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1.
The starting point for this article is the author's 1994 study of the museums and galleries' market, By Popular Demand. The article sets out to look at some of the key findings and track any developments in the 10 years since its publication. The article examines both quantitative and qualitative evidence from national (rather than local or regional) data. The subject matter covered includes the old questions of how many visits are made to UK museums and galleries each year, who visits and why do they visit. This is a period only partly impacted upon by the policy initiatives of New Labour, notably free admission to the national museums and galleries and the Renaissance in the Regions programme. The author demonstrates that, at best, the total number of visits grew only a little and those who visit became more middle class and more middle aged rather more than the population did itself in these years. Museums and galleries might maintain their audiences but they were not expanding them or broadening their social appeal. This alone was sufficient justification for New Labour's policies, the early stages of which seem to have been successful.  相似文献   

2.
While Government claims about the UK as a ‘global creative hub’ continue to be made (Purnell, 2005), the contradictions and tensions in New Labour's policy in the creative industries have become more apparent. These include the tensions between a set of policies for global media businesses versus the support for small firms in local economic development (Gilmore, 2004; Hesmondhalgh & Pratt, 2005), and the tension between citizens and consumers in media and cultural policy (Hesmondhalgh, 2005). Equally apparent are the tensions between economic development of these sectors and social inclusion. In the UK, arguably more than other countries, the rhetoric of Creative Industries has been tied into political ideas about the links between economic competitiveness and social inclusion. The stated aims for creative industry development have thus been twofold—to increase jobs and GDP, while simultaneously ameliorating social exclusion and countering long-standing patterns of uneven economic development. Research, however, suggests that supporting the creative industries is, at best, a problematic way of tackling the issues of economic and social exclusion. The effects of gentrification on creative industry working and living space (Evans & Shaw, 2004); the patterns of informal hiring and career progression in these sectors (Leadbeater & Oakley, 2001) and the concentration of much economic activity in London and the South East, all suggest that the development of these sectors might exacerbate rather than address patterns of economic inequality.  相似文献   

3.
The paper identifies “defensive instrumentalism” as a main feature that has characterised New Labour's cultural policies, and which constitutes an important aspect of its legacy. Yet, resorting to instrumental arguments to defend the arts and to make a case for their usefulness is hardly an invention of New Labour. However, in the past, such defensive arguments were built into a more constructive and creative attempt to elaborate a coherent theory of art and an intellectually sophisticated view of the effects of the arts on individual and societies. What the paper argues, then, is that instrumentalism under New Labour has retained its longstanding defensive character, but was deprived of the attendant effort to elaborate a positive notion of cultural value.  相似文献   

4.
Since before the 1997 General Election, New Labour has repeatedly emphasized the importance of the creative industries in underpinning the national economy and as an engine of economic growth. The Creative Industries Task Force Mapping Documents of 1998 and 2001 sought to define and quantify in broad terms economic activity across 13 distinct creative industries. More detailed estimates have been published by the Department for Culture, Media and Sport (DCMS) in successive annual Creative Industries Economic Estimates.

An assessment is provided of the way in which the creative industries have been measured using the Office of National Statistics' Standard Industrial and Standard Occupational classifications (SIC and SOC). These classifications have themselves been revised since the early 1990s, and further revisions are in prospect from 2007. In this analysis particular focus is given to the ‘Designer Fashion’ sector, illustrated by a number of tables and data analyses.

These actual and proposed revisions have helped in documenting the rapidly emerging creative industries, which have reportedly grown at two to three times the rate of the UK economy as a whole. However, as the Regional Culture Data Framework published in 2002 records, serious problems remain in providing valid assessments of the creative industries sectors from ‘official’ published sources, even for the UK as a whole, let alone at the regional level emphasized by the Regional Culture Data Framework's regional sponsors. In any case, often the ‘scaling factors’ applied to official SIC codes to define creative industries appear arbitrary.

