Creative Industries

Scholars in popular music, urban studies and studies of cultural and creative industries have all noted the close relationship between popular music scenes and specific cities (Cohen 2007; Whiteley et al. ed. 2004; Flew 2012). This is not only the shaping of various musical styles by specific urban environments, but also the ways that these music scenes have contributed to the reconfiguration of urban space, by inhabiting derelict zones of the city and using them as cheap spaces for creative activity, which potentially become transformed over time into cultural quarters. This paper will explore these dynamics as they have been researched in Anglo-American cities like Liverpool, Manchester and Detroit, in relation to the Brazilian post-industrial city of Porto Alegre. Emerging out of our current research project, this article will present our use of cartographic and digital methods, to challenge and extend existing understandings of the relations between music scenes and urban space. Furthermore, undertaking this research in a city that is peripheral to the global circulation of popular music reveals surprising resonances and affinities with other places, for example, in the tendencies to Anglophilia found in the genre of Rock Gaúcho that is a key object of the research in Porto Alegre. At the same time this study will propose a decentring of understandings of rock music scenes by focusing on practices of cultural appropriation and generic reconfiguration in relation to the specific urban context of Porto Alegre.

Songwriting is an integral component of popular music courses within higher education and recent years have seen a rise in researches into song-writing processes (Bennett, 2011). As research on employing practices from popular music in pedagogy for school-aged students is growing (Stowell and Dixon, 2014; Tobias, 2012, 2013; Cain, 2013), there is also a growing interest in how higher education pedagogy can reflect industry practice (Lebler, 2008). However, research looking specifically at the relationship between songwriting practices within the music industry and pedagogy within higher education degree programmes is scarce.

This paper presents the findings of a small-scale research project investigating the collaborative processes within professional and student songwriting teams. A professional songwriting team was observed via video observation working on an advert brief. The same brief was given to a team of final year undergraduate popular music students. The students were also observed working on the brief and interviewed after the song had been completed. When the video observations were analysed, key differences emerged in the way that the professional team and the student team worked. Moreover, the student interviews revealed an insight into the way that the student team viewed their work. While the students worked to merely meet the criteria, the professional team continued to evaluate the work, making changes at critical moments in an attempt to create a work that transcended the brief and aimed to evoke high levels of emotion in the listener.

Using Bennett’s (2011) ontology of negotiated creativity, we discuss the ways in which the professional and student teams differed in their collaborative work. Questions are raised as to why final year undergraduate students who are about to enter the music industry should differ so greatly to the professional team in their approach to the brief, and further research questions will be identified.

This paper highlights the growing importance of interdisciplinary research at the intersection between higher education, creative industries and growth of regional creative economies. The paper not only focuses specifically on the UK context but also encompasses issues of further international interest and debate. It undertakes a review of existing literature on the cultural role of higher education institutions (HEIs) and points to recent research on HEIs’ increasing importance for embedding creative graduates into a region. We not only illustrate how this area of research aligns with the concepts of the ‘creative city’ and the ‘creative class’ but also consider how talent attraction and retention processes include HEIs and art schools as part of a richer understanding of the creative economy as a contextualised production system. Furthermore, we investigate the role of HEIs as so-called ‘third spaces’ for creative knowledge transfer, which in recent years has become a popular cultural and higher education strategy to address the difficulties of feeding creative and cultural knowledge into the wider economy. The paper concludes by highlighting future avenues for cross-disciplinary research in three areas: communities of practice, local stakeholder
management and a shared community agenda, to inform further policy and development in this area.

The paper investigates the people who organize live music concerts: promoters. In contrast to recent contributions analysing the production of music, I argue that the work done by promoters must be analysed separately from the co-production of live music. Drawing on interviews with promoters in the UK, I show how promoters invest aesthetic values into their live music products to attract “like-minded” people and “engineer great moments” for audiences. I also show that promoters do more than create spaces for aesthetic experiences. Much of their work involves accounting for their audience's aesthetic consumption. I argue, then, that we must recognize that cultural producers both invest aesthetic values into their products and use their everyday interactions with consumers to evaluate the extent to which their products have released those aesthetic values.

This study aims to contribute to the currently occurring conversation by providing research on the topics of Culture-for-Development, Cooperation and Internationalization for Local Creative Economies. Recent German knowledge management initiatives in this area will be mapped and contrasted with a South-based experience in Mexico in order to identify more future South-South-North cooperation initiatives with effective and sustainable governance models. Overall, the goal is to discern key lessons regarding the following questions: How could the Post-2015 development agenda be implemented through international cooperation and also be inclusive of culture? What are the most effective instruments for strengthening capacities and building effective institutions? What is the potential contribution of knowledge management for participatory monitoring and accountability? What kind of partnerships could be developed with civil society, universities, and the private sector?

In this presentation we present and discuss the first results of a research project on creative firms’ business models and their interactions with strategic orientations. More precisely, it explores the existent business models in design companies, their performance and the extent to which they are influenced by the assumed dilemma between art for art’s sake and art for business’s sake (Fillis, 2010), or in the marketing context - between creative product and business-market orientations.

V tomto příspěvku sleduji hlavní strukturní a obsahové tendence, které ovlivňují nakladatelské strate-gie a praxe v současném českém literárním poli, přičemž literární pole chápu jako relativně autonomní, nikoli však nezávislou součást širšího komplexu mediálního průmyslu. Soustředím se na diskurzy a jednání vybraných nakladatelství publikujících domácí a/nebo zahraniční beletrii a v tomto kontextu pracuji s pěti klíčovými trendy - globalizace, komercionalizace, homogenizace, fragmentace a digitali-zace. Přibližuji základní rámec strategických přeskupení, k nimž jsou české nakladatelské domy v souvislosti s nimi vyzývány, a uvádím ilustrativní příklady. V příspěvku čerpám z materiálů k rozpracované dizertační práce sondující strukturu a dynamiku českých nakladatelství publikujících beletrii. Práci rámuji reflexivní sociologií Pierra Bourdieu a analýzu zakládám na kvalitativních meto-dách sběru dat: vedle polostrukturovaných rozhovorů s vybranými nakladateli do výzkumného korpu-su zahrnuji vybrané novinové, časopisecké či internetové články k tématu, propagační materiály na-kladatelství či zápisky z knižních veletrhů a knihkupectví.

