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.     

Professionalising the British film industry: the UK Film Council and public support for film production

This article examines the UK Film Council’s objective to reorganise and reallocate public funding for film from 2000 onwards. I argue that the model adopted by the UKFC was innovative on two levels. First, it separated public funds available for film production into three separate streams and then hired industry professionals to head each individual fund. I also examine how the funds developed over the lifetime of the organisation, with each appointed head shaping the principles of their respective funds in accordance with the wider objectives of the UKFC. Drawing on strategy documents, internal papers and interviews with key personnel, I argue that the UKFC worked to position itself as a ‘vanguard organisation’ seeking to shake up an independent sector seemingly reliant on state handouts and introduce a commercial perspective to the industry. This mission met an abrupt end, however, when the incoming Coalition government closed down the organisation in 2010.     

Geographic film as public research: re-visualizing/vitalizing a terraced landscape in the Italian Alps (Piccola terra/Small land, 2012)

This article describes an experience of geographic filmmaking carried out within a long-term research process (2000–2012) involving the terraced landscape of the Brenta Valley in the Italian Alps. The documentary Piccola terra [Small land] (2012) was co-produced by geographers and professional directors. Engaging in the recent debate on filmic geographies, the aim of this article is to discuss and show what makes a film ‘geographic’. The geographer authored a filmic interpretation of landscape which is spatially and temporally complex, open and mobile, anchored to material features and to personal stories and socio-economic contexts. Produced to support a campaign for the adoption of abandoned terraces by ‘new farmers’, the documentary Piccola terra serves as a means to engage society and produce landscape change. Geographic filmmaking as an action-, public- and social-oriented activity is discussed with reference to the so-called ‘impact agenda’. We propose a style of active engagement through filmmaking which is workable, rather than critical. In order to avoid purely auto-reflective, auto-referential academic speculation on doing filmic and public geographies, this paper, which ideally is read along with viewing of the documentary, materially enters the researched/filmed landscape, developing into a supplementary tool for the international dissemination of Piccola terra.     

‘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.     

South Africa’s trade in cultural goods and services with a focus on cultural trade with BRICS partners

ABSTRACT

As the potential for cultural and creative industries to drive growth and job creation is increasingly recognised, developing countries like South Africa are examining their cultural goods and services trade in a new light. This article investigates the pattern of South Africa’s cultural trade, with a focus on the strategically important BRICS trading bloc. Results show that, like many small, open developing countries, South Africa has a significant cultural goods trade imbalance, especially with China and India. While cultural trade policy is still somewhat fragmented, there are indications that where policies have been put in place, such as in the crafts and audio-visual sectors, progress in reducing significant deficits has been made. At the same time, the pattern of CCI trade preferences currently favours SADC, the EU and EFTA over BRICS partners. Finally, South Africa performs well in a number of services sectors for which cultural trade is important.     

Syrian refugee resettlement and the role of local immigration partnerships in Ontario,Canada

We examine Canada's recent Syrian Refugee Resettlement Initiative (SRRI) paying close attention to the resettlement role played by mid‐sized urban communities. We elaborate on a key policy dimension at work at this scale of action: local immigration partnerships (LIPs). We start with a very brief review of Canada's history of mass refugee resettlement. Second, we assess the policy of LIPs, particularly how they have been presented as a form of “place‐based policy,” and third, we offer an overview of the role the LIPs played in three case study communities (Hamilton, Ottawa, and Waterloo) during the SRRI. Finally, we present three overarching themes that emerged from our research in each of these communities: the importance of each community's history of immigration and refugee resettlement; the embeddedness of the LIP and its leadership in the local community; and how the positioning of each LIP relative to the three levels of government and its official Resettlement Assistance Program agreement holders impacted its ability to act. The history, location, and place characteristics of each community influenced the nature of intersectoral and intergovernmental relations in distinctive ways, and differentially shaped the effectiveness of each LIP's ability to contribute to the SRRI.     

The role of local immigration partnerships in Syrian refugee resettlement in Waterloo Region,Ontario

As of January 29, 2017 Canada had received 40,081 Syrian refugees. The scale and scope of this resettlement is historic, with the only comparable event being the arrival of 60,000 Indo‐Chinese refugees in the late 1970s. Since that time, much has changed in local resettlement policy. This research focuses on one component of these changes—the role of Local Immigration Partnerships (LIPs) in Syrian refugee resettlement—through a case study of an official refugee reception centre in the Waterloo Region of Ontario and a series of interviews with key informants from multiple sectors involved in resettlement. Results indicate Waterloo's LIP playing a sizable role, but not acting as the sole response body to refugee resettlement. Nevertheless, participants saw the LIP as a crucial part of Waterloo's resettlement efforts. Despite being a product of a tri‐level intergovernmental agreement, the LIP played a central role in shaping a local strategy by using local solutions. LIPs represent an example of place‐based policy that worked well during the Syrian Refugee Resettlement Initiative, but LIPs’ success may set a challenging precedent for future mass refugee resettlement events.     

Gender,precarity and hybrid forms of work identity in the virtual domestic arts and crafts industry in Canada and the US

Over the last several decades, there has been a growing recognition of the precarious nature of employment in creative economies, including craft industries. Despite this work, little research has explored how the rise of the platform economy is affecting labour market precarity. Our article explores the nature of precarity in craft blogging, looking in particular at the domestic arts and crafts. We examine how a growing number of women have left other forms of employment to engage in sewing, knitting, quilting, cooking and baking. Many women have also taken to blogging about their endeavors. However, there is a paucity of research on the variety of types of work that craft bloggers engage in and the challenges they face. Drawing upon interviews with female domestic arts bloggers in Canada and the United States, the article explores the work that craft bloggers engage in, the space and time of labour, and the variable sources of income that they access through their work. The article analyzes the experiences of precarious labour that arise at the interface of craft and the internet, and the multiple identities that stem from hybrid forms of creative work.     

Poetry,Cosmology, Cosmogony

Abstract

This reflective essay investigates the relationship between, on the one hand, the author’s own creative practice and, on the other, cosmological discoveries, both old and new. A series of poems from his collection, Musicolepsy (Shoestring Press, 2013), is presented, contextualized and discussed. All the poems, in very different ways, negotiate and explore the linguistic boundaries and overlap between poetry and cosmology. Specifically, the poetry provides a space in which the sometimes casual, sometimes deep-rooted analogies, metaphors and allusions of popular scientific discourse can be probed, dissected, stretched or exploded. In this way, poetry itself might be seen to embody a kind of pseudoscientific sphere of experimentation, when applied to scientific language.     

Artists and policy: a case study of the creative industries in north-eastern Australia

Artists play a major role in the cultural fabric of society. They operate within the creative industries, a sector of activity widely accepted as significant to developed and developing economies. While there is a substantive body of literature relevant to the nature of policy-making as applied to the arts, research that explores the views of practitioners at the grass roots level is limited, and particularly so in regional north-eastern Australia, an area with significant challenges caused by isolation and distance. This article contextualises the issues of relevance in relation to artists’ engagement with policy, after which it presents survey and interview data obtained from those working in the field. The findings reveal the influence of isolation in north-eastern Australia, not only in a geographic sense, but in terms of the number of artists who see themselves as disconnected from policy, arts and cultural strategy.