Tony Addison
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199532605
- eISBN:
- 9780191714627
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199532605.003.0009
- Subject:
- Economics and Finance, Development, Growth, and Environmental
Artists, musicians, and writers have always been great travellers. Today, their talent circulates in new ways, and takes new forms, as the creative industries expand globally in a marriage of media ...
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Artists, musicians, and writers have always been great travellers. Today, their talent circulates in new ways, and takes new forms, as the creative industries expand globally in a marriage of media technology and the traditional arts. The growing international market for cultural talent can do much to help countries diversify their economies, and improve quality of life more broadly. The creative industries are subject to strong clustering effects, with talent moving swiftly to the most vibrant clusters, not always to the advantage of the poorer countries which can lose talent to the richer world. Countries that protect intellectual property rights, educate and train their talent, and maintain politically open and liberal societies will have a head start in the global creative economy.Less
Artists, musicians, and writers have always been great travellers. Today, their talent circulates in new ways, and takes new forms, as the creative industries expand globally in a marriage of media technology and the traditional arts. The growing international market for cultural talent can do much to help countries diversify their economies, and improve quality of life more broadly. The creative industries are subject to strong clustering effects, with talent moving swiftly to the most vibrant clusters, not always to the advantage of the poorer countries which can lose talent to the richer world. Countries that protect intellectual property rights, educate and train their talent, and maintain politically open and liberal societies will have a head start in the global creative economy.
Dia Da Costa
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040603
- eISBN:
- 9780252099045
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040603.003.0001
- Subject:
- Society and Culture, Asian Studies
This chapter introduces transnational feminist and affect theory frameworks, two activist troupes, and key concepts of sentimental capitalism and hunger called theater to argue the significance of ...
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This chapter introduces transnational feminist and affect theory frameworks, two activist troupes, and key concepts of sentimental capitalism and hunger called theater to argue the significance of analyzing a global discursive regime of creative economy policy within the same analytical frame as activist performance. Highlighting recent articulations, affects, and contradictions of Indian creative economy policy, it presents shifting discursive and political histories. Rather than focusing on capital-rich cultural production, it makes a case for attending to unrecognized creativity within activist performance whilst analyzing the latter’s messy collaborations with hegemonic regimes of creativity. Outlines the book’s organization: Part 1 historically and spatially locates a global discursive regime in India, Ahmedabad, and Delhi; Parts 2 and 3 are ethnographies of the two troupes.Less
This chapter introduces transnational feminist and affect theory frameworks, two activist troupes, and key concepts of sentimental capitalism and hunger called theater to argue the significance of analyzing a global discursive regime of creative economy policy within the same analytical frame as activist performance. Highlighting recent articulations, affects, and contradictions of Indian creative economy policy, it presents shifting discursive and political histories. Rather than focusing on capital-rich cultural production, it makes a case for attending to unrecognized creativity within activist performance whilst analyzing the latter’s messy collaborations with hegemonic regimes of creativity. Outlines the book’s organization: Part 1 historically and spatially locates a global discursive regime in India, Ahmedabad, and Delhi; Parts 2 and 3 are ethnographies of the two troupes.
Ian Hargreaves and John Hartley (eds)
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781447324942
- eISBN:
- 9781447324966
- Item type:
- book
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447324942.001.0001
- Subject:
- Society and Culture, Technology and Society
Digital social media afford unprecedented opportunities for groups of citizens to collaborate locally and internationally in innovative ways in countless domains. This book seeks to evaluate this ...
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Digital social media afford unprecedented opportunities for groups of citizens to collaborate locally and internationally in innovative ways in countless domains. This book seeks to evaluate this potential, drawing upon a broad conceptual analysis and a series of co-creative case studies undertaken by a multi-disciplinary research team with community partners in different parts of the UK. Creative citizenship is shown to be a widespread, even global phenomenon, though the term itself is recent in origin. Creative citizens are active across the whole of society, making distinctive contributions in politics, education, media, environment, urban development, journalism, planning, business and many other dimensions. In its closing chapter, the book draws together the insights from case studies and a wider reflection upon policy options open to government and others to ‘unbind’ creative citizenship. The authors argue for re-consideration of official statistics to reflect the significant but largely uncounted contribution to the creative economy made by creative citizens. The book then identifies other ways in which the potential of creative citizens can be ‘unbound’, in fields such as community journalism, planning and education.Less
Digital social media afford unprecedented opportunities for groups of citizens to collaborate locally and internationally in innovative ways in countless domains. This book seeks to evaluate this potential, drawing upon a broad conceptual analysis and a series of co-creative case studies undertaken by a multi-disciplinary research team with community partners in different parts of the UK. Creative citizenship is shown to be a widespread, even global phenomenon, though the term itself is recent in origin. Creative citizens are active across the whole of society, making distinctive contributions in politics, education, media, environment, urban development, journalism, planning, business and many other dimensions. In its closing chapter, the book draws together the insights from case studies and a wider reflection upon policy options open to government and others to ‘unbind’ creative citizenship. The authors argue for re-consideration of official statistics to reflect the significant but largely uncounted contribution to the creative economy made by creative citizens. The book then identifies other ways in which the potential of creative citizens can be ‘unbound’, in fields such as community journalism, planning and education.
