Politics of the ‘creative industries’ discourse and its variants

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.     

‘Innovation is a dirty word’: contesting innovation in the creative industries

Innovation is a term that is used and defined in many different ways. This holds for innovation in general, but particularly for innovation in the creative industries. In cultural policy and in academic literature, the creative industries are often addressed in the relation to their innovative capacities, yet a shared conceptualisation of innovation in this sector is lacking. This paper seeks to develop a conceptualisation of innovation in the creative industries based on 43 interviews with creative workers about their views and practices. Results indicate that creative workers articulate numerous views on innovation, with three main approaches: innovation as something completely new, innovation as a contribution to society and innovation as a continuous recombination of new and existing elements, with the latter being most prevalent in the creative industries and considered a central (by-product of the) process of creative production that is highly contextual to specific localities and fields.     

Creativity in the ‘Torrid’ zone: policy,creative industries and the vision for Northern Australia

Creative industries are recognised as a key driver of economic growth in both developed and developing nations. In addition to recognising the importance of creative industries, the Australian government has recently renewed a focus on the vast northern tropical area of this island nation as key to future economic and population growth, via the release of a white paper focussed on development options for the north. However, the white paper contains virtually no references to creative industries. In addition, Australia’s most recent national cultural policy, Creative Australia, has after only a few years slipped into obscurity and despite major resources being invested towards its development. Drawing on the almost 100 years of policy documentation relevant to Northern Australia, this paper highlights the limited attention paid to arts, culture and creative industries, and considers this relative policy vacuum in the context of global developments in creative industries.     

What are the concerns? Looking back on 15 years of research in cultural and creative industries

This paper surveys the research literature on cultural and creative industries (CCI). Academic discussions on CCI have grown extensively after the Department of Culture, Media and Sport (DCMS) identified 13 sectors as constituting creative industries in the UK in 1998. The public has also become gradually convinced of the significance of CCI as being important for economic growth. We adopt a systematic and quantitative method to review the academic CCI literature. After collecting data, we first investigate the research fields under which the journals that publish CCI papers are categorized, finding that Business, Economics and Geography are the top three research fields. A second examination on the authors’ nationality indicates that their cultural background induces a different emphasis on their research field. We lastly apply the multiple main paths analysis to uncover the development trajectories of CCI research, with the result showing that the research agenda has changed along with a better understanding of the essential elements of CCI. Based on the literature on the main path, we observe the top five discussed themes: information technology, global cooperation, micro and fragmentary creative activities, remote places, and country/regional characteristics. Monitoring the discussions on these themes may help CCI researchers, creative workers, and policy makers to assess future directions for economic development.     

The dynamics of global visual effects and games development industries: lessons for Australia’s creative industries development policy

The paper critiques the focus of creative industries policy on capability development of small and medium sized firms and the provision of regional incentives. It analyses factors affecting the competitiveness and sustainability of the games development industry and visual effects suppliers to feature films. Interviews with participants in these industries highlight the need for policy instruments to take into consideration the structure and organization of global markets and the power of lead multinational corporations. We show that although forms of economic governance in these industries may allow sustainable value capture, they are interrupted by bottlenecks in which ferocious competition among suppliers is confronted by comparatively little competition among the lead firms. We argue that current approaches to creative industries policy aimed at building self-sustaining creative industries are unlikely to be sufficient because of the globalized nature of the industries. Rather, we argue that a more profitable approach is likely to require supporting diversification of the industries as ‘feeders’ into other areas of the economy.     

Transformation,job creation and subsidies to creative industries: the case of South Africa’s film and television sector

Many governments have tried to stimulate economic growth via policy in the creative industries. South Africa is no different but additionally has an overarching aim of achieving social and labour market ‘transformation’ to move away from the legacy of the apartheid era. The effectiveness of incentives provided to the film and television sector in South Africa are considered in terms of their stated objectives of job creation, skills and knowledge transfer, and the attraction of foreign direct investment. Informed by empirical analysis of incentive scheme data and supplemented by elite interviews with key informants, some specific policy revisions are proposed.     

Having an impact? Academics,the music industries and the problem of knowledge

This article reflects upon recent interest in knowledge transfer from higher education to the creative industries, using the UK music industries as a case study. It suggests that traditional academic values of impartiality and concern with research methodology can come in to conflict with instrumentalist agendas that see research as valuable only insofar as it fits with pre‐existing worldviews and policy ends. In this setting, knowledge resistance is often more significant than knowledge transfer and may be expected to frustrate any attempts to have an ‘impact’.     

A spin of the wheel? Defence procurement and defence industries in the Brexit debates

Whether a ‘Brexit’ would threaten the United Kingdom's national security has become a central theme in the run‐up to the in/out referendum on EU membership. Although national security has been a central facet of both the ‘Remain’ and ‘Leave’ campaigns thus far, there has been little mention of the implications of a Brexit for UK defence industries or defence procurement, let alone formal debate or analysis. The article addresses this gap by analysing the potential implications of a Brexit for defence procurement and industries in the UK and the EU member states. The first section analyses the policy context for a Brexit by exploring existing levels of EU defence procurement integration in the UK's and Europe's defence industries. The second section draws on Jozef Bátora's ‘institutional logics’ framework to identify two pro‐Brexit and two pro‐Remain narratives, each employing differing assumptions on the relative benefits of national sovereignty and closer EU integration The final section analyses the way in which these ‘logics’ or narratives will be deployed by their advocates in the run‐up to the UK's EU referendum. The article concludes that the national security battleground in the 2016 referendum will be fought over competing narratives and arguments, partly because there is a dearth of data and evidence concerning UK and EU defence procurement and industries, which renders this crucial area of national security vulnerable to the politics of spin.     

