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| 1 |
ID:
169144
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| Summary/Abstract |
This study examines the ways in which networking characteristics and practices influence the economic performance of creative and cultural industries. The notion of social capital is used to conceptualise the complex nature of networks, including both professional and social relationships that occur on multiple levels. This qualitative study is set in the context of Indonesia, in which two cases are examined: creative apparel entrepreneurs in Bandung and batik producers in Surakarta. The results show that regional environments provide opportunities for creative industries to find specialist suppliers, to gather market information and, importantly, to find and cross‐fertilise new ideas. Although regions provide these opportunities, the firms’ internal social capital is crucial in being able to internalise and transform the knowledge from the environment into innovative values embodied in their products.
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| 2 |
ID:
159317
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This article examines the development of the Chinese film industry in this century and its socioeconomic context. The rising popularity, attendance and number of movie theaters in China have been accompanied by bigger investments in the foreign film industry, as well as improvements in the production and distribution of films in the country. In addition growing Chinese influence in the world film industry is a component of China's soft power strategy.
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| 3 |
ID:
108971
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2011.
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| Summary/Abstract |
On 31 December 1985, Singapore left the United Nations Educational, Scientific and Cultural Organization (UNESCO), turning against the 'New International Information Order' demanded by UNESCO at that time. In October 2007, after 22 years of absence, Singapore rejoined UNESCO, looking for an intensification of cultural and scientific exchange. Taking this example of reviving co-operation between Singapore and UNESCO, this paper assesses the concept of 'creative industries' as a boundary concept that allows for increased co-operation between players with generally opposing knowledge concepts - as manifested in their respective knowledge and cultural politics. The paper starts with a conceptual discussion on the crossing of boundaries. This is followed by an assessment of first, UNESCO's and second, Singapore's gradual repositioning towards culture. While UNESCO turned from distinctly separating 'culture' and 'market' in the 1970s and 1980s to an increased openness for profit-oriented conceptualisations of culture today, Singapore identified the economic potential of culture, creativity and the arts, and therefore the need to foster these as part of its development into a knowledge-based economy. The underlying differences in interests and the orientation of content, expressed by the traditionally opposing conceptualisations of knowledge and culture, are still valid today, yet the concept of 'creative industries', adopted by both sides, seems to