Dia Da Costa
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040603
- eISBN:
- 9780252099045
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040603.001.0001
- Subject:
- Society and Culture, Asian Studies
This book rethinks the hegemonic and sentimental optimism around the arts and creative economy by politicizing a global discursive regime that effectively asks the poor to eat heritage. Critical ...
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This book rethinks the hegemonic and sentimental optimism around the arts and creative economy by politicizing a global discursive regime that effectively asks the poor to eat heritage. Critical scholarship largely views creative economy as new, as applicable to the de-industrializing global North, and as neoliberal commodification and governmentality. It neglects complex and intersecting histories of national, colonial, development, and progressive politics; longstanding uses of creative practices to remake economies and polities; and spatial specificities that give a global discourse traction. Attending to historical, spatial, and ethnographic complexities, this book probes discursive planning and activist politics intersectionally. Focusing on India, the analysis juxtaposes nationalist and progressive histories alongside critical ethnographies of two activist performance troupes: Communist-affiliated, Jana Natya Manch, and the indigenous Chhara’s (former ‘criminal tribe’) community-based Budhan Theatre. The subtle invasions of commodification, heritage, and management into performance make activist theater a crucial site for considering what counts as creativity in the cultural politics of creative economy. A transnational feminist approach drives this exploration of precarious lives, livelihoods, and ideologies at the intersection of heritage, planning, and performance. By analyzing the creators, performers, and activists involved—individuals at the margins of creative economy and society—it builds a provocative argument. Their creative practices may survive, challenge, and even reinforce the economies of death, displacement, and divisiveness used by the urban poor to surviveLess
This book rethinks the hegemonic and sentimental optimism around the arts and creative economy by politicizing a global discursive regime that effectively asks the poor to eat heritage. Critical scholarship largely views creative economy as new, as applicable to the de-industrializing global North, and as neoliberal commodification and governmentality. It neglects complex and intersecting histories of national, colonial, development, and progressive politics; longstanding uses of creative practices to remake economies and polities; and spatial specificities that give a global discourse traction. Attending to historical, spatial, and ethnographic complexities, this book probes discursive planning and activist politics intersectionally. Focusing on India, the analysis juxtaposes nationalist and progressive histories alongside critical ethnographies of two activist performance troupes: Communist-affiliated, Jana Natya Manch, and the indigenous Chhara’s (former ‘criminal tribe’) community-based Budhan Theatre. The subtle invasions of commodification, heritage, and management into performance make activist theater a crucial site for considering what counts as creativity in the cultural politics of creative economy. A transnational feminist approach drives this exploration of precarious lives, livelihoods, and ideologies at the intersection of heritage, planning, and performance. By analyzing the creators, performers, and activists involved—individuals at the margins of creative economy and society—it builds a provocative argument. Their creative practices may survive, challenge, and even reinforce the economies of death, displacement, and divisiveness used by the urban poor to survive
Philip Schlesinger
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748639908
- eISBN:
- 9780748672080
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748639908.003.0011
- Subject:
- Political Science, UK Politics
This chapter deals with the influence of the Scottish National Party (SNP) on cultural policy and creative economy. Scotland's asymmetrical institutional framework and policy capacity across the ...
