Global Creative Industries E-Book

Terry Flew

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: PGMC - Polity Global Media and Communication series
• Sprache: Englisch

Seitenzahl: 382

Veröffentlichungsjahr: 2013

Beschreibung

The creative industries are the subject of growing attention among policy-makers, academics, activists, artists and development specialists worldwide. This engaging book provides a global overview of developments in the creative industries, and analyses how these developments relate to wider debates about globalization, cities, culture and the global creative economy.

Flew considers creative industries from six angles: industries; production; consumption; markets; places; and policies. Designed for the non-specialist, the text includes insightful and wide-ranging case studies on topics such as: fashion; design thinking; global culture; creative occupations; monopoly and competition; Shanghai and Seoul as creative cities; popular music and urban cultural policy; and the rise of “Nollywood”.

Global Creative Industries will be of great interest to students and scholars of media and communications, cultural studies, economics, geography, sociology, design, public policy, and the arts. It will also be of value to those working in the creative industries, and involved in their development.

Leseprobe

Global Creative Industries

Global Media and Communication

Myria Georgiou, Media and the City

Adrian Athique, Indian Media

Terry Flew, Global Creative Industries

Noha Mellor, Khalil Rinnawi, Nabil Dajani and Muhammad I. Ayish, Arab Media

Shani Orgad, Media Representation and the Global Imagination

Stylianos Papathanassopoulos and Ralph Negrine, European Media

Global Creative Industries

TERRY FLEW

polity

Copyright © Terry Flew 2013

The right of Terry Flew to be identified as Author of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988.

First published in 2013 by Polity Press

Polity Press65 Bridge StreetCambridge CB2 1UR, UK

Polity Press350 Main StreetMalden, MA 02148, USA

All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.

ISBN: 978-0-7456-7098-0

A catalogue record for this book is available from the British Library.

The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate.

Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition.

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Contents

Figures and Tables

Acknowledgements

1  Industries

2  Production

3  Consumption

4  Markets

5  Places

6  Policies

Conclusion

Notes

References

Index

Figures and Tables

Figures

1.1  UNCTAD model of creative industries

1.2  UNESCO framework for cultural statistics domains

2.1  UNESCO model of the culture cycle

2.2  Forms of soft innovation

2.3  Weekly income distribution for Australian creative industries workers compared to the workforce overall, 2006

4.1  Foreign direct investment (FDI) inflows, global and by group of economies, 1980–2010 (US$bn)

5.1  Dynamics of local and global relational patterns

Tables

1.1  Classification systems for the creative industries based upon four models

1.2  Nation of origin of global Top 20 media, ICT, Internet and telecommunications companies (measured by revenue, 2009)

2.1  Average wages in the creative industries in Australia, 2006

2.2  The creative trident

2.3  Comparison of Australian, New Zealand (NZ) and United Kingdom creative share of workforce

4.1  Levels of institutional economics

4.2  Distinctions between cultural economics and the economics of creative industries

4.3  Global GDP and exports 1986–2005

6.1  Creative industries strategies as forms of policy

Acknowledgements

While there has been much work published in recent years on the creative industries, and associated concepts such as the cultural economy, the creative class, creative cities and so on, these analyses have typically been national in their orientation. Perhaps reflecting the origins of creative industries in policy discourse, there has been a focus on what the idea has meant for cities or nations; fewer attempts have been made to situate this discussion in a global context. Moreover, it has hitherto been a metropolitan discourse, focused either on the opportunities presented for advanced industrial nations to acquire new wealth through combining creativity and intellectual property, or condemning this discourse as inappropriately imposing economic imperatives upon the autonomous realms of art and culture.

An important guiding principle of Global Creative Industries is that many of the most important developments in the creative industries are now happening outside of Europe and North America, whether it be the flourishing of creative cities strategies in East Asia, the low-budget film scene in Nigeria, the creative economy policy prescriptions being proposed by agencies such as UNCTAD, or the identification of popular music as a new developmental as well as a creative outlet in Africa and the Caribbean.

In providing maps for creative industries development outside of the metropolitan centres, this book works with six core concepts: Industries; Production; Consumption; Markets; Places; and Policies. The book does not uncritically present the creative industries as providing a universal developmental panacea, nor does it simply condemn them as harbingers of an oppressive and homogenizing global culture. Instead, the book uses case studies as a way of illustrating some of the complexities and nuances of creative industries in practice. Among the case studies developed in the book are: design thinking; fashion as a creative industry; global advertising; gathering data on work in creative occupations; the meaning of ‘global culture’; monopoly and competition in media markets; Shanghai and Seoul as creative cities; popular music and urban cultural policy; and the ‘Nollywood’ film industry in Nigeria.

Two of the key ideas informing the book are that culture and economy are becoming increasingly intertwined, and that institutional formations matter, including those involved with public policy settings at all levels of government. It is hoped that the presentation of such ideas is done in a way that is insightful to the non-specialist, and works across disciplinary divides and boundaries such as those between the creative practitioner, the policy maker, the academic and the student.

