共查询到20条相似文献，搜索用时 15 毫秒
1.
Ben Eltham 《International Journal of Cultural Policy》2013,19(5):537-556
This paper critiques recent research on innovation in the cultural and creative industries. In particular, this paper examines Paul Stoneman’s idea of ‘soft innovation’ as a jumping off point for discussing theories of cultural innovation more broadly. Three critiques are advanced. Firstly, soft innovation is a theoretical perspective that has developed from neoclassical economics, and is therefore vulnerable to criticisms levelled at neoclassical explanations of economic behaviour. Secondly, the theory of soft innovation can be criticised for being contingently inaccurate: the observed reality of cultural industries and marketplaces may not reflect the theory’s premises. Thirdly, because soft innovation defines the significance of an innovation in terms of marketplace success, it implies that only high-selling cultural products are significant, a difficult claim to substantiate. This paper concludes by arguing that our understanding of innovation in the cultural sphere can benefit from a multi-disciplinary approach grounded in the full gamut of human creativity. 相似文献
2.
Hye-Kyung Lee 《International Journal of Cultural Policy》2020,26(4):544-560
ABSTRACT This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as ‘industrial policies’, it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state’s management of cultural turn in the economy, both cases seem to present a ‘paradox’. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK’s creative industries policy engenders some space for ‘cultural’ policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification. 相似文献
3.
《International Journal of Cultural Policy》2012,18(3):340-355
This study reviews the evolution of the cultural and creative industries (CCI) policy in Taiwan. Beginning with the early 1990s, when the ‘culturalization of industries, industrialization of culture’ represented the central theme of Taiwanese ‘cultural policy’, it traces the shift to the present day, in which Taiwan’s ‘CCI policy’ has been driven by the broader economic rationale of pursuing international competitiveness. By examining the recent discourse and development of Taiwan’s CCI policy, the paper reveals that Taiwan’s CCI policy has served to widen, rather than bridge the gaps between ‘localization and globalization’, ‘culture and creativity’, and ‘network system’ of the CCI development and more importantly, has overshadowed cultural issues. Consequently, tensions are emerging which are challenging to future CCI policy development, especially at a time when Taiwan is becoming increasingly incorporated into the fastest growing economy – mainland China, which brings threats and opportunities to the CCI development in Taiwan. 相似文献
4.
This article is an examination of the cultural and economic tensions that arise in the formulation and implementation of media policy in the European Union. Through an analysis of the MEDIA 2007 program, the authors investigate how the priorities of cultural policy and media policy interact and conflict. EU policy goals from the mid‐2000s onwards have emphasized attention to the economic potential of the creative and cultural industries, which complicates the cultural potential of audiovisual media. MEDIA 2007 in particular demonstrates these tensions, as the design of this policy mechanism emphasized audiovisual media’s potential for European economic growth as a precondition for achieving cultural objectives. 相似文献
5.
Wendy Su 《International Journal of Cultural Policy》2013,19(5):513-528
This paper seeks to explore the internal driving forces behind the emergence and prosperity of China’s cultural industries. The paper traces the Chinese Communist Party’s radical transformation from stressing the class stand and ideological nature of culture to concluding with the concept of ‘cultural industries’ so as to expand an orthodox Marxist/Leninist/Maoist notion of culture. The Chinese party-state legalizes ‘cultural industries’ by extending the market mechanism into the cultural arena, and acknowledges the triple statuses of culture as a public service provider, a market profit contributor, and an essential builder of the ‘socialist core value system.’ By doing so, the Chinese Party-state is able to take advantage of the economic power of the market while retaining the ideological control function of culture. As such, cultural industries become a mode of governance for the CCP to maintain cultural security and national identity, and a source of soft power to maneuver. 相似文献
6.
Vidar Ringstad 《International Journal of Cultural Policy》2013,19(3):351-365
The system of fixed book prices whereby publishers set the price customers pay at the bookstore is very common in Europe and, according to the European Parliament, it is a means of unique cultural importance. For this reason, it is considered to more than outweigh any negative effects on the economic efficiency of such regulations. The main conclusion of this article, however, is that it is quite hard to find convincing evidence, either theoretical or empirical, that fixed book pricing is better, even as a cultural means, than free book pricing. 相似文献
7.
Carl Grodach 《International Journal of Cultural Policy》2016,22(3):353-375
This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities. 相似文献
8.