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This chapter deals with the influence of the Scottish National Party (SNP) on cultural policy and creative economy. Scotland's asymmetrical institutional framework and policy capacity across the interlinked fields of broadcasting and culture is shown. The Scottish Broadcasting Commission (SBC)'s recommendation came at a time of great volatility in television. Scotland has a plurality of supply in public service broadcasting. The demand for ‘broadcasting devolution’ has been deeply entangled with control over the news agenda in Scotland. The neo-liberal assumptions embedded in the New Labour project live on in the SNP's proposed cultural lead body. The Labour government appears to be reluctant to yield any control over broadcasting developments in Scotland. Much now hangs on whether a workable structure emerges from Creative Scotland's long and unsettling gestation period.Less
This chapter deals with the influence of the Scottish National Party (SNP) on cultural policy and creative economy. Scotland's asymmetrical institutional framework and policy capacity across the interlinked fields of broadcasting and culture is shown. The Scottish Broadcasting Commission (SBC)'s recommendation came at a time of great volatility in television. Scotland has a plurality of supply in public service broadcasting. The demand for ‘broadcasting devolution’ has been deeply entangled with control over the news agenda in Scotland. The neo-liberal assumptions embedded in the New Labour project live on in the SNP's proposed cultural lead body. The Labour government appears to be reluctant to yield any control over broadcasting developments in Scotland. Much now hangs on whether a workable structure emerges from Creative Scotland's long and unsettling gestation period.
Sarah Brouillette
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780804789486
- eISBN:
- 9780804792431
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804789486.003.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
The introduction argues that creative-economy frameworks incorporate ideas bearing a literary provenance: that the best work expresses the interiority of talented individuals; that the creative realm ...
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The introduction argues that creative-economy frameworks incorporate ideas bearing a literary provenance: that the best work expresses the interiority of talented individuals; that the creative realm is a space of pure introspection unbounded by necessity; and that people serious about their work will be motivated by internal directives to which profit is irrelevant. It argues, moreover, that when writers mark their own distance from art's instrumental applications they find particularly rich material because readers of literature are themselves inclined to disavow instrumental goals as secondary to immaterial goods like self-knowledge, authenticity, originality, and happiness. Literature's anti-instrumental and self-critical gestures are marketable because they exemplify and model larger cultural mores.Less
The introduction argues that creative-economy frameworks incorporate ideas bearing a literary provenance: that the best work expresses the interiority of talented individuals; that the creative realm is a space of pure introspection unbounded by necessity; and that people serious about their work will be motivated by internal directives to which profit is irrelevant. It argues, moreover, that when writers mark their own distance from art's instrumental applications they find particularly rich material because readers of literature are themselves inclined to disavow instrumental goals as secondary to immaterial goods like self-knowledge, authenticity, originality, and happiness. Literature's anti-instrumental and self-critical gestures are marketable because they exemplify and model larger cultural mores.
Sarah Brouillette
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780804789486
- eISBN:
- 9780804792431
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804789486.003.0002
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter provides an outline of the way that creativity has been defined and deployed by neoliberal government policy and management thought. It begins with a reading of Richard Florida's The ...
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This chapter provides an outline of the way that creativity has been defined and deployed by neoliberal government policy and management thought. It begins with a reading of Richard Florida's The Rise of the Creative Class, which has become a handbook for government officials and done more than any other work to crystallize and disseminate globally the instrumental conception of culture that has become common under neoliberal governance. It then discusses the New Labour government's emphasis on creativity as the particular form of expertise that would secure the postindustrial UK's viability within the global economy, and considers how and why the creative-economy concept became a key branding strategy for New Labour. It also considers the relationship between New Labour cultural policy and the policies of the conservative governments that came before and after New Labour.Less
This chapter provides an outline of the way that creativity has been defined and deployed by neoliberal government policy and management thought. It begins with a reading of Richard Florida's The Rise of the Creative Class, which has become a handbook for government officials and done more than any other work to crystallize and disseminate globally the instrumental conception of culture that has become common under neoliberal governance. It then discusses the New Labour government's emphasis on creativity as the particular form of expertise that would secure the postindustrial UK's viability within the global economy, and considers how and why the creative-economy concept became a key branding strategy for New Labour. It also considers the relationship between New Labour cultural policy and the policies of the conservative governments that came before and after New Labour.
Dia Da Costa
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040603
- eISBN:
- 9780252099045
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040603.003.0010
- Subject:
- Society and Culture, Asian Studies
The conclusion draws out main findings and contributions of a book that provides historical, spatial and ethnographic specificity to creative economy discourses and their critiques. It calls for ...
