" The most exhaustive and complete account of the Creative Industries'Äôs 40-plus-year history of creating dream, prototype, concept, and one-off cars. Get the exclusive story behind the automotive creations at Creative Industries of Detroit from Dwight D. Eisenhower'Äôs 1950 Presidential Limousine to the 1993 Mustang Mach III concept cars and more. Dream cars examined, with great detail, in this volume include the Ford Atmos-FX, Mercury XM-800, Dodge Granada, Packard Balboa, Packard Panthers, Packard Request, Ford Mystere, Corvette Corvair, Dodge Daytona, Plymouth Superbird, DeLorean, and many more. An amazing amount of hardware was constructed, each made separate from the other and with a high level of secrecy. The careers of the company's founder, Fred Johnson, and his successor, Rex Terry, are featured to show how two former Chrysler employees led the most diverse automotive firm in all of Detroit. As America entered the postwar 1950s, a resurgence by the auto manufacturers enabled them to create the most eccentric and extravagant automobiles of all time. Fierce competition between designers from General Motors, Ford, Chrysler, and independents, such as Packard, all turned to one car builder nestled firmly in America's bustling automotive mecca to help design the most elaborate prototype and concept cars ever: Creative Industries of Detroit. This all-inclusive book is the first ever on the subject and features behind-the-scenes images and interviews that have never before been published. Whether you are a Creative Industries of Detroit guru, fan of concept cars, or a general automotive enthusiast, this book is an excellent addition to your shelf."

This book focuses on the theoretical, policy and practice linkages and disjunctures between tourism and the creative industries. There are clear and strong intersections between the sectors, for example in the development and application of new and emerging media in tourism; festivals and cultural events showcasing the creative identity of place; tours and place identities associated with film, TV, music and arts tourism; as well as particular destinations being promoted on the basis of their ‘creative’ endowments such as theatre breaks, art exhibitions and fashion shows. Tourism and the Creative Industries explores a variety of relationships in one volume and offers innovative and critical insights into how creative industries and tourism together contribute to place identity, tourist experience, destination marketing and management. The book is aligned with the sectors that have been demarcated by the UK Government Department of Culture, Media and Sport as comprising the creative industries: advertising and marketing; architecture; design and designer fashion; film, TV, video, radio and photography; IT, software and computer services; publishing and music; performing and visual arts. The title of this volume demonstrates how the exclusion of tourism from the creative industries is arguably perverse, given that much of the work by destination managers and of private sector tourism is characterised by creativity and innovation. Interdisciplinary research and international context bring a broader perspective on how the creative industries operate in varying cultural and policy contexts in relation to tourism. This book brings together the parallel and disparate inter-disciplinary fields of tourism and the creative industries and will be of interest to students, academics and researchers interested in tourism, creative industries, marketing and management.

Detroit: The Dream Is Now is a visual essay on the rebuilding and resurgence of the city of Detroit by photographer Michel Arnaud, co-author of Design Brooklyn. In recent years, much of the focus on Detroit has been on the negative stories and images of shuttered, empty buildings—the emblems of Detroit’s financial and physical decline. In contrast, Arnaud aims his lens at the emergent creative enterprises and new developments taking hold in the still-vibrant city. The book explores Detroit’s rich industrial and artistic past while giving voice to the dynamic communities that will make up its future. The first section provides a visual tour of the city’s architecture and neighborhoods, while the remaining chapters focus on the developing design, art, and food scenes through interviews and portraits of the city’s entrepreneurs, artists, and makers. Detroit is the story of an American city in flux, documented in Arnaud’s thought-provoking photographs.