This book was written while I was in the Creative Industries Faculty at the Queensland University of Technology in Brisbane, Australia, and I have benefited from discussions with colleagues there, including Stuart Cunningham, John Hartley, Christy Collis, Lucy Montgomery, Jean Burgess, Axel Bruns, Christina Spurgeon, Stephen Harrington, Brian McNair, Alan McKee, Nicolas Suzor and Michael Keane. I was assisted in the research undertaken for the book by Adam Swift, Mimi Tsai, Bonnie Liu, Angela Lin Huang and Anna Daniel, and I thank them for their support. I also thank the anonymous readers of the draft manuscript that were approached by Polity. The work has benefited considerably from their observations and insights.

Sections of the book have been presented at the Chinese University of Hong Kong, the Institute for Culture and Society at the University of Western Sydney, Monash University, Hong Kong Baptist University, the Beijing University of Science and Technology, and Ming Chuan University, and I thank those who invited me to their academic institutions. I would also like to thank Andrea Drugan and Lauren Mulholland from Polity for their support as publishers. Finally, thanks to my daughter, Charlotte, who is always a source of new knowledge and inspiration.

I am grateful to the following authors and publishers for permission to use their work in this book: Table 1.2, Bloomsbury Academic, for Dwayne Winseck, Political Economies of the Media: The Transformation of the Global Media Industries, 2011, pp. 8–9; Tables 2.2 and 2.3, Taylor & Francis Social Science and Humanities Library, for Stuart Cunningham, Cultural Trends 20(1), pp. 28 and 30. Figure 1.1, United Nations Commission for Trade and Development, Creative Economy Report 2010, p. 8; Figures 1.2 and 2.1, United Nations Educational, Scientific and Cultural Organization, The 2009 UNESCO Framework for Cultural Statistics (FCS), pp. 24 and 20; Table 2.1 and Figure 2.3, Centre for International Economics, Creative Industries Economic Analysis Final Report, p. 29; Table 4.1, American Economic Association, for Oliver E. Williamson, Journal of Economic Literature 38(3), p. 597; Table 4.3 and Figure 4.1, United Nations Commission for Trade and Development, World Investment Report 2011, p. 3; Figure 5.1, Sage, for Helmut K. Anheier and Yudhishthir Raj Isar, Cities, Cultural Policy and Governance, p. 2.

1    Industries

The Growing Significance of Creative Industries

The concept of creative industries has a somewhat unusual genealogy, in that it was first articulated in policy discourse, rather than in academia. The United Kingdom (UK) Labour government led by Tony Blair, first elected in 1997, established a Department for Culture, Media and Sport (DCMS) with specific responsibility for defining, mapping and developing a set of industries related to the arts, media, culture and digital technologies, that it termed the creative industries. From this work, the DCMS estimated that these creative industries accounted for 5 per cent of the UK economy in 1997, and were one of the fastest-growing economic segments of contemporary Britain (DCMS, 1998). Such impressive statistics justified an adventurous rebranding of what had previously been the Department of National Heritage, and a rethinking of the arts sector out of a historic association with public subsidy. It promoted a more holistic approach to thinking about the arts, media and design, associating their future with digital technologies, creativity and intellectual capital, and warranting a place at the table in wider debates about the economic future of Great Britain (Leadbeater, 1999; Howkins, 2001).

The UK DCMS study acted as a catalyst to a number of studies internationally that identified the growing size, scope and significance of the creative industries. In the United States, it was estimated that the ‘core’ copyright industries accounted for 6.56 per cent of US gross domestic product (GDP) in 2005, and all copyright-related industries made up 11.12 per cent of US GDP in 2005 (Siwek, 2006). The concept of creative industries has been taken up in many parts of the world, with pioneering studies in Europe, Asia, Australia, New Zealand and Latin America (for an overview, see Flew, 2012a).

Internationally, it has been estimated that the creative industries account for as much as 7 per cent of world GDP, as well as constituting a growing share of international trade. The United Nations Conference on Trade and Development (UNCTAD) found that exports of creative goods and services were worth US$592 billion in 2008, showing 14 per cent annual growth over the 2000s; this meant that the size of creative goods and services exports in 2008 was double that in 2002 (UNCTAD, 2010: xxiii). Importantly, such exports continued to grow in the wake of the global financial crisis of 2008–9, which saw exports more generally contract by 12 per cent.

Such figures have suggested that the creative industries are not only a growing part of the world economy, but that their growth has developed its own dynamics, and is not contingent upon developments in other sectors of the economy, such as manufacturing, services or finance. The creative industries can therefore be seen as harbingers of what has been referred to as a (Howkins, 2001; UNCTAD, 2010). The concept of a creative economy places creativity and knowledge at the core of economic growth and development, identifying the products and services associated with the arts, media and culture as intangible goods embodying unique creative inputs that take the form of tradable intellectual property, and becoming more central to the future of cities, regions, nations, communities and the world.