Many of the Regional Culture Data Framework's recommendations, notably the adoption of a more comprehensive ‘supply-chain’ approach to documenting the cultural sector, make further demands upon the existing official structural classifications and the data bases underpinning them. Even where all elements in the ‘supply chain’ are well documented, there are still questions about the validity of this approach. For example, should wholesale and retail distribution of creative industry products be regarded as part of the ‘Cultural Cycle’?

In conclusion, it is suggested that the ‘official’ data has marked limitations in documenting the creative industries and does not realistically or adequately capture the more interesting and dynamic elements of an industry like ‘Designer Fashion’. This is disappointing in a context where central government has placed increasing emphasis upon evidence-based policy to support the development of the creative industries, and where the British ‘Designer Fashion’ sector has lamented the lack of central support in comparison with the French or Italian industries. It is suggested that a more customized approach to collecting data about the creative industries is needed if the results are to usefully inform the further development and profile of these sectors.  相似文献   


5.
Within creative industries policy, two themes have been situated as central to the needs of the creative economy: the economic importance of place and the role of education in delivering a better-equipped workforce. However, these themes have rarely overlapped in either policy thinking or academic research, and so this article focuses on the relationship between place, education and professional aspirations for young people. Using the findings from qualitative interviews with media studies students within higher education (HE), this article analyses how the perceived attributes of some locations may provide industry credibility and the promise of enhanced professional mobility. It examines the tangible and symbolic value of place within young people's career development in the creative industries. The findings highlight how the links between place and education can influence the professional process, and how place shapes young people's perceptions of and opportunities for work in the creative industries. Finally, this research emphasises how current theories on creative industries policy and HE provision need to be extended to take greater account of the ways in which the attributes of localities can be used as a catalyst for individual professionalism amongst young people, and the ways in which certain places (mainly rural) may be disadvantaged in the current policy trajectory.  相似文献   

6.
This paper considers the development of a “Liverpool model” for culture-led urban regeneration, based on an analysis of the competition to become the UK's first City of Culture (UKCC) for 2013. The paper outlines New Labour's developing approach to culture-led regeneration, placing the UKCC in the context of the use of culture for various local development policies, particularly city branding and urban regeneration (Evans & Shaw, 2004; McGuigan, 2005). Within this context, the paper considers how Liverpool's year as European Capital of Culture (ECoC) 2008 has been narrated by New Labour and the manner in which this narrative has influenced the development of the UKCC programme (Department for Culture, Media and Sport [DCMS], 2009; Garcia, Melville & Cox, 2010). The paper demonstrates how this narrative overlooks the ultimate specificity of Liverpool's success (Liverpool Culture Company, 2009; Garcia et al., 2010), which suggests a unique combination of political circumstance, cultural leadership and public and private investment are at the root of the perceived success of Liverpool's ECoC 2008, rather than an exportable, replicable policy (O'Brien & Miles, 2010) described by the policy literature, and substantiated by the competition to select the UKCC 2013 (DCMS, 2009). The paper's conclusion problematises the prospect of another city repeating the Liverpool experience. The “Liverpool model” of culture-led regeneration is shown as one which limits prospective cultural policies to a narrow vision of the possible, a vision which is unlikely to be sustainable in the foreseeable future.  相似文献   

7.
Two distinguishing features of the New Labour Government have been its focus on regionalism and the establishment of a department of state, the Department for Culture, Media and Sport (DCMS), explicitly dedicated to ‘cultural’ policy. This paper tracks the development of a new set of regional cultural organizations, the Regional Cultural Consortiums (RCCs). These were established to contribute to regional development and to deliver the DCMS's national policy goals. The paper examines the RCCs' remit, challenges, achievements and prospects, and locates these in wider debates about evidence-based policy and continuity and change in cultural and regional policy. Particular consideration is given to the RCCs' research and data collection activities and their role in developing a move towards improved capacity in regional cultural research and data collection.  相似文献   