As America's most dysfunctional big city, Detroit faces urban decay, population losses, fractured neighborhoods with impoverished households, an uneducated, unskilled workforce, too few jobs, a shrinking tax base, budgetary shortfalls, and inadequate public schools. Looking to the city's future, Lewis D. Solomon focuses on pathways to revitalizing Detroit, while offering a cautiously optimistic viewpoint. Solomon urges an economic development strategy, one anchored in Detroit balancing its municipal and public school district's budgets, improving the academic performance of its public schools, rebuilding its tax base, and looking to the private sector to create jobs. He advocates an overlapping, tripartite political economy, one that builds on the foundation of an appropriately sized public sector and a for-profit private sector, with the latter fueling economic growth. Although he acknowledges that Detroit faces a long road to implementation, Solomon sketches a vision of a revitalized economic sector based on two key assets: vacant land and an unskilled labor force. The book is divided into four distinct parts. The first provides background and context, with a brief overview of the city's numerous challenges. The second examines Detroit's immediate efforts to overcome its fiscal crisis. It proposes ways Detroit can be put on the path to financial stability and sustainability. The third considers how Detroit can implement a new approach to job creation, one focused on the for-profit private sector, not the public sector. In the fourth and final part, Solomon argues that residents should pursue a strategy based on the actions of individuals and community groups rather than looking to large-scale projects.

The concept of creative industries has developed considerable academic and policy momentum in the 21st century. There has been a connection identified between the rise of creative industries and the urbanisation of the world’s population, particularly in relation to the significance of cities as sites of cultural production and consumption. Much of the work on creative industries and cities, however, has drawn upon 'imagined geographies' about the relationship between creativity and place. This collection draws together contributions that critically appraise recent urban cultural policy discourses, as well as reflecting on the role of culture and creative industries in the future development of cities. This book is based on a special issue of The Information Society: An International Journal.

"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.

The creative economy permeates our everyday lives, shaping where we live, what we buy, and how we interact with others. Looking at dimensions of people, place, policy, and market forces, the book offers a comprehensive perspective on arts and culture, in both economic and social life. The book explores the multifaceted components that make up this complex field. Underlying this journey is the throughline of diversity, equity, and inclusion as watchwords of today’s global paradigm. Capital, gentrification, pay disparities, and the hegemonic confines of cultural production are a few of the key issues analyzed. Using case studies and stories of artists and creatives from the worlds of fashion, design, music, and the media arts, the book also delves into gastronomy, literature, architecture, and theatre—presenting a nuanced look at the ways in which the creative sector impacts the world today. Readers will benefit from features such as key takeaways, discussion questions, and activities, throughout the chapters. Students, scholars, policymakers, and the general public will find this a valuable resource. This book offers the reader a chance not only to understand the cultural and creative industries, but to internalize its elements and embrace the creative spirit that imbues the sector.

"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.

As the largest ever Australian government investment in creative industries development, the Creative Industries Innovation Centre delivered tailored business services to more than 1500 creative businesses from 2009 to 2015 and provided industry intelligence and advice for public policy and peak sectoral activity. This collection gives an overview of the current ‘state of business’ in Australia’s creative industries – both as an industry sector in its own right and as an enabling sector and skills set for other industries – and reflects on business needs, creative industries policy and support services for the sector. With contributions from the Centre’s team of senior business advisers and from leading Australian researchers who worked closely with the Centre –including experts on design-led innovation and the creative economy – and case studies of leading Australia creative businesses, the book is intended as and industry-relevant contribution to business development and public policy. Content links to the publicly accessible Creative Industries Innovation Centre Collection Archive at the UTS Library, which holds material from Centre’s activities over its six years of operation.

Among more than two hundred auto companies that tried their luck in the Motor City, just three remain: Ford, General Motors and Chrysler. But many of those lost to history have colorful stories worth telling. For instance, J.J. Cole forgot to put brakes in his new auto, so on the first test run, he had to drive it in circles until it ran out of gas. Brothers John and Horace Dodge often trashed saloons during wild evenings but used their great personal wealth to pay for the damage the next day (if they could remember where they had been). David D. Buick went from being the founder of his own leading auto company to working the information desk at the Detroit Board of Trade. Author Alan Naldrett explores these and more tales of automakers who ultimately failed but shaped the industry and designs putting wheels on the road today.