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The conclusion draws out main findings and contributions of a book that provides historical, spatial and ethnographic specificity to creative economy discourses and their critiques. It calls for provincializing creative economy discourses everywhere that they circulate; charting out and seeing the relational constitution of what counts as creativity in hegemonic and unrecognized creative practices; and attending to a visceral materialism that traces the complex formation of embodied knowledge produced in structures of production, rule and feeling. Ultimately, the praxis of the two troupes and the creative, transformative potential embedded in their suffering, despair and pessimism not only indicates and explains their hunger called theater, it also reminds us to reimagine creative economy in the image of creativity rather than the other way around.Less
The conclusion draws out main findings and contributions of a book that provides historical, spatial and ethnographic specificity to creative economy discourses and their critiques. It calls for provincializing creative economy discourses everywhere that they circulate; charting out and seeing the relational constitution of what counts as creativity in hegemonic and unrecognized creative practices; and attending to a visceral materialism that traces the complex formation of embodied knowledge produced in structures of production, rule and feeling. Ultimately, the praxis of the two troupes and the creative, transformative potential embedded in their suffering, despair and pessimism not only indicates and explains their hunger called theater, it also reminds us to reimagine creative economy in the image of creativity rather than the other way around.
Barbara Townley, Philip Roscoe, and Nicola Searle
- Published in print:
- 2019
- Published Online:
- February 2019
- ISBN:
- 9780198795285
- eISBN:
- 9780191836572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795285.003.0002
- Subject:
- Business and Management, Business History
The creative economy is driven by the transfer of property; tradable property is the ‘product’ of the creative industries. The chapter explores how intellectual property (IP)/intellectual property ...
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The creative economy is driven by the transfer of property; tradable property is the ‘product’ of the creative industries. The chapter explores how intellectual property (IP)/intellectual property rights (IPR) function to constitute creative work as a market object that can be disentangled and sold. The chapter deals first with the performative role of law in constructing market objects. We examine how law, with its focus on authorship and originality, embodies a particular conception of solitary artistic creation, inherited from nineteenth-century Romantic aesthetics; at the same time, the law also mandates property rights as a means of constituting a market object, and these property rights necessitate a creator to whom they can attach. Both aspects seem highly artificial in view of the collaborative and collective processes that produce creative work and it becomes clear that creative producers have to manage this multifaceted, liminal object in the shape of the IP/IPR nexus.Less
The creative economy is driven by the transfer of property; tradable property is the ‘product’ of the creative industries. The chapter explores how intellectual property (IP)/intellectual property rights (IPR) function to constitute creative work as a market object that can be disentangled and sold. The chapter deals first with the performative role of law in constructing market objects. We examine how law, with its focus on authorship and originality, embodies a particular conception of solitary artistic creation, inherited from nineteenth-century Romantic aesthetics; at the same time, the law also mandates property rights as a means of constituting a market object, and these property rights necessitate a creator to whom they can attach. Both aspects seem highly artificial in view of the collaborative and collective processes that produce creative work and it becomes clear that creative producers have to manage this multifaceted, liminal object in the shape of the IP/IPR nexus.
Barbara Townley, Philip Roscoe, and Nicola Searle
- Published in print:
- 2019
- Published Online:
- February 2019
- ISBN:
- 9780198795285
- eISBN:
- 9780191836572
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795285.001.0001
- Subject:
- Business and Management, Business History
Creativity is at the vanguard of contemporary capitalism, valorized as a form of capital in its own right. It is the centrepiece of the vaunted ‘creative economy’, and within the latter, the creative ...
