This book presents the creative industries as a suite of practices intimately connected to political, economic, and cultural power. Seeking to illuminate the creative industries through critical cultural analysis it shows the extent to which creative labour shapes our shared cultural and political realities, good and bad. The author presents creative labour as a form of employment which typically operates well outside conventional industrial relationships, highlighting the importance of cultural as well as political and economic value. The aim of doing so is to provide a view of the broader creative economy that shows up the effects and trends of its strange industrial relationships. It recognises new forms of audience labour as significant creative, political, cultural, and commercial forces, and frames cultures as preceptual systems, as systems of rules, conventions, morés, and laws. In so doing, the author provides a new cultural framework through which scholars, students, and reflective practitioners can make critical judgements about the creative economy and its creative acts.

"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.

Contemporary society is complex; governed and administered by a range of contradictory policies, practices and techniques. Nowhere are these contradictions more keenly felt than in cultural policy. This book uses insights from a range of disciplines to aid the reader in understanding contemporary cultural policy. Drawing on a range of case studies, including analysis of the reality of work in the creative industries, urban regeneration and current government cultural policy in the UK, the book discusses the idea of value in the cultural sector, showing how value plays out in cultural organizations. Uniquely, the book crosses disciplinary boundaries to present a thorough introduction to the subject. As a result, the book will be of interest to a range of scholars across arts management, public and nonprofit management, cultural studies, sociology and political science. It will also be essential reading for those working in the arts, culture and public policy.

Through a wide-ranging study of labour in the cultural industries, this book critically evaluates how various sociological traditions - including critical theory, governmentality and liberal-democratic approaches - have sought to theorize the creative cultural worker, in art, music, media and design-based occupations.

The Oxford Handbook of Creative Industries is a reference work, bringing together many of the world's leading scholars in the application of creativity in economics, business and management, law, policy studies, organization studies, and psychology. Creative industries research has become a regular theme in academic journals and conferences across these subjects and is also an important agenda for governments throughout the world, while business people from established companies and entrepreneurs revaluate and innovate their models in creative industries. The Handbook is organized into four parts: Following the editors' introduction, Part One on Creativity includes individual creativity and how this scales up to teams, social networks, cities, and labour markets. Part Two addresses Generating and Appropriating Value from Creativity, as achieved by agents and organizations, such as entrepreneurs, stars and markets for symbolic goods, and considers how performance is measured in the creative industries. Part Three covers the mechanics of Managing and Organizing Creative Industries, with chapters on the role of brokerage and mediation in creative industry networks, disintermediation and glocalisation due to digital technology, the management of project-based organzations in creative industries, organizing events in creative fields, project ecologies, Global Production Networks, genres and classification and sunk costs and dynamics of creative industries. Part Four on Creative Industries, Culture and the Economy offers chapters on cultural change and entrepreneurship, on development, on copyright, economic spillovers and government policy. This authoritative collection is the most comprehensive source of the state of knowledge in the increasingly important field of creative industries research. Covering emerging economies and new technologies, it will be of interest to scholars and students of the arts, business, innovation, and policy.

Creativity loosely refers to activities in the visual arts, music, design, film and performance that are primarily intended to produce forms of affect and social meaning. Yet, over the last few decades, creativity has also been explicitly mobilized by governments around the world as a ‘resource’ for achieving economic growth. The creative economy discourse emphasizes individuality, innovation, self-fulfillment, career advancement and the idea of leading exciting lives as remedies to social alienation. This book critically assesses that discourse, and explores how political shifts and new theoretical frameworks are affecting the creative economy in various parts of the world at a time when creative industries are becoming increasingly ‘industrialized.’ Further, it highlights how work inequalities, oligopolistic strategies, competitive logics and unsustainable models are inherent weaknesses of the industrial model of creativity. The interdisciplinary contributions presented here address the operationalization of creative practices in a variety of geographical contexts, ranging from the UK, France and Russia, to Greece, Argentina and Italy, and examine issues concerning art biennials, museums, DIY cultures, technologies, creative writing, copyright laws, ideological formations, craft production and creative co-ops.

"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.

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.

Studies of race and media are dominated by textual approaches that explore the politics of representation. But there is little understanding of how and why representations of race in the media take the shape that they do. How, one might ask, is race created by cultural industries? In this important new book, Anamik Saha encourages readers to focus on the production of representations of racial and ethnic minorities in film, television, music and the arts. His interdisciplinary approach combines critical media studies and media industries research with postcolonial studies and critical race perspectives to reveal how political economic forces and legacies of empire shape industrial cultural production and, in turn, media discourses around race. Race and the Cultural Industries is required reading for students and scholars of media and cultural studies, as well as anyone interested in why historical representations of 'the Other' persist in the media and how they are to be challenged.

This book brings together research at the intersection of music, cultural industries, management, antiracist politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. Providing insights into labour processes and practices, the authors investigate the changing role of manifold actors, institutions and technologies and the corresponding shifts in the valuation and evaluation of music achievements that have shaped the relationship between music, labour, the economy and politics. With research into a variety of geographic regions, chapters shed light on the various ways by which musicians’ work is performed, constructed and managed at different times and show that musicians’ working practices have been marked by precarity, insecurity and short-term contracts long before capitalism invited everybody to ‘be creative’. In doing so, they specifically examine the dynamics in music professions and educational institutions, as well as gatekeepers and mechanisms of inclusion and exclusion. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives 4.0 license.