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1.
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   

2.
The suffering, struggling status and controversial political identity of Chinese internal migrant workers have put them in the academic spotlight for decades. An abundance of literature has analysed the problems faced by Chinese migrant workers from mainly three theoretical perspectives. However, not enough attention has been paid to migrant workers’ subjective understandings and feelings about their work and lives. The current article tries to illuminate the ambivalent feelings of migrant workers of the service sector in Shanghai, based on a brief comparison between migrant workers of three Asian countries, and the interviews with 16 Chinese migrant workers, two government officers and two local citizens in Yan community attached to Po district of Shanghai. It is argued that the migrant workers share an unsettled “structure of feeling” in everyday practices. They simultaneously feel bewildered and sanguine, depressed in a sombre mood and happy, passionate and indifferent. The unsettlement of the structure of feeling constitutes a political passivity for migrant workers. It is urgent to find ways to break up such a stalemate of consciousness.  相似文献   

3.
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   

4.
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   

5.
This article examines the nexus between the illegal migration of Filipino teachers as a form of precarious skilled employment in conjunction with the mobility of choice and hope found in the adoption of cosmopolitan outlooks. Catering to the aspirations of Indonesia’s rising middle class, privately managed “international” schools actively recruit trained teachers from the Philippines. Many of these teachers are migrants negotiating journeys of financial independence. These migrant teachers often find themselves arriving in Indonesia being required to work in the absence of work visas that were initially promised by their employers. Migrant Philippine teachers working in Indonesia compensate for these “shocks” encountered during their employment by cultivating a sense of cosmopolitan sociability as they aspire to utilize their professional and cultural experiences in Indonesia for better employment opportunities beyond Indonesia.  相似文献   

6.
From the mid-twentieth century, the evolving tension between modernity and tradition has become a troublesome issue for the newly-established independent nation-states in Asia. With the ethnographic methodology of field study, this article retraces the drama practice in 1960s’ rural China and tries to reveal the practical formation and specifically, the operative mechanism with which the socialist new culture remolds and summons the subjectivity of People. In such practical process, the subjectivity of People is a key concept of socialist values and a leading principle of people’s everyday life in rural China, which contributes to the formation of a “new tradition” in practice. The “new tradition” has a profound influence on the pathway of the Chinese socialist development, and may also provide necessary reference to other Asian states.  相似文献   

7.
We studied the interplay of intercultural competence, intercultural experiences, and creativity among Russian students from Moscow (N = 272). We expected the students from culturally diverse groups, attending the courses on cultural issues, to be more creative. We based our expectation on the idea that cultural diversity and cultural learning are associated with a higher level of intercultural competence that might contribute to students’ creativity. We measured the intercultural experiences by cultural diversity of study groups (a number of foreign students in the groups and the intensity of friendly contacts with them) and by cultural learning (a number of culture-related courses that students attended). We measured creativity by the “Many Instances Game” from the Runco Creativity Assessment Battery (rCAB). We measured intercultural competence by the adapted scale of Fantini and Tirmizi. We discovered positive associations of intercultural experiences in the university with students’ creativity. Such components of intercultural competence as attitudes and skills (the adaptability of behavior), played an important role in the students’ creativity. The attitudes were positive and the skills were negative, related to the creativity. We also revealed that these two components of intercultural competence mediated the relationship between the intercultural experiences and creativity of students. Based on the results, we discussed the factors of the educational environment which may enhance or prohibit creativity.  相似文献   

8.
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   

9.
Against the backdrop of significant migration changes and the predicted further diversification of the workforce, we present the concept of anomie to explain how different sociological and cultural settings influence migrants’ work and family experiences. Anomie refers to the feeling of disorientation and alienation from society caused by a sense of absence of supporting social systems. This article integrates cross-cultural management research into the migration and work–family interface and presents findings from a study of migrants residing in Australia. Through a qualitative methodology using semi-structured interviews and open-ended surveys, our study explored participants’ experiences of social and cultural adaptation orientations and behavioural anomie shifts. The findings and theoretical explanation lend strong support to the understanding that sociological influences and cultural orientation moderate migrants’ experiences. We also present an argument for refining Durkheim’s anomie theory to incorporate strains of social, cultural and behavioural consequences concerning migrants’ work and life experiences across cultures.  相似文献   