Cologne—a creative city

The paper addresses the problem which conditions account for the creativity of a city. Network analysis is used as an approach to study the major institutions and individuals that contributed to the success of Cologne becoming a German arts centre. The impact of this network on the city's eeconomy and functional specialization is analyzed for the period 1960-1995. To this end, the demographic and economic changes of the city are described comparing Cologne to four other major German cities. Furthermore, the impact of policy and administration creativity is examined. The major finding is that it is less the creative structure that accounts for the success, but rather indiviuals in different institutions that played a major role in shaping both the institution's policies and contributing to the city's economic growth.     

A synopsis of the symposium on “civil organizations and the state in modern China”

The other side of the formation of the modern state is the thorough transformation of social structure, the way people are organized, and the mechanisms of social mobilization and participation. One distinctive feature of these changes is the growth and expansion of civil organizations (minjian zuzhi). As a linkage point between the state and the individual, civil organizations have exerted an important and unique influence on the orientation as well as the nature of society. The history of the separation and reorientation of state and society in China was both specific to China as well as relevant to global experience. In recent years, research on modern Chinese civil organizations has become rigorous and fruitful, covering a wide range of topics from the history of chambers of commerce to guilds, peasant associations, freelancer groups, charity groups, cultural and educational clubs, and religious organizations. Thanks to a relatively large pool of participating scholars, the discussions have also multiplied and deepened, contributing to the study of modern Chinese history a new yet indispensable subfield. All of these studies not only delineate the organizations’ background, development, structure, and function, but also pay attention to their relations with the state. Indeed, state–society relations constitute the most widely applied analytical framework. This is related to the middleman position of civil organizations, as well as to the state’s ability to dominate them under the Chinese social tradition of strong state and weak society.     

Cool,funky and creative? The creative class and preferences for leisure and culture

It is a core element in Richard Florida’s popular theory on growth to be able to attract the creative class to a geographical area. But Florida is not very specific on which kind of amenities are important for attracting and keeping the creative class. The purpose of this paper is to analyse which kind of cultural activities the creative class is actually using. Which kind of cultural activities does the creative class use more intensively than other groups in society? This paper presents new empirical results on preferences for leisure and culture. Richard Florida’s theory can be, and has been, criticised – especially on the issue of causality. The analyses presented in this paper show that being part of the creative class has an independent and significant role in explaining preferences for leisure and culture.     

‘Queen’s Day – TV’s Day’: the British monarchy and the media industries

In contemporary British history, Elizabeth II’s coronation in 1953 is typically imagined and narrated as the moment where television was anchored as a national cultural form. In addition, it is well documented by commentators and scholars that during preparation for the coronation, politicians and the palace had reservations that live television might fracture the carefully constructed mystique of monarchy. This article revisits the coronation to consider why and how television was perceived as a watershed moment for both monarchy and television, and what difference this has made to royal representations since. Using the work of Michael Warner, it argues that the mediated intimacies facilitated by television as a new cultural form encouraged viewers to enact participatory and active processes of spectatorship as royal ‘publics’, who are brought into being through being addressed. That is, it was the act of emphasising the centrality of television’s role in the coronation, and in reinforcing the apparent distance between monarchy and (popular) media, that these ‘meanings’ of the coronation were constructed in the public and historical imaginary.     

De-centring the European union: policy diffusion among European regional organizations – a comment

Abstract

This article comments on the special issue from a political science perspective. It starts with an attempt at interpreting the contributions from a diffusion perspective. The articles show a sophisticated understanding of diffusion as “interdependent decision-making”, that is multi- rather than uni-directional, focuses on diffusion as a process (not an outcome), and takes a decidedly agency-centered view. The article then highlights some of the empirical findings in this special issue. This concerns, among others, the crucial role of the Council of Europe (CoE) as a laboratory for generating new policy ideas and an agenda-setter, as well as the equally important function of the various parliamentary assemblies as mechanisms by which policy ideas diffuse. At the same time, there is also a power story in this special issue. The EC ultimately dominates the processes in most policy areas. The article concludes with remarks on the fruitfulness of an interdisciplinary dialogue between historians and social scientists as documented by this special issue.     

From culture for the people to culture for profit: the PRC’s journey toward a cultural industries approach

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.     

Culture for competitiveness: valuing diversity in EU-Europe and the ‘creative city’ of Berlin

The European Union (EU) has in recent years propagated an approach to ‘culture’ that pulls together support for the creative and cultural industries with diversity-sensitive immigration and integration strategies, drawing on popular policy visions of the ‘creative’ and ‘intercultural’ city. This approach emphasizes the role that the diversity of culture, as personal resource, can play in enhancing economic competitiveness. The article examines its logic and possible effects through an analysis of EU documents and policy in Berlin. Berlin intersects with the EU’s agenda, using EU structural funds and participating in the European program ‘Intercultural Cities’. It is shown that the attempt to use ‘culture for competitiveness’ equates support-worthy ‘diversity’ with forms of culture that conform to (neo)liberal values and priorities. The attempt to shape a cosmopolitan place attractive for investment and the high-skilled feeds into gentrification processes that create ‘diverse’ neighborhoods where ‘difference’ has no place.     

The impotence of being earnest? Avoiding the pitfalls of ‘creative middle power diplomacy’

This article critically evaluates Australia's ‘creative middle power diplomacy’, encapsulated in the three pillars of the Labor government's foreign policy platform. It notes that each pillar has been accorded specific roles in the implementation of Australian foreign policy and makes particular reference to the government's preference for multilateral engagement. The article subsequently demonstrates that such an agenda actually impedes a creative approach to key issues such as trade, climate change and non-proliferation challenges, as well as Australia's participation in Asia-Pacific order-building. It then offers some suggestions for a more flexible posture that is not inconsistent with past Labor approaches, but which also better appreciates regional and global complexities.