Making creative industries policy in the real world: differing configurations of the culture-market-state nexus in the UK and South Korea

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.     

The neo-developmental cultural industries policy of Korea: rationales and implications of an eclectic policy

ABSTRACT

This article undertakes an explanatory case study of the South Korean cultural industries policy shift instituted under the Kim Dae-Jung and Roh Moo-Hyun governments (1998–2008). This shift can be well positioned within the broader context of the creative turn in national cultural policy around the world, which was initiated by the British New Labour governments (1997–2010). Despite the similarities in the driving discourses and policy methods, the Korean policy shift was significantly distinguished from its British counterpart because of the differing pace and trajectories of industrialisation in the two countries. Adopting the concept of the East Asian developmental state as an entry point, this article explores how and why South Korea went through a cultural industries policy shift in the period following the 1997–98 Asian financial crisis and, additionally, examines what kinds of changes the policy shift brought about. Understanding the rationales and implications of this neo-developmental transformation can provide a unique opportunity to re-think the fashionable creative industries policies among various nations.     

Who governs culture? Actors,federalism and expertise in Swiss regional cultural policy

ABSTRACT

This article proposes a novel approach to cultural policies and cultural policy change, drawing on public policy and institutional analysis to study how decision-making power is distributed between actors in the public and private sectors and at different state levels, as well as the precise roles of public administrations, elected officials and cultural actors. Indeed, rather than directly defining cultural policy, laws on culture mostly designate actors in charge of policy implementation. Based on an empirical application of this analytical framework to the case of Swiss cantons and focusing specifically on the positions of cultural actors, findings show that cultural policies are transformed in different ways, affording more or less power to actors from the cultural sector in implementation arrangements generally dominated by administrative actors.     

The international transfer of creative industries as a policy idea

This article examines the transfer of creative industries as a policy idea to Lithuania. Tracing the stages of the transfer and analysing its consequences in the local cultural policy field, this paper argues for the importance of studying cultural policy process. The findings reveal that the process of the international transfer of creative industries mattered, because it generated wider transformations in cultural policy field by having ambiguous effects on local power relations. The policy idea of creative industries opened the cultural policy field to new actors. As a result, competition for scarce state funding increased, but cultural organisations gained access to the European Union structural funds. In all, creative industries as a policy idea significantly transformed Lithuanian state cultural policy, in that it led to a reassessment of both the practices and identities of cultural organisations.     

Cultural policy as mythical narrative

ABSTRACT

In this paper, we argue that policy assumptions are shaped by mythical narratives carrying underlying beliefs and values. Drawing on narrative studies, organisational theory and Gramsci’s cultural hegemony theory, we examine how sense-making narratives create consensus, how they imply causation and individual agency, and finally how narratives fragment to reveal alternatives to hegemonic ‘common sense’ assumptions. Applying this framework to cultural policy we examine the place of mythic, sense-making narratives in the historical development of foundational national cultural policies in the UK and Mexico – respectively, narratives of ‘the civilising mission’ and ‘social transformation’. We then consider narrative emplotment and individualisation underpinning assumptions about individual creativity in the UK creative industries policy. Finally, we address the postmodern turn in narrative studies, showing how fragmented, polysemous narratives fracture cultural policy into ‘personalised truths’ and give voice to other, counter-hegemonic perspectives. We conclude by proposing an agenda for narrative research in cultural policy.     

Cultural policy archetypes: the bathwater and the baby

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.     

From Coombs to Crean: popular music and cultural policy in Australia

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?     

New local cultural policy evaluation methods in the Netherlands: status and perspectives

Efforts to improve local public policy-making in the Netherlands have led to two changes in local government. First, a budgeting system that focuses political debate on the outcomes of policies rather than on their costs was implemented as of 2004. Second, as of 2006, municipalities have been obliged to install a local Audit Committee (rekenkamercommissie). The committees examine the efficacy and efficiency of municipal policies. Several of these committees have devoted research to cultural policy. In this article, I present the manner in which this budgeting system and the institution of Audit Committees have impacted the evaluation of local cultural policies in the Netherlands. Furthermore, I discuss the way practices relate to key dilemmas concerning evidence-based cultural policy.     

