external m- kets. This agenda stresses creativity, innovation, small business growth, and access to global markets – all central to a wider agenda of moving from cheap manufacture towards high value-added products and services. The increasing importance of cultural and creative industries in national and city policy agendas is evident in Hong Kong, Singapore, Taiwan, South Korea, Beijing, Shanghai and Guangzhou, Australia, and New Zealand, and in more nascent ways in cities such as Chongqing and Wuhan. Much of the thinking in these cities/ countries has derived from the European and North American policy landscape. Policy debate in Europe and North America has been marked by ambiguities and tensions around the connections between cultural and economic policy which the creative industry agenda posits. These become more marked because the key dr- ers of the creative economy are the larger metropolitan areas, so that cultural and economic policy also then intersect with urban planning, policy and governance.

Global Cultural Economy critically interrogates the role cultural and creative industries play in societies. By locating these industries in their broader cultural and economic contexts, Christiaan De Beukelaer and Kim-Marie Spence combine their repertoires of empirical work across four continents to define the ‘cultural economy’ as the system of production, distribution, and consumption of cultural goods and services, as well as the cultural, economic, social, and political contexts in which it operates. Each chapter introduces and discusses a different theme, such as inclusion, diversity, sustainability, and ownership, highlighting the tensions around them to elicit an active engagement with possible and provisional solutions. The themes are explored through case studies including Bollywood, Ghanaian music, the Korean Wave, Jamaican Reggae, and the UN Creative Economy Reports. Written with students, researchers, and policy-makers in mind, Global Cultural Economy is ideal for anyone interested in the creative and cultural industries, media and cultural studies, cultural policy, and development studies.

This book is an economic analysis of plagiarism in music, focusing on social efficiency and questions of inequity in the revenue of authors/artists. The organisation into central chapters on the traditional literary aspect of composition and the technocratic problem of ‘sampling’ will help clarify disputes about social efficiency and equity. It will also be extremely helpful as an expository method where the text is used in courses on the music business. These issues have been explored to a great extent in other areas of musical content—notably piracy, copying and streaming. Therefore it is extremely helpful to exclude consumer use of musical content from the discussion to focus solely on the production side. This book also looks at the policy options in terms of the welfare economics of policy analysis.

"To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate."--BOOK JACKET.