Patricia M. Goff 《International Journal of Cultural Policy》2019,25(5):547-551
ABSTRACTThe debate over how to reconcile trade liberalization with cultural policy is a long-standing one. There is great variation in how countries have navigated this debate. Furthermore, evolving individual policy approaches show noteworthy dynamism, largely in response to domestic politics, shifts in the international trading system and technological developments. This special issue explores different approaches to the trade and culture debate across geographic space, as well as the evolution across time through analysis of six cases – Canada, the European Union, South Africa, Latin America, the United States and China. 相似文献
9.
Deborah Stevenson 《International Journal of Cultural Policy》2013,19(1):111-113
This article examines the transition from cultural industries to creative industries policies in the English regions between 1980 and 2010. It argues that audio-visual policy in this period is best understood as a trajectory: the gradual, differentiated, contested, but overall coherent development of a policy discourse and corresponding institutional structure. This trajectory can be mapped onto the wider political economy of the period: the transition from social-democratic reformism to neo-liberalism at the end of the 1970s and up to the present. This process has resulted in audio-visual policy being determined to a large degree by the perceived needs of commercial interests, up to the point where regional cultural policy is virtually indistinguishable from economic policy. The transition from cultural to creative industries reflects the development of the neo-liberal state in which cultural policy has been instrumentalised within the larger project of the privatisation of public assets and the shift of relative power from labour to capital. 相似文献
10.
Grace Jaramillo 《International Journal of Cultural Policy》2019,25(5):602-614
ABSTRACTTrade liberalization took the cultural community in Latin America by surprise, forcing a defensive reaction that took years to generate adequate public policy responses. However, cultural policy has changed unevenly in the region. Two issues became the center of culture and trade debates after the 1990s: cultural industry production and traditional indigenous knowledge. Mexico, by far the largest producer of audiovisual content on the continent, has been reluctant to adopt defensive approaches or red lines during trade negotiations. In fact, Chile is the only country that negotiated a ‘cultural reserve’ in its FTA with the United States. Regarding traditional knowledge, only states with large indigenous populations like Guatemala, Panama but especially Peru, Bolivia and Ecuador in the Andean Region dedicated significant efforts to fight for intellectual property protection for traditional knowledge, including benefit-sharing for the commercial use of genetic resources, derived through indigenous collective knowledge. 相似文献
11.
《International Journal of Cultural Policy》2012,18(3):265-278
China’s spectacular economic development has altered radically not only the accepted understanding of the relationship between cultural work and the state, but also the social foundation of state cultural policy. Cultural industries are subject to a set of new regulatory forces. This essay discusses the emergence of these new forces that govern cultural work and considers how cultural practice must respond to both the state’s political demands and market imperatives. We will pay special attention to the new conditions under which the state ideology is forced to limit its traditional role and to seek to assert its legitimacy and authority in new forms. Thirty years after the reforms, it is no longer possible to insist on the total authority of cultural policy emanating from the state ideology. In addressing contradictions in the management of cultural work brought about by the reforms, this essay will consider challenges faced by the Chinese government, including such issues as national cultural identity, protection of regional and minority art forms, social responsibility of art and the tension between high and commercial culture. 相似文献
12.
Shane Homan 《International Journal of Cultural Policy》2013,19(3):382-398
The many bodies administering Australian arts activity were incorporated within the Australia Council, established in 1973 by the Whitlam Labor Government to oversee Commonwealth arts policy under the direction of H.C. ‘Nugget’ Coombs. This article takes the establishment of the Australia Council as a starting point in tracing changing attitudes towards the practices and funding of popular music in Australia and accompanying policy discourses. This includes consideration of how funding models reinforce understandings of ‘high’ and ‘low’ art forms, the ‘cultural’/‘creative’ industries debates, and their effects upon local popular music policy. This article discusses the history of local music content debates as a central instrument of popular music policy and examines the implications for cultural nationalism in light of a recent series of media and cultural reports into industries and funding bodies. In documenting a broad shift from cultural to industrial policy narratives, the article examines a central question: What does the ‘national’ now mean in contemporary music and the rapid evolution of digital media technologies? 相似文献
13.
Luis A. Albornoz 《International Journal of Cultural Policy》2016,22(4):553-573
This paper analyses the implementation of the International Fund for Cultural Diversity (IFCD), emerged from the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO 2005). The uniqueness of this multilateral fund is that most of its resources are aimed at supporting actions of non-governmental organizations functioning within the fields of cultural policy and cultural industries in developing and underdeveloped countries. Through a thorough study of different decisions and documents, this text analyses the IFCD’s funding, the results of the first calls for initiatives and the support obtained by projects focused on the audiovisual industry. Conceived as an instrument to implement initiatives whose goal is to strengthen the cultural sphere of the poorest countries, the hitherto modest IFCD faces now questions about its future growth and effectiveness in terms of changing the existing imbalance at work within the flows of audiovisual content both regionally and internationally. 相似文献
14.
