This book examines the ways in which cultural and creative industries can drive entrepreneurship, innovation, sustainability and overall regional development. It will address such issues as (1) the technical (tangible) components of creative and cultural industries in relation to innovation; (2) the intangible components of creative and cultural industries in relation to services provided; (3) the relationship between tangible and intangible components and economic and social innovation; and (4) the ways in which creative and cultural industries effect and influence regional sustainability and development. Cultural and creative industries and the creative economy as a whole have been increasingly prevalent in research literature because of their role in driving economic and social development. Cultural and creative industries also enable other forms of entrepreneurship and innovation beyond the traditional, technology-based focus of innovation, thereby enhancing regional growth and development through these channels. The contributions presented in this book discuss the main issues, challenges, opportunities and trends of cultural and creative industries through conceptual analysis and cases studies from different world regions. Featuring research from industries such as art, health care, beer and wine and education, this book provides researchers, academics, professionals and policy makers with a detailed examination of the development and potential of cultural and creative industries in regional and global economies.

"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 research-based book investigates the effects of digital transformation on the cultural and creative sectors. Through cases and examples, the book examines how artists and art institutions are facing the challenges posed by digital transformation, highlighting both positive and negative effects of the phenomenon. With contributions from an international range of scholars, the book examines how digital transformation is changing the way the arts are produced and consumed. As relative late adopters of digital technologies, the arts organizations are shown to be struggling to adapt, as issues of authenticity, legitimacy, control, trust, and co-creation arise. Leveraging a variety of research approaches, the book identifies managerial implications to render a collection that is valuable reading for scholars involved with arts and culture management, the creative industries and digital transformation more broadly.

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.

"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.

Recent years have witnessed the remarkable development of the cultural and creative industries (CCIs) in Asia, from the global popularity of the Japanese games and anime industries, to Korea’s film and pop music successes. While CCIs in these Asian cultural powerhouses aspire to become key players in the global cultural economy, Southeast Asian countries such as Malaysia and Thailand are eager to make a strong mark in the region’s cultural landscape. As the first handbook on CCIs in Asia, this book provides readers with a contextualized understanding of the conditions and operation of Asian CCIs. Both internationalising and de-Westernising our knowledge of CCIs, it offers a comprehensive contribution to the field from academics, practitioners and activists alike. Covering 12 different societies in Asia from Japan and China to Thailand, Indonesia and India, the themes include: State policy in shaping CCIs Cultural production inside and outside of institutional frameworks Circulation of CCIs products and consumer culture Cultural activism and independent culture Cultural heritage as an industry. Presenting a detailed set of case studies, this book will be an essential companion for researchers and students in the field of cultural policy, cultural and creative industries, media and cultural studies, and Asian studies in general.

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.

In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this ‘turn to cultural work’ has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work–life boundaries leading to ‘self-exploitation’. While academic critics have persuasively challenged more optimistic accounts of ‘converged’ worlds of creative production, the critical debate on cultural work has itself leant heavily towards suggesting a profoundly new confluence of forces and effects. Theorizing Cultural Work instead views cultural work through a specifically historicized and temporal lens, to ask: what novelty can we actually attach to current conditions, and precisely what relation does cultural work have to social precedent? The contributors to this volume also explore current transformations and future(s) of work within the cultural and creative industries as they move into an uncertain future. This book challenges more affirmative and proselytising industry and academic perspectives, and the pervasive cult of novelty that surrounds them, to locate cultural work as an historically and geographically situated process. It will be of interest to students and scholars of sociology, cultural studies, human geography, urban studies and industrial relations, as well as management and business studies, cultural and economic policy and development, government and planning.

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.

"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.