8.
ABSTRACT

There is currently widespread concern that Britain’s cultural and creative industries (CCIs) are increasingly dominated by the privileged. This stands in stark contrast to dominant policy narratives of the CCIs as meritocratic. Until now this debate has been clouded by a relative paucity of data on class origins. This paper draws on new social origin data from the 2014 Labour Force Survey to provide the first large-scale, representative study of the class composition of Britain’s creative workforce. The analysis demonstrates that CCIs show significant variation in their individual “openness”, although there is a general under-representation of those from working-class origins across the sector. This under-representation is especially pronounced in publishing and music, in contrast to, for example, craft. Moreover, even when those from working-class backgrounds enter certain CCIs, they face a “class origin pay gap” compared to those from privileged backgrounds. The paper discusses how class inequalities, as well as those related to gender and ethnicity, between individual CCIs point to occupational subcultures that resist aggregation into the Department for Culture, Media and Sport’s broader category of CCIs. The paper concludes by suggesting the importance of disaggregating CCIs and rethinking the definition and boundaries of CCIs as a meaningful category.  相似文献   

9.
ABSTRACT

This article analyses the recent plan for the audiovisual industries introduced (after some delay) by the Irish Department of Culture, Heritage and the Gaeltacht. The Audiovisual Action Plan (“the Plan”) sets out the Department’s approach to the audiovisual industries and is, it is contended, evidence of a marketization of culture consistent with a creative industries perspective. The analysis of the Plan in a wider policy context identifies key issues shaping audiovisual production in Ireland. Using a thematic analysis approach from Braun and Clark (2005, 2019) a number of themes are developed from analysis of the relevant policy documents, broadly conceived around the increasing instrumentalism of culture. Taking a political economy perspective allows for development of themes around the commodification of the nation-state through the provision of policies that actively encourage a certain type of audiovisual production. Building on Mosco’s work on political economy (Mosco, 2009) the concept of spatialization from Lefebvre (Lefebvre, 1991) is used to interrogate the production of and commodification of space through Specifically, this article interrogates the policy norms underpinning the Audiovisual Action Plan introduced by the Department of Culture, Heritage and the Gaeltacht in Ireland in 2018 as part of Culture 2025, the national cultural policy framework. It identifies the key proposals which affect the audiovisual industries. It is concluded that the Plan (and other relevant policy documents) support a spatialized, commodified view of the audiovisual industries as primarily industrial in nature, paying scant attention to the consideration of such industries as cultural forces.  相似文献   

10.
This paper examines the assumptions and structure of the concentric circles model of the cultural industries. Empirical data for Australia, Canada, New Zealand, the UK and the US are used to illustrate the model's key characteristic: the proposition that the cultural content of the output of the cultural industries declines as one moves outwards from the core. The test uses the proportion of creative labour employed in production as a proxy for cultural content. The results confirm the model's validity as a means of depicting the structural characteristics of the cultural industries and also enable some wider features of the cultural workforce in the five countries to be examined.  相似文献   

11.
While recent debate has often focused on a reified “cultural value” (whether opposed to or aligned with monetary value), this article treats “value” as a verb and investigates the acts of valuing in which people engage. Through ethnographic research in London's electronic music scene and social network analysis of the SoundCloud audio sharing website (which is dominated by electronic dance music and, to a lesser extent, hip hop), it uncovers substantial patterns of geographical inequality. London is found at the very centre of a network of valuing relationships, in which New York and Los Angeles occupy the next most privileged locations, followed by Berlin, Paris, and Chicago. Cities outside Western Europe and the Anglophone world tend to occupy peripheral positions in the network. This finding suggests that location plays a major role in the circulation of value, even when we might expect that role to have been curtailed by an ostensibly “placeless” medium for the distribution and valuing of music. While there are reasons for the metropolitan emplacedness of dance music – given the importance of the relationship between production, consumption, and live DJing – the privileging of particular cities also mirrors patterns of inequality in the wider cultural economy. That London should appear so supremely privileged reflects both the exporting strength of British creative industries and the imbalanced nature of the UK's cultural economy.  相似文献   