10.
The task here is to consider what I would call Stuart Hall’s theoretical “legacy” in the field of social and cultural thoughts. As a materialist of articulation rather than of reductionism, Hall taught us how to profoundly understand and intensely describe the “concrete” in cultural and social fields. The “concrete,” according to Hall, is a result of “non-necessary correspondence” between various forces, relations and situations, that is, the contingent and articulated determination in history. In my view, he was after all a Marxist in this sense. In the earlier stage of his thinking, Hall was very much indulged in reading and learning from Marx. This is characteristic in his “Marx’s Notes on Method: A Reading of the 1857 ‘Introduction.’” His Marxism then showed a unique twist in later stage, which was explicitly expressed in his article “Signification, Representation, Ideology: Althusser and the Post-Structuralist Debate.” Reading these two texts, I aim to comprehend the way Hall has read Marx and the way his thoughts resonated. His lesson helps us to tackle our ongoing agendas in this half-dead Capitalist world, such as the crisis of culture, subjectivity and politics.  相似文献   

11.
In the mid-1980s, Frith and Horne (1987) were describing the experience of British arts schools as, “an anachronism, with students desperately clinging on to attitudes to work and play, which had otherwise vanished” (p. 12). Among these attitudes were the importance of freedom and experimentation in one's work, the status of the artist as an outsider, and the superiority of art over other forms of activity, such as design. Despite huge social changes and contemporary concerns about the “instrumentalization” of arts policy and education (Singerman, 1999; Wilson, 2007), the article argues that the Romantic ideology of the artist is remarkably persistent, and continues to shape graduates' attitudes to their working lives. This in turn feeds into contemporary debates about the nature of cultural labour (Ross, 2003) and the role of the “artistic critique” (Boltanski & Chiapello, 2005), and, crucially, provides an empirically based view of these debates from the perspective of cultural workers themselves.  相似文献   

12.
ABSTRACT

Discourses of morality are prevalent in contemporary Hong Kong youth activism. This paper suggests that this moralist disposition is the product of youth frustrations towards Hong Kong’s political crisis, whereby the power gap between civil society and the government renders the former incapable of exerting substantial influence over the governance of the city. Rather than ascribe the cause of this power imbalance solely to government policies, this paper reveals that civil society also contributed towards the making of this political crisis. By reviewing the citizen-led pro-democracy movement throughout the decades, it is shown that civil society has been ineffective in implementing political reforms because its actors and organisations harbour a political subjectivity that prioritises economic considerations over democratic aspirations, and are thus inclined to compromise with the government to preserve economic stability than to demand for political reforms. As a result, contemporary youth activists describe Hong Kong civil society as “uncaring” and lacking in moral commitment towards realising democratic reforms that will facilitate the development of a just society. Seeking to reconfigure such political attitudes that currently prevail in civil society, youth activists refashion themselves into political actors embodying a form of moral personhood that embraces notions of responsibility and of wanting to do good for the city, to show that another way of being politically engaged in Hong Kong is possible.  相似文献   

13.
This article examines the contested relation between discourses of ethnic subjectivity and queer critique of homophobia and transphobia in Vancouver, a transpacific city in Canada that is being touted as “the most Asian city outside of Asia.” I analyse the perceived association of Chinese communities with moral conservatism and the concomitant existence of a vibrant queer Asian cultural scene in the city as a discursive clash between two cultural publics. I examine the underlying dynamics of their antagonism as well as their potential for mutual engagement.  相似文献   

14.
This article focuses on Chua Beng Huat’s work on the East Asian pop culture that became more prominent in East and Southeast Asia from the 1990s, when the circulation of multilingual and multi-format pop culture started to exceed linguistic, ethnic and national boundaries. It argues that Chua’s work indicates that the pop-cultural production and innovation that support the globalisation and regionalisation processes in East Asia need not be national in origin but can hail from different national origins – and this despite the existing political realities of the region and its history of political fractures. Chua Beng Huat cautions, though, that the national popular can also be marshalled to defeat the border-crossing potential of an inter-Asian pop culture. What is the “Asia” imagined or being represented in such cultural production? Chua’s work is also distinctive in that it deals with the political and economic conditions that underpin mainstream pop consumption as a socio-cultural phenomenon, instead of examining consumption as identity politics. The article concludes by noting the significance that Chua as an institutional builder has played in enabling the study of East Asian pop culture in the region.  相似文献   