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Creativity is at the vanguard of contemporary capitalism, valorized as a form of capital in its own right. It is the centrepiece of the vaunted ‘creative economy’, and within the latter, the creative industries. But what is economic about creativity? How can creative labour become the basis for a distinctive global industry? And how has the solitary artist, a figment of Romantic thought, become the creative entrepreneur of twenty-first-century economic imagining? Such questions have long provoked scholars interested in economics, sociology, management and law. This book offers a fresh approach to the theoretical problems of cultural economy, through a focus on intellectual property (IP) within the creative industries. IP and its associated rights (IPR) are followed as they journey through the creative economy, creating a hybrid IP/IPR that shapes creative products and configures the economic agency of creative producers. The book argues that IP/IPR is the central mechanism in organizing the market for creative goods, helping to manage risk, settle what is valuable, extract revenues, and protect future profits.. Most importantly, IP/IPR is crucial in the dialectic between symbolic and economic value on which the creative industries depend: IP/IPR hold the creative industries together. The book is based on a detailed empirical study of creative producers in the UK, extending sociological studies of markets to an analysis of the UK’s creative industries. It makes an important, empirically grounded contribution to debates around creativity, entrepreneurship, and precarity in creative industries and will be of interest to scholars and policymakers alike.Less
Creativity is at the vanguard of contemporary capitalism, valorized as a form of capital in its own right. It is the centrepiece of the vaunted ‘creative economy’, and within the latter, the creative industries. But what is economic about creativity? How can creative labour become the basis for a distinctive global industry? And how has the solitary artist, a figment of Romantic thought, become the creative entrepreneur of twenty-first-century economic imagining? Such questions have long provoked scholars interested in economics, sociology, management and law. This book offers a fresh approach to the theoretical problems of cultural economy, through a focus on intellectual property (IP) within the creative industries. IP and its associated rights (IPR) are followed as they journey through the creative economy, creating a hybrid IP/IPR that shapes creative products and configures the economic agency of creative producers. The book argues that IP/IPR is the central mechanism in organizing the market for creative goods, helping to manage risk, settle what is valuable, extract revenues, and protect future profits.. Most importantly, IP/IPR is crucial in the dialectic between symbolic and economic value on which the creative industries depend: IP/IPR hold the creative industries together. The book is based on a detailed empirical study of creative producers in the UK, extending sociological studies of markets to an analysis of the UK’s creative industries. It makes an important, empirically grounded contribution to debates around creativity, entrepreneurship, and precarity in creative industries and will be of interest to scholars and policymakers alike.
Barbara Townley, Philip Roscoe, and Nicola Searle
- Published in print:
- 2019
- Published Online:
- February 2019
- ISBN:
- 9780198795285
- eISBN:
- 9780191836572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795285.003.0001
- Subject:
- Business and Management, Business History
The introductory chapter sets the book within the context of the existing literature from the areas of sociology and law as they relate to the creative industries. It notes the long-standing ...
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The introductory chapter sets the book within the context of the existing literature from the areas of sociology and law as they relate to the creative industries. It notes the long-standing dichotomy between creativity and business that is often reproduced in scholarship on this area of the creative and cultural economy. It draws attention to political reliance on creative industries as a source of value and the reality of precarious labour and structural inequalities that characterize work in the sector. It introduces our theoretical approach, drawn from sociological studies of ‘marketization’ and describes our analytical framing: the IP/IPR nexus. It provides short summaries of subsequent chapters.Less
The introductory chapter sets the book within the context of the existing literature from the areas of sociology and law as they relate to the creative industries. It notes the long-standing dichotomy between creativity and business that is often reproduced in scholarship on this area of the creative and cultural economy. It draws attention to political reliance on creative industries as a source of value and the reality of precarious labour and structural inequalities that characterize work in the sector. It introduces our theoretical approach, drawn from sociological studies of ‘marketization’ and describes our analytical framing: the IP/IPR nexus. It provides short summaries of subsequent chapters.
Sarah Brouillette
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780804789486
- eISBN:
- 9780804792431
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804789486.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
This is the first book to consider how contemporary literature has been involved in and shaped by the vocabularies and initiatives that characterize the creative economy. It considers how ...
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This is the first book to consider how contemporary literature has been involved in and shaped by the vocabularies and initiatives that characterize the creative economy. It considers how longstanding ideas about literature and literary writers have informed creative-economy theories and policies, and examines how writers have articulated their complicity with and distance from various facets of the placement of art in instrumental service to the economy. Creative-economy policy has presented artists as models of contentedly flexible and self-managing work, has advocated using the presence of cultural workers and institutions as a means of increasing property values, and has supported racial and ethnic diversity as a good way to grow cultural markets and foster an inclusive society of active cultural consumers. Critics of these phenomena have lamented that such linkages of culture, economy, and governance are serving neoliberal capitalism, and have said that celebration of an autonomous cultural realm and its ostensibly freely creative individual workers has become a saleable feature of mainstream cultural markets. This book places contemporary literature within this fraught context, arguing that writers tend to fixate on how their own gestures of refusal of participation in the creative economy have become crucial features of that very economy's dynamic evolution.Less
This is the first book to consider how contemporary literature has been involved in and shaped by the vocabularies and initiatives that characterize the creative economy. It considers how longstanding ideas about literature and literary writers have informed creative-economy theories and policies, and examines how writers have articulated their complicity with and distance from various facets of the placement of art in instrumental service to the economy. Creative-economy policy has presented artists as models of contentedly flexible and self-managing work, has advocated using the presence of cultural workers and institutions as a means of increasing property values, and has supported racial and ethnic diversity as a good way to grow cultural markets and foster an inclusive society of active cultural consumers. Critics of these phenomena have lamented that such linkages of culture, economy, and governance are serving neoliberal capitalism, and have said that celebration of an autonomous cultural realm and its ostensibly freely creative individual workers has become a saleable feature of mainstream cultural markets. This book places contemporary literature within this fraught context, arguing that writers tend to fixate on how their own gestures of refusal of participation in the creative economy have become crucial features of that very economy's dynamic evolution.
