This book addresses some of the questions that have been brought to light by the varied experiences of culture industry workers and consumer publics across East Asia over the past decade. For over twenty years, the creative industries have been seen as the engine driving global economic transformation, as a way out of the dilemmas of de-industrialization, and as key to the projection of national soft power. The chapters in this book cover the former 'Tiger Economies' of South Korea, Taiwan, and Singapore, as well as Japan and China, and focus on a number of different industries - cinema, television, graphic design, fashion, and literature. The authors include sociologists, anthropologists, and cultural studies scholars, who approach the topics of creative work, government policy, and entrepreneurial strategy from a variety of perspectives. The chapters examine the varied political, economic, and social structures that influence the development of creative industries within the region and reveal how the careers of creative industry workers in different cities and different industries can vary. They also show how the development of the creative industries can affect many aspects of society, including city planning, policing, democratic politics, and ethnic and national identities. This book was originally published as a special issue of Culture, Theory and Critique.

This book addresses some of the questions that have been brought to light by the varied experiences of culture industry workers and consumer publics across East Asia over the past decade. For over twenty years, the creative industries have been seen as the engine driving global economic transformation, as a way out of the dilemmas of de-industrialization, and as key to the projection of national soft power. The chapters in this book cover the former ‘Tiger Economies’ of South Korea, Taiwan, and Singapore, as well as Japan and China, and focus on a number of different industries – cinema, television, graphic design, fashion, and literature. The authors include sociologists, anthropologists, and cultural studies scholars, who approach the topics of creative work, government policy, and entrepreneurial strategy from a variety of perspectives. The chapters examine the varied political, economic, and social structures that influence the development of creative industries within the region and reveal how the careers of creative industry workers in different cities and different industries can vary. They also show how the development of the creative industries can affect many aspects of society, including city planning, policing, democratic politics, and ethnic and national identities. This book was originally published as a special issue of Culture, Theory and Critique.

This book offers a socio-cultural examination of contemporary creativity studies. Drawing heavily on posthumanist, new materialist and affective theoretics, the author argues in favour of an expansive and sustainable approach to creativity which contributes to an emergent ‘creativity studies’ inter-discipline. It seeks to establish a broader consideration of creativity in socio-culture, that extends beyond, or indeed refutes, the narrowing aperture of entrepreneurship and innovation as synonyms for creativity in economic, cultural and educational contexts and discourses. Drawing on multiple case studies of creative relational and creative ecological empirical research, this book integrates a concern for personal, planetary and geo-political collaboration, as an antidote for ‘innovation for innovation’s sake’.

The Routledge Handbook of East Asian Gender Studies presents up-to-date theoretical and conceptual developments in key areas of the field, taking a multi-disciplinary and comparative approach. Featuring contributions by leading scholars of Gender Studies to provide a cutting-edge overview of the field, this handbook includes examples from China, Japan, South Korea, Taiwan and Hong Kong and covers the following themes: theorising gender relations; women’s and feminist movements; work, care and migration; family and intergenerational relationships; cultural representation; masculinity; and state, militarism and gender. This handbook is essential reading for scholars and students of Gender and Women’s Studies, as well as East Asian societies, social policy and culture.

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.

Visual artists, craftspeople, musicians, and performers have been supported by the development community for at least twenty years, yet there has been little grounded and critical research into the practices and politics of that support. This new Routledge book remedies that omission and brings together varied perspectives from artists, policy-makers, and researchers working in the Pacific, Africa, Latin America, and Europe to explore the challenges and opportunities of supporting the arts in the development context. The book offers a series of grounded analyses which cover: strategies for the sustainability of arts enterprises; innovative evaluation methods; theoretical engagements with questions of art, agency, and social change; artists’ entanglements with legal and structural frameworks; processes of cultural mapping; and the artist/donor interface. The creative economy is increasingly recognized as a driver of development and this book also investigates the contribution made by the arts to the processes of international development, and considers how those processes can best be supported by development agencies. Contemporary Perspectives on Art and International Development gives scholars of Development Studies, Social and Cultural Geography, Anthropology, Cultural Policy, Cultural Studies, and Global Studies a contextually and thematically diverse range of insights into this emerging research field.