The evolution of the cultural policy regime in the Anglophone Caribbean

This paper addresses the complexities involved in developing cultural policies in the Anglophone Caribbean. The first section examines the evolution of the cultural policy agenda in the 40‐odd years since the independence era. It traces and analyses the policy trajectory from one that sought to promote the intrinsic values of culture, to one that currently espouses the more instrumental value of the cultural industries. The next section analyses the efficacy of the policy path by examining a regional cultural policy initiative, the Caribbean Festival for the Arts (CARIFESTA). The paper suggests that the Caribbean cultural policies have under performed because of critical disjunctures. These generally involve the imposition of a nationalistic policy framework on the transnational structure of the Caribbean cultural sector. The paper concludes by suggesting a regional cultural approach to policy formulation can provide a more effective mechanism to encourage and harness the cultural wealth of the Anglophone Caribbean.     

The creation of a Ministry of Culture: towards the definition and implementation of a comprehensive cultural policy in Peru

In June 2010, a Ministry of Culture was created in Peru, raising many questions regarding the ability of this new administrative structure to effectively implement a comprehensive cultural policy, which has been lacking so far, for the Peruvian State has based its previous policies almost exclusively on the preservation of cultural heritage. The Ministry inherits the flaws of the National Institute of Culture, and must address various challenges: the improvement of heritage management; the inclusion of indigenous populations in a never established national identity; a renewed scheme of promotion of the arts and incentives to cultural industries. The article discusses possible policy options for the new ministry, evidences the needs for a renovation of bureaucratic culture within the ministry, for clarification in the objectives set to the Ministry and for more comprehensive data about cultural practices in Peru.     

BOOK REVIEW

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.     

Why does cultural policy change? Policy discourse and policy subsystem: a case study of the evolution of cultural policy in Catalonia

Culture has come to play a fundamental strategic role in the territorial development that seeks to integrate knowledge economy with social cohesion, governance and sustainability. However, cultural policies have been unable to respond to the dilemmas and expectations that this new order presents. In order to appreciate the consequences of this process, it is essential to gain a better understanding of cultural policy change dynamics. This article develops a framework for analysing cultural policy stability and change and applies it to the evolution of cultural policy in Catalonia. Both policy continuity and change are conditioned by the evolution of policy discourse on culture and the characteristics of the cultural policy subsystem. Within this framework, this article also takes into account the role of factors that are exogenous to the cultural domain. Lastly, this article addresses particular characteristics of cultural policy change in regions or stateless nations.     

A critical perspective on socially embedded cultural policy in France

This paper aims to show how in France, the synthesis of cultural policy and social concerns throws up a number of tensions and pitfalls. These tensions are perhaps most acute because these sorts of cultural policies are not merely about socio‐economic issues but are actually tied to France’s colonial legacy and the presence of a large and often marginalised population of migrants and their descendents. The pitfalls stem from the universalist starting point of French cultural policy, which, although designed to integrate “new” and migrant/postmigrant publics, emergent artists and cultural practices, seems to simultaneously marginalise them since it is already premised on a binary that opposes art as aesthetic expression and art as an expression of cultural (anthropological) identity or social cohesion.     

Cultural rights and their contribution to sustainable development: implications for cultural policy

Abstract

This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become widespread within cultural policy documents in recent decades, the actual conceptual and operational implications often remain vague, as an ambitious discourse that may conceal a poverty of resources and capacities. As a result, the ideal horizon suggested by cultural rights and sustainable development may not always be achieved in practice, nor are the mechanisms to achieve it always well known. In this respect, the article aims to dissect the actual requirements posed by cultural rights and sustainable development, including their different notions and areas of synergy and intersections, in order to shed light on relevant cultural policy approaches. To this end, a range of examples taken from a variety of contexts will also be examined as areas of expressed needs or areas of possible solutions.     

Introduction: film policy in a globalised cultural economy

This special issue on ‘Film Policy in a Globalised Cultural Economy’ is devoted to the changing economic and technological context in which filmmaking occurs, the policy responses that these changes have generated and their consequences for the pursuit of cultural objectives. The issue offers discussions of the general economic, technological and political shifts shaping the global film industry as well as case-studies examining the specific policies adopted by different states. While these indicate how governments have been obliged to respond to the economic and technological changes wrought by globalisation they also highlight the variations in approach to film policy and the continuation of tensions between economic and cultural, and public and private, objectives.     