12.
Forty years on     
The election of the New Labour Government in 1997 led to the end of a strand of museum policy that had begun with the publication of the Survey of Provincial Museums and Galleries (the Rosse Report) in 1963. Comparison of the substantial data relating to the usage, governance, management and resources of museums in Rosse with the position at the end of the twentieth century shows how the museums landscape has (or has not) changed during the intervening period. Both National and non-National museums have seen their financial resources grow in a way that has outpaced Gross Domestic Product (GDP). This is both a reflection of, and stimulus for, increasing public interest in the heritage. However, the museum sector has not been the stable entity of popular perception, and museums have closed or amalgamated as well as opened and developed new projects. For most of the 40 years government policy for museums has been ad hoc, and it is only since 1997 that museums have been the subject of strategic direction, exemplified for non-National museums by the Renaissance in the Regions initiative. The £147 million to be spent on this scheme by 2007/08 represents an unmatched level of investment. However, it has focused resources on the large regional museums rather than the previous more equal distribution, increasing the risk that the museum sector will atomize rather than continue the process of coming together that had been taking place previously. Rosse's main recommendation, the creation of area museum councils, endured for 40 years. Renaissance's larger budget makes current levels of support vulnerable without some formal (perhaps legislative) framework to anchor it within government. While this approach is increasingly popular in other European nations, it still represents a challenge for cultural policy in the nations of the UK.  相似文献   

13.
This is a review of the DCMS's annual estimates of the size, scope and activities of the UK's creative industries, with a particular focus on the latest publication in January 2009. Running parallel to these estimates is a research programme, latterly codified as the Creative Economy Programme (CEP), which constantly assesses and periodically modifies the methodologies used for collating statistics. This programme is also reviewed, primarily through two 2007 documents: a report commissioned from Frontier Economics and a DCMS overview of all the CEP's work in 2006–2007. The review also draws on primary sources in the form of national and international reports on methodologies for classifying and measuring the creative industries, as well as appropriate academic literature.  相似文献   

14.
This review reflects on the response made within the English regions to the national strategy adopted for museums development in the Renaissance in the Regions programme. It considers the national data collection expectations and the actuality of the reporting/evaluation of the programme's management in different regions. A survey of the available regional documentation suggests a lack of consistency in available information and approach, and that review of the programme is welcome in order to establish baseline information for performance measurement.  相似文献   

15.
ABSTRACT

National creative and cultural industries policy agendas tend to focus on the economic impact of the sector often favouring scalable digital activities based in global clusters, which underpin notions of growth. There has, however, been a re-emergence of craft, which may not be scalable in the same way, into public debate, with benefits linked to educational, cultural and economic policy agendas. Accordingly, policymakers have begun to view craft as a stimulus to develop local and regional economies, skills and materials in relation to wider networks. Within this push towards craft-driven creative place making and economic growth, it has been argued that more sophisticated understandings of the “local” are needed that go beyond those which are inward and parochial. Based on AHRC-funded empirical research undertaken in the Northern Isles of Scotland with craft practitioners, this article attempts to provide evidence of the place-based nature of craft work highlighting both opportunities as well as constraints linked to contexts that are often referred to as remote and peripheral when contrasted with urban locations. We argue for future investigation into, what we term, fractal growth – growth and development that considers multiple dimensions – as being a valid and valuable outcome of creative practice, and which cannot be easily scaled.  相似文献   