15.
ABSTRACT

This paper focuses on music practice of the New Workers Art Troupe (NWAT, xingongrenyishutuan) that is based in Pi Village (picun), Beijing. During last 3–4 years, the troupe has gradually attracted the attention of young scholars and college students due to their public advocacy for the rights and benefits of migrant workers in Mainland China. Given structural marginalization of workers and peasants that ironically contradicts with the officially claimed principles of socialism, the NWAT should not be ignored as far as cultural activism in nowadays Mainland China is concerned. Many researchers have investigated NWAT’s practices according to approaches of various discipline, however, the cultural meanings and social-historical condition of its core art form, music, have been largely neglected. Whereas this neglect acts both as cause and consequence, discourses about the NWAT have gradually been overwhelmed by moral commitment or sympathy to “disadvantaged groups,” which eventually proves nothing more than the coming-being of a moral order dominated by the new-born Chinese middle-class. In order to comprehend the affects the NWAT’s music articulated, what need to be illuminated are not only what they are singing, but also where and how they sing, as well as the cultural mechanism behind their practice.  相似文献   

16.
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   

17.
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   

18.
The Non-Aligned Movement was a transnational political project, a coalition of small and middle-sized states, mostly former colonies and developing countries, from the global south or the Third World. It was formed in 1961 in Yugoslavia at the Belgrade summit. The NAM represented the first major disruption in the Cold World map, a quest for alternative political alliances, for “alternative mundialization.” Culture was accorded particular importance in the NAM, despite the fact that it never took center-stage at summits and conferences. However, NAM’s cultural politics strongly condemned cultural imperialism and epistemic colonialism. Western (European) cultural heritage was to be understood in terms of “juxtaposition”; this heritage would be interwoven with and into the living culture of the colonized, and would not simply be repeated under new (political) circumstances. Consequently art and culture in the NAM were largely about politics and history, or to put it differently, they were a way of staking a claim to history. It seems the movement was somehow aware of the fact that this was the only way it could enter the world’s (cultural) space on an equal footing. There existed a heterogeneous artistic production, a variety of cultural politics and extensive cultural networks which enriched the cultural landscape of the NAM and enabled discussions about the meaning of art outside the Western canon.  相似文献   

19.
Nakaya Kokichi is a writer whose work illustrates a singular unfolding of intellectual thought in Okinawa under the US military occupation. This article sheds light on the political potential of Nakaya’s thoughts through a close reading of his posthumous collection. In doing so, I pay particular attention to the three aspects of his thought. First, Nakaya’s texts reveal the violent nature of “interpellation” that sustains the system of the US–Japan military alliance. Nakaya’s work exposes the way in which such interpellation at once subject those who live in Okinawa and, therefore, prohibits them from becoming political subjects. Second, Nakaya’s writings critique the politics of Okinawan nationalist identity and seek an alternative political future in the solidarity among non-subjectified bodies. Third, Nakaya’s thoughts suggest a paradoxical possibility of Kakushi, or a death in a foreign land even in one’s own so-call “homeland,” once that helps to resituate Okinawa as an intersection of “refugees,” who remain unable to belong to nation-states, and their “histories that open up laterally.”  相似文献   

20.
This essay explores the political implications of the flash mob dance in Dhaka, Bangladesh performed in response to the 2012 global viral sensation of South Korean rapper PSY’s “Gangnam Style” music video. The global fame of “Gangnam Style” has much to do with its success online and in the U.S. popular music industry. It, however, also solicited suspicion from popular culture critics that the images of comical PSY worked successfully thanks to unchecked consumption of the racial stereotypes of Asian men. While recognizing these problems as more than valid, this essay simultaneously calls for a more transnational and inter-Asian understanding of the material to argue for a productive quality of PSY’s performance. Using “refraction” as a mode of thinking about inter-Asian circulation of pop culture, this essay considers the flash mob performed in Dhaka, Bangladesh as an important yet underexplored case study that shows different performative practices associated with “Gangnam Style” deeply rooted in historicity of colonialism and nationalism. The case study shows that the circulation of “Gangnam Style” materialized through a performance in Dhaka enlarged contemporary discourse among young urban Bangladeshi spectators around Bangladeshiness and its cultural identity. This complicated an easy assumption about “Gangnam Style” and its success in the U.S. mainstream pop culture, while simultaneously displacing the Bangladeshi cultural subjects from the immobile position of “the Other.”  相似文献   

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