Dia Da Costa
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040603
- eISBN:
- 9780252099045
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040603.003.0009
- Subject:
- Society and Culture, Asian Studies
This chapter asks whether another creative economy is possible—one that negotiates and goes beyond the terms of hegemonic neoliberal and Hindu constructions of creative economy. It argues that Budhan ...
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This chapter asks whether another creative economy is possible—one that negotiates and goes beyond the terms of hegemonic neoliberal and Hindu constructions of creative economy. It argues that Budhan Theater provides a glimpse of such a creative economy born in the crucible of ongoing betrayals in their pursuit of rehabilitation from criminalized histories. They find ways of making their creative practices overcome the deadly inseparability of the ways in which the police and governmental patronage of Chhara survival continues to patronize Chhara stigma. Budhan Theater this chapter argues, finds a line of flight that refuses the divisive sectarianism and the violent, hegemonic patronage systems within which the conditions of survival for the urban poor and the politics among the oppressed has become contained in India.Less
This chapter asks whether another creative economy is possible—one that negotiates and goes beyond the terms of hegemonic neoliberal and Hindu constructions of creative economy. It argues that Budhan Theater provides a glimpse of such a creative economy born in the crucible of ongoing betrayals in their pursuit of rehabilitation from criminalized histories. They find ways of making their creative practices overcome the deadly inseparability of the ways in which the police and governmental patronage of Chhara survival continues to patronize Chhara stigma. Budhan Theater this chapter argues, finds a line of flight that refuses the divisive sectarianism and the violent, hegemonic patronage systems within which the conditions of survival for the urban poor and the politics among the oppressed has become contained in India.
Dia Da Costa
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040603
- eISBN:
- 9780252099045
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040603.003.0002
- Subject:
- Society and Culture, Asian Studies
This chapter historically locates the creative economy global discursive regime in the Indian context whilst challenging the presumed newness of creative economy policy. Tracing Indian policy debates ...
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This chapter historically locates the creative economy global discursive regime in the Indian context whilst challenging the presumed newness of creative economy policy. Tracing Indian policy debates over culture and development since the 1950s, it demystifies the seeming contradictions between disjuncture and continuity in policy by considering the sentiments deployed in India’s planning process. India’s political economic transition from development nationalism to neoliberal capitalism is accompanied by a shift from sentimental nationalism and its pity for artisanal victims of planned industrialization in the 1950s toward sentimental capitalism and its optimism about the poor’s artistic entrepreneurialism in the new millennium. Hindu culturalisms and neoliberal commodification combine to sell pride and optimism as means of reinventing Indian heritage—lending a global discourse traction.Less
This chapter historically locates the creative economy global discursive regime in the Indian context whilst challenging the presumed newness of creative economy policy. Tracing Indian policy debates over culture and development since the 1950s, it demystifies the seeming contradictions between disjuncture and continuity in policy by considering the sentiments deployed in India’s planning process. India’s political economic transition from development nationalism to neoliberal capitalism is accompanied by a shift from sentimental nationalism and its pity for artisanal victims of planned industrialization in the 1950s toward sentimental capitalism and its optimism about the poor’s artistic entrepreneurialism in the new millennium. Hindu culturalisms and neoliberal commodification combine to sell pride and optimism as means of reinventing Indian heritage—lending a global discourse traction.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0007
- Subject:
- Sociology, Gender and Sexuality
While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work ...
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While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work to produce the right “look” in person, in photographs, and online. Model agents made it clear that it matters where models live, where they eat and shop, and on which airline they travel. As this chapter explores, some respondents reported being told explicitly by their agents they had to put on the show all the time, even if they were just running around the corner to do an errand, mindful of the impression they might make as they are out and about, conscious of their online image created by the photos snapped of them in fashionable neighborhoods or at social events and posted to blogs or websites dedicated to documenting the modeling world. It seems like a lot of work, but models who really want to “make it” report trying to make it look fun to be exposed in this way, to be “on” all the time, to be out there in the spotlight, as often as humanly possible.Less
While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work to produce the right “look” in person, in photographs, and online. Model agents made it clear that it matters where models live, where they eat and shop, and on which airline they travel. As this chapter explores, some respondents reported being told explicitly by their agents they had to put on the show all the time, even if they were just running around the corner to do an errand, mindful of the impression they might make as they are out and about, conscious of their online image created by the photos snapped of them in fashionable neighborhoods or at social events and posted to blogs or websites dedicated to documenting the modeling world. It seems like a lot of work, but models who really want to “make it” report trying to make it look fun to be exposed in this way, to be “on” all the time, to be out there in the spotlight, as often as humanly possible.