16.
The UNCTAD Creative Economy Reports (CERs) are arguably the most influential policy-oriented texts on the global scope and potential of the creative economy. They contain arguments for greater policy attention to the creative economy worldwide and statistical data to illustrate their claims. These reports argue that the creative economy is an area of growth, not only in “developed”, but also in “developing” economies. The central argument of this article is that the way the country classification used in the CERs increases the share of “developing countries” in global creative goods exports in contrast to The Organisation for Economic Co-operation and Development (OECD) and The United Nations Development Programme (UNDP) classifications. When singling out China, the share of these countries decreases even further. According to The United Nations Conference on Trade and Development (UNCTAD), in 2010, 41 “developed” countries account for 51.18 per cent and 158 “developing” countries for 48.03 per cent of the global creative economy with 17 economies in transition accounting for 0.79 per cent. This obfuscates reality and obstructs the creation of evidence-based policies relevant to the creative industries. The classification of developed and developing countries is redrawn in accordance with building on data on the export of creative goods, provided by UNCTADstat. This article proposes that a more correct, balanced, and disaggregated outlook on the classification of countries is needed because one single “developing country” (China) is the single biggest exporter of creative goods in the world (25.51 per cent in 2010) yet the 49 “least developed countries” account for merely 0.11 per cent of creative goods exports (in 2010) while they comprise 880 million people (or some 12 per cent of the world's population). In conclusion, it is argued that different kinds of developing countries need different approaches and policies. Reference is made to Burkina Faso to illustrate this point.  相似文献   

17.
Abstract

In this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking.  相似文献   

18.
Together with “creativity”, the concept of “talent” has emerged within UK and global policy discussions as being central to unlocking economic success within the creative industries. At a crucial time of political and technological change, Scotland finds itself competing within a highly competitive global market to identify, attract and retain creative talent and strengthen its skills base. As such, developing “talent” is a key aspect of the Scottish Government's Strategy for the Creative Industries. However, while creativity has been interrogated across academic disciplines in recent years, talent remains under-theorised within the academy and lacks a clear definition across policy and industry. Taking the screen industries as its focus, this paper draws on empirical data derived from a series of knowledge exchange workshops funded by the Royal Society of Edinburgh designed to initiate dialogue between academics, policy-makers and stakeholders within Scotland and beyond. In doing so, it scopes out some of the key ways in which screen “talent” is conceptualised by these groups and raises questions regarding how particular understandings may impact on policies designed to identify, attract and retain a diverse range of skilled workers within the sector. We argue that greater precision should be used in policy discourse to emphasise the importance of developing particular and discrete craft skills rather than privileging a workforce that is highly flexible and mobile. We also suggest that policy-makers and educators must acknowledge and encourage transparency regarding the precariousness of building a career within the screen industries.  相似文献   

19.
The role of English Heritage in commissioning new research into the historic environment is considered. The place of research within the organization and the priorities for research as highlighted in the proposed English Heritage Research Strategy are set out. Research commissioned or carried out by English Heritage covers a wide range of areas, from archaeology and buildings history to applied conservation research. However, the focus of the article is on research that addresses social, economic and policy issues. Work that has been carried out by English Heritage in three areas is explored: the economic value of heritage investment; issues of social inclusion and access to heritage; and analysis of the threats faced by the historic environment and the resources available to address these threats. A key driver for this research activity is the annual Heritage Counts report produced by English Heritage on behalf of the wider heritage sector.  相似文献   

20.
ABSTRACT

The creative economy has seen cultural policy swallowed up by a narrow vision of economic growth, its impacts on the urban fabric captured by property developers, and its promises of meaningful activity challenged by the exploitation and inequities of cultural labour markets. So it needs to be abandoned and re-thought, but on what basis? This paper analyses the potential for cultural work to encourage alternative visions of the “good life”, in particular, how it might encourage a kind of “sustainable prosperity” wherein human flourishing is not linked to high levels of material consumption but rather the capabilities to engage with cultural and creative practices and communities. We critically explore these ideas in three locations: a London borough, a deindustrialised city in England’s midlands and a rural town on the Welsh/English border. Across these diverse landscapes and socio-economic contexts, we look at different versions of the good life and at the possibilities and constraints of cultural activity as a way of achieving kinds of sustainable prosperity.  相似文献   

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