V tomto příspěvku chápu knižní průmysl jako významnou součást širšího mediálního průmyslu a soustředím se na strategie pro vytváření a upevňování obchodní značky v současném českém nakladatelském poli. V návaznosti na konceptualizaci uměleckého pole francouzského socio-loga Pierra Bourdieu chápu knižní nakladatele jako svého druhu dvojí agenty. Ideálně musejí umět funkčně a invenčně skloubit logiku světa umění a logiku světa obchodu, jež jsou často vnímány jako protikladné až neslučitelné. Představím způsoby, jak se s tímto inherentním pnu-tím vyrovnávají malí, střední i velcí nakladatelé a zaměřím se na mechanismy budování ediční-ho profilu či způsoby zvýznamňování značky mezi žánrově či tematicky podobnou produkcí. Shrnu, jakou roli hraje nakladatelská značka pro čtenáře a jakou pro obchodní partnery (např. při jednání s literárními agenturami). Závěrem se pokusím zhodnotit, jaký manévrovací prostor nakladatelství spolu s rozpoznatelnou značkou jakožto specifickou formou symbolického kapi-tálu získává, například pro hodnotové rekódování hierarchie literárních žánrů (krimi, erotická literatura).

By allowing a separation between content development and final production, global formats help traditionally isolated industries to break through the linguistic and geo-cultural barriers that hindered their participation in the finished global trade. Moreover, formats are at the heart of the process through which television, as a global medium, is responding to its changing environment.  As the medium is faced with growing pressures to adjust to the presence of new media convergence, TV industries around the world are interacting in their efforts to rework the medium’s popular forms. The rise of formatting exchange practices thus mark a radical decentring of the process through which the medium generates and regenerates its ‘formula art’ (Fiske 1987).
To illustrate the complexity of flows involved here one would be hard pressed to find a better example than the recent emergence of the Israeli format industry into as unlikely ‘global Cinderella’. Understanding why and how Israeli companies achieved their global success stands to teach us something about the reconfiguration of the centre-periphery relationship in contemporary ‘planet TV’. 
While the most prevalent discussion of formats is heavily focused on the question of travel, knowledge transfer or franchising (formats are shows that get packaged in one territory and reproduced in another), this chapter poses that to understand their radical potential we must explore the practice of formatting as a fundamental process for television content development even before transnational transfer takes place. Therefore, before the chapter turns to discuss the implications of the Israeli case study, it first explores the significance of formatting for television, starting with the fundamental question: what are formats before they get packaged for transnational reproduction? Using a television studies analysis of medium, culture and industry, the chapter offers a wider historical and theoretical context for the practice of formatting to help explain how the transnational “stretching” of the process helped intervene in the established hierarchies of core-periphery that have underpinned the cultural dominance of the US in the global television industry.

Creative industries development strategies have largely adopted a regionally embedded cluster platform to enhance the economic contribution of the sector. Such an isolated approach has done little to curb significant labour precarity and exploitation within the sector. Correspondingly, creative workers have sought to up-scale their networks, from local to global, to enhance their labour outcomes. This paper analyses the impact creative workers’ up-scaled network arrangements
on their labour outcomes. The research identifies significant policy implications concerning the support of up-scaled arrangements for economic segments that are vulnerable to labour precarity, such as the creative industries.

Straipsnyje autorius kelia hipotezę, kad tikslingas neverbalinės komunikacijos naudojimas yra vienas svarbiausių
elementų kūrybinėse industrijose, siekiant efektyviai minimalizuoti (arba pašalinti) žinutės trukdžius. Šios
hipotezės pagrįstumas įrodomas pirmiausia glaustai apžvelgiant pagrindinius neverbalikos tyrimus ir gautas
išvadas, kurios svariai prisidėjo prie neverbalinės komunikacijos studijų modernaus apibrėžimo ir supratimo.
Straipsnyje taip pat parodoma, kaip neverbalikos tyrimų rezultatai gali būti panaudoti siekiant efektyvesnės
komunikacijos tarp kūrėjo ir auditorijos ir kaip, neatsižvelgus į keletą neverbalios komunikacijos elementų,
galima sukurti žinutę, priešingą užsakovo tikslui.

Straipsnyje ekonominiu aspektu nagrinėjama Lietuvos kino industrijos padėtis XXI amžiuje. Aptariamas kultūrinis, simbolinis ir ekonominis kino industrijos kapitalas, kaip sektini kino industrijos pavyzdžiai analizuojama Didžiosios Britanijos ir Čekijos Respublikos patirtis, aptariamos šios patirties pritaikymo Lietuvoje galimybės. Siekiant tinkamai įvertinti simbolinį ir kultūrinį nacionalinės kino industrijos produkcijos lygį, analizuojami autoriaus atliktos apklausos duomenys. Norint nustatyti žiūrovo požiūrį į nacionalinę kino industriją, buvo atliktas kiekybinis tyrimas, kuriame dalyvavo 448 asmenys. Apklausos rezultatai parodė, kad statistinis žiūrovas yra abejingas Lietuvos kino produkcijai ir mano, jog Lietuvos kūrėjai neatsižvelgia į jo poreikius ir nesukuria stiprios rinkodaros.