J. Myles Shaver
- Published in print:
- 2018
- Published Online:
- November 2018
- ISBN:
- 9780198828914
- eISBN:
- 9780191867378
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198828914.003.0006
- Subject:
- Business and Management, International Business
This chapter highlights the advantages that stem from a headquarters economy compared to other regional economies such as industry clusters or creative economies. It then presents an overarching ...
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This chapter highlights the advantages that stem from a headquarters economy compared to other regional economies such as industry clusters or creative economies. It then presents an overarching structure from which to consider public policies that can aid and sustain headquarters economies, and corporate strategies that tap into and aid headquarters economies. In doing this, the chapter highlights managers as key decision-makers who make purposeful choices of where they work and reside. It identifies four key constituents that affect such managerial choices. These constituents are companies, governments, non-governmental organizations, and other individuals within the managerial talent pool.Less
This chapter highlights the advantages that stem from a headquarters economy compared to other regional economies such as industry clusters or creative economies. It then presents an overarching structure from which to consider public policies that can aid and sustain headquarters economies, and corporate strategies that tap into and aid headquarters economies. In doing this, the chapter highlights managers as key decision-makers who make purposeful choices of where they work and reside. It identifies four key constituents that affect such managerial choices. These constituents are companies, governments, non-governmental organizations, and other individuals within the managerial talent pool.
Barbara Townley, Philip Roscoe, and Nicola Searle
- Published in print:
- 2019
- Published Online:
- February 2019
- ISBN:
- 9780198795285
- eISBN:
- 9780191836572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795285.003.0003
- Subject:
- Business and Management, Business History
The chapter considers the construction of economic agency among creative producers in the creative industries. It argues that a form of economic agency, homo oeconomicus, is facilitated by engagement ...
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The chapter considers the construction of economic agency among creative producers in the creative industries. It argues that a form of economic agency, homo oeconomicus, is facilitated by engagement with IP/IPR. This involves understanding work as a means of securing money, as opposed to an obligation ‘to one’s art’; a specific attitude to time, in terms of a relationship to the present and also a control over the future; and action underpinned with knowledge of economic and technical issues, rather than being guided solely by the social milieu and group of one’s fellow creatives and collective cultural habits. IP/IPR introduces a temporal dimension central to economic calculation, and helps agents to distinguish tradable assets while disentangling themselves from them. Chapter 3 also picks up the ambivalences of business and creativity among ‘cultural entrepreneurs’, discussing self-employment and precarity in the creative economy.Less
The chapter considers the construction of economic agency among creative producers in the creative industries. It argues that a form of economic agency, homo oeconomicus, is facilitated by engagement with IP/IPR. This involves understanding work as a means of securing money, as opposed to an obligation ‘to one’s art’; a specific attitude to time, in terms of a relationship to the present and also a control over the future; and action underpinned with knowledge of economic and technical issues, rather than being guided solely by the social milieu and group of one’s fellow creatives and collective cultural habits. IP/IPR introduces a temporal dimension central to economic calculation, and helps agents to distinguish tradable assets while disentangling themselves from them. Chapter 3 also picks up the ambivalences of business and creativity among ‘cultural entrepreneurs’, discussing self-employment and precarity in the creative economy.
Barbara Townley, Philip Roscoe, and Nicola Searle
- Published in print:
- 2019
- Published Online:
- February 2019
- ISBN:
- 9780198795285
- eISBN:
- 9780191836572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795285.003.0004
- Subject:
- Business and Management, Business History
Creative industries are beset by a problem: nobody knows how work will be received. The chapter examines how creative producers manage the pervasive uncertainty of creative work. In classical ...