What is the dynamic value of the creative industries from the economic perspective? This paper seeks to answer this question by proposing four models of the relationship between the creative industries and the whole economy, then examining the evidence for each. We find that growth models fit the data well, but not everywhere. We discuss the methodological and empirical basis for this finding and its implications for economic and cultural policy. 相似文献
15.
Hye-Kyung Lee 《International Journal of Cultural Policy》2019,25(1):48-62
ABSTRACTThis article explores conceptual frameworks for understanding Korea’s contemporary cultural policy by looking into the historical transformation of the culture-state-market relations in the country. It argues that Korea has become ‘a new kind of patron state’, which emulates the existing patron states in the West firmly within the statist framework and ambitiously renders government-led growth of cultural industries (and the Korean Wave) as a new responsibility of the state. The formation of Korea’s new patron state has been driven by a ‘parallel movement’ consisting of democracy and the market economy, which has defined the political and socio-economic trajectory of Korean society itself since the 1990s. Democracy has been articulated in cultural policy as cultural freedom, cultural enjoyment and the arm’s length principle; meanwhile, the market economy of culture has been facilitated by a ‘dynamic push’ of the state. After discussing the parallel movement, the article points out the tension, ambiguity and contradiction entailed in cultural policy of the new patron state. 相似文献
16.
Hye-Kyung Lee 《International Journal of Cultural Policy》2016,22(3):438-455
The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain. 相似文献
17.
Terence Lee 《International Journal of Cultural Policy》2013,19(3):281-299
The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control. 相似文献
18.
R. Daniel 《International Journal of Cultural Policy》2016,22(2):256-272
Like many western nations, the Australian government invests significant resources in creative industries at federal, state and local levels. While the majority of investment exists in the southern part of Australia, the current federal government has drawn attention to the need to develop the vast northern area of the country. North Queensland is the most populated area of northern Australia, hence key to this broader vision for the country. This case study therefore presents findings from interviews with key stakeholders involved in the development and/or promotion of cultural policy in north Queensland, including participants working at national, state and local levels. The findings are significant and point to four issues of ongoing relevance: the impact of policy and associated engagement issues, reductions in government funding, the fragmented nature of the creative industries, and the particular challenges facing north Queensland in terms of the northern Australia vision. 相似文献
19.
Carole Rosenstein 《International Journal of Cultural Policy》2021,27(1):16-29
ABSTRACT Cultural policy archetypes have been fundamental to comparative cultural policy study and continue to be influential in both everyday and scholarly characterizations of national cultural policy systems. This paper explores the proposition that cultural policy archetypes reflect what people believe to be true about culture – their cultural ideologies. Cultural ideologies are integral to the formation of cultural policy and, thus, must be considered in any theory that hopes to measure the extent to which and explain why cultural policies differ. Cultural ideologies embody ideas about why culture is important and how it should be governed. Those ideologies spotlight certain administrative mechanisms, overemphasizing their role in systems that actually are deeply administratively hybrid. This makes archetypes poor tools for analyzing the mechanisms of cultural policy; however, because archetypes tell us about cultural ideologies in straightforward and powerful ways, it is essential that they continue to be a part of comparative cultural policy study. 相似文献
20.
Aleksandra Wiśniewska Mikołaj Czajkowski 《International Journal of Cultural Policy》2019,25(4):445-457
While public support for culture has become a less self-evident privilege than in the past, the economic evidence for benefits a society gains from these goods has become essential for both cultural economics and cultural policy. The aim of our study is to investigate socially preferred ways of allocating scarce public resources among municipal theaters in Warsaw. The problem investigated is a current issue for local policy-making, but in a broader sense, it illustrates how state-of-the-art stated preference methods can be employed to support cultural policy. We find that inhabitants of Warsaw assign a positive value to the broader accessibility of the theaters, and their willingness to pay for making them a truly public good (by introducing a program of highly discounted tickets) exceeds the costs of such a policy. However, we also find that the cost-benefit relationship varies across theaters with different types of plays in their repertories. Our results imply a different level of socially efficient support for experimental, drama, children’s and entertainment theaters. 相似文献