Towards a computational cultural policy studies: examining infrastructures of taste and participation

Like other disciplines within the humanities and social sciences, cultural policy studies has had to respond to the influence of computing technologies. Researchers have explored the changes wrought to the management of cultural organisations, to the models of the creative industries and to new forms of access to culture and the arts. This paper suggests that these emphases might miss how computing technologies are re-shaping the project of cultural policy in a more fundamental direction. The paper draws on the work concerned with the cultural values of computing technologies and their influence on contemporary modes of government. These values, of instrumental reason, categorisation and calculation underpin a range of technologies, which are increasingly present in and important to the management of everyday life. Reflecting on how cultural taste and participation are being re-shaped by computing technologies, the paper argues these infrastructures are informed by specific visions of the kinds of people who live with and through them and how such people can be governed. The long-standing focus of cultural policy studies – about how states are concerned with the cultural formation of their citizens – are keenly present in the strategic ambitions and imperatives associated with computation.     

The end of cultural policy?1

ABSTRACT

The article discusses whether we are approaching the end of public cultural policy in Western democracies, because contemporary cultural policy is not adapted to major transformation processes in contemporary societies. I discuss seven different challenges/scenarios that public cultural policy has to confront today: (1) It appears to be very difficult to democratise culture. (2) Public authorities consistently continue to support cultural institutions that may be obsolete. (3) Professional artists are still poor, despite public support schemes. (4) Public cultural policy is still predominantly national, despite the globalisation of cultural production and distribution. (5) Public authorities increasingly justify subsidies to culture with reference to the beneficial effects that art and culture could have outside the cultural field. Therefore, one might argue that other public bodies could take better care of cultural affairs. (6) A specific public cultural sector may appear to ‘imprison’ culture in a bureaucratic ‘iron cage’. (7) Finally, one might argue that a public cultural policy has no sense in a period of stagnating public finances. In addition, I discuss several counterarguments to these challenges, without coming to a definite conclusion. I have based the analysis on available comparative research about the public cultural policies of Western democracies, predominantly Norwegian cultural policy.     

Access to culture in Croatian cultural policy: moving towards explicit policies

In this paper through the analysis of the access to culture issue in the Croatian cultural policy agenda, we illustrate the current cultural policy developments in Croatia in the broader European context. Taking the differentiation between explicit and implicit policies at both macro and micro level we analyse discourses on access to culture in the Croatian cultural policy at the constitutional level, parliamentary political parties’ level, the governmental level and the level of cultural organisations. On the one hand the policies regarding access to culture remain mostly implicit and revolve around traditional models connected to instruments dating back to socialism; while on the other selected cultural organisations develop instruments for fostering it where European projects have an influence. The orientation more towards cultural production issues and less to access to culture and cultural participation issues draws similarities of cultural policy developments in Croatia with the general European cultural policy framework.     

Policy attributes shape climate policy support

Understanding how preferences for public policy instruments shape policy support helps policymakers to design policies that begin to tackle large-scale and complex problems, such as climate change. Climate change policies generate both local and global costs and benefits, which affect the public's policy preferences. In this article we investigate the role of perceived conditional cooperation and distributive concerns on climate policy attitude formation. We identify a range of climate policies and test public opinion for adoption of these policies at different scales of government. The important theoretical distinction is the scale-driven distributional nature of policy costs and benefits as well as concerns regarding the cooperation of other actors. We use data from Sweden and a conjoint experimental design where we vary level of government, type of policy, and the targeted group. We find evidence that people support policies when costs are shared broadly. We also find that support for climate policy is conditional on expected policy adoption by other units of government at various scales. This implies that unpopular climate policies might be more popular if the funding structure of the policy allows for binding policy and that the cost-sharing is taking place at higher levels of government.     

Film distribution as policy: current standards and alternatives

Much recent scholarship has identified an urgent need to address distribution opportunities for Australian cinema in a digital age. In trying to understand why Australian film policy has been beleaguered by complacency for distribution, this paper looks abroad to see what precedents and attitudes exist in distribution-related cultural policy. Why hasn’t support for distribution and exhibition been the touchstone of cultural policy for national cinemas? Why has policy support for the production sector prevailed, when distribution is the film industry’s key zone for profit? This paper surveys international policy examples of what governments are doing beyond the production realm. It examines legal interventions into the distribution realm, including direct state measures such as subsidies, levies, quotas and import restrictions, indirect state aid, and cultural initiatives by film funding bodies that stimulate audience engagement in the distribution and exhibition sectors. The paper combines these primary sources of film policy information with film historians’ accounts to provide a comparative analysis of national film distribution policies. It then examines the politics underlying the various policy frameworks, before mapping out an alternative strategy for the future of policy in Australia that is equipped to deal with the huge changes in digitalisation.