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Creative industries are beset by a problem: nobody knows how work will be received. The chapter examines how creative producers manage the pervasive uncertainty of creative work. In classical theories of enterprise, uncertainty is the source of opportunity and therefore profits, with the entrepreneur the market agent willing to organize that uncertainty in pursuit of return. We show that risk and uncertainty in the creative economy are managed through the same processes of symbolic production as give rise to creative goods and creative agency, mediated by the IP/IPR nexus; as creative products solidify into market goods so the uncertainties are transformed—at least in part—into risks, and the management of uncertainty through the social relations of the field develops into the legalistic protection of IP rights and contracts.Less
Creative industries are beset by a problem: nobody knows how work will be received. The chapter examines how creative producers manage the pervasive uncertainty of creative work. In classical theories of enterprise, uncertainty is the source of opportunity and therefore profits, with the entrepreneur the market agent willing to organize that uncertainty in pursuit of return. We show that risk and uncertainty in the creative economy are managed through the same processes of symbolic production as give rise to creative goods and creative agency, mediated by the IP/IPR nexus; as creative products solidify into market goods so the uncertainties are transformed—at least in part—into risks, and the management of uncertainty through the social relations of the field develops into the legalistic protection of IP rights and contracts.
Audrey Yue
- Published in print:
- 2011
- Published Online:
- March 2016
- ISBN:
- 9780814737309
- eISBN:
- 9780814744680
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737309.003.0014
- Subject:
- Society and Culture, Media Studies
This chapter discusses the production of public queer cultures as sites of media consumption. The recent development of a global media hub in Singapore has enabled the emergence of a queer public ...
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This chapter discusses the production of public queer cultures as sites of media consumption. The recent development of a global media hub in Singapore has enabled the emergence of a queer public culture despite the illegality of homosexuality. State-funded gay films, subsidized theater plays, Internet portals, and nightclubs are part of the new spaces and practices that have been direct beneficiaries of this policy initiative. In a city-state such as Singapore, cultural citizenship is contested through the way sexuality functions as a technology for the creative economy. While the government has mobilized sexuality as a policy tool to promote cultural liberalization, gays and lesbians have also seized on these practices to claim their right to produce and participate in public culture. The chapter thus evaluates how lesbians “do” citizenship and fashion modes of expression through their media consumption that allow them to fit in, use, and twist the governmental framing of media environments.Less
This chapter discusses the production of public queer cultures as sites of media consumption. The recent development of a global media hub in Singapore has enabled the emergence of a queer public culture despite the illegality of homosexuality. State-funded gay films, subsidized theater plays, Internet portals, and nightclubs are part of the new spaces and practices that have been direct beneficiaries of this policy initiative. In a city-state such as Singapore, cultural citizenship is contested through the way sexuality functions as a technology for the creative economy. While the government has mobilized sexuality as a policy tool to promote cultural liberalization, gays and lesbians have also seized on these practices to claim their right to produce and participate in public culture. The chapter thus evaluates how lesbians “do” citizenship and fashion modes of expression through their media consumption that allow them to fit in, use, and twist the governmental framing of media environments.
Barbara Townley, Philip Roscoe, and Nicola Searle
- Published in print:
- 2019
- Published Online:
- February 2019
- ISBN:
- 9780198795285
- eISBN:
- 9780191836572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795285.003.0008
- Subject:
- Business and Management, Business History
We have now completed our journey through the creative economy. Our concluding chapter draws together arguments and elaborates policy suggestions. We examine the value of IP/IPR as an analytical ...
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We have now completed our journey through the creative economy. Our concluding chapter draws together arguments and elaborates policy suggestions. We examine the value of IP/IPR as an analytical construct and consider how it adds to our understanding of contemporary debates over the creative industries. Our analysis of IP policy and attendant rights issues argues that any evidence-based policy should be based on an understanding of the role of IP/IPR within the valorization process as a whole. We also place our discussion of IP within the context of cultural and education policy, emphasizing the importance of cultural access and support and the development of craft skills that underpin the process of creating intellectual property. We argue both are crucial for the future of creative production and the cultural economy as a whole.Less
We have now completed our journey through the creative economy. Our concluding chapter draws together arguments and elaborates policy suggestions. We examine the value of IP/IPR as an analytical construct and consider how it adds to our understanding of contemporary debates over the creative industries. Our analysis of IP policy and attendant rights issues argues that any evidence-based policy should be based on an understanding of the role of IP/IPR within the valorization process as a whole. We also place our discussion of IP within the context of cultural and education policy, emphasizing the importance of cultural access and support and the development of craft skills that underpin the process of creating intellectual property. We argue both are crucial for the future of creative production and the cultural economy as a whole.