The East and Southeast Asia region constitutes the world’s most compelling theatre of accelerated globalization and industrial restructuring. Following a spectacular realization of the ‘industrialization paradigm’ and a period of services-led growth, the early twenty-first century economic landscape among leading Asian states now comprises a burgeoning ‘New Economy’ spectrum of the most advanced industrial trajectories, including finance, the knowledge economy and the ‘new cultural economy’. In an agenda-setting volume, New Economic Spaces in Asian Cities draws on stimulating research conducted by a new generation of urban scholars to generate critical analysis and theoretical insights on the New Economy phenomenon within Asia. New industry formation and the transformation of older economic practices constitute instruments of development, as well as signifiers of larger processes of change, expressed in the reproduction of space in the city. Asia’s major cities become the key staging areas for the New Economy, driven by the growing wealth of an urban middle and professional class, higher education institutions, city-based inter-regional movements and urban mega-projects. New Economic Spaces in Asian Cites animates this New Economy discourse by means of vibrant storylines of instructive cities and sites, including cases studies situated in cities such as Tokyo, Seoul, Shanghai, Beijing, Shenzhen, and Singapore. Theoretical and normative issues associated with the emergence of the new cultural economy are the subject of the book’s context-setting chapters, and each case study presents an evocative narrative of development interdependencies and exemplary outcomes on the ground. New Economic Spaces in Asian Cities offers a vivid contribution to our understanding of the ongoing transformation of Asia’s urban system, including the critical intersections of global and local-regional dynamics in processes of new industry formation and the relayering of space in the Asian metropolis. The synthesis of empirical profiles, normative insights, and theoretical reference points enhances the book’s interest for scholars and students in fields of Asian studies, urban and cultural studies, and urban and economic geography, as well as for policy specialists and urban/community planners.

Since the early 2000s New Zealand has undergone a pop renaissance. Domestic artists' sales, airplay and concert attendance have all grown dramatically while new avenues for 'kiwi' pop exports emerged. Concurrent with these trends was a new collective sentiment that embraced and celebrated domestic musicians. In Making New Zealand's Pop Renaissance, Michael Scott argues that this revival arose from state policies and shows how the state built market opportunities for popular musicians through public-private partnerships and organizational affinity with existing music industry institutions. New Zealand offers an instructive case for the ways in which 'after neo-liberal' states steer and co-ordinate popular culture into market exchange by incentivizing cultural production. Scott highlights how these music policies were intended to address various economic and social problems. Arriving with the creative industries' discourse and policy making, politicians claimed these expanded popular music supports would facilitate sustainable employment and a sense of national identity. Yet popular music as economic and social policy presents a paradox: the music industry generates commercial failure and thus requires a large unattached pool of potential talent. Considering this feature, Scott analyses how state programs induced an informal economy of proto-pop production aimed at accessing competitive state funding while simultaneously encouraging musicians to adopt entrepreneurial subjectivities. In doing so he argues New Zealand's music policies are a form of social policy that unintentionally deploy hierarchical structures to foster social inclusion amongst growing numbers of creative workers.

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.

What is it like to work in the media? Are media jobs more âe~creativeâe(tm) than those in other sectors? To answer these questions, this book explores the creative industries, using a combination of original research and a synthesis of existing studies. Through its close analysis of key issues âe" such as tensions between commerce and creativity, the conditions and experiences of workers, alienation, autonomy, self-realization, emotional and affective labour, self-exploitation, and how possible it might be to produce âe~good workâe(tm) Creative Labour makes a major contribution to our understanding of the media, of work, and of social and cultural change. In addition, the book undertakes an extensive exploration of the creative industries, spanning numerous sectors including television, music and journalism. This book provides a comprehensive and accessible account of life in the creative industries in the twenty-first century. It is a major piece of research and a valuable study aid for both undergraduate and postgraduate students of subjects including business and management studies, sociology of work, sociology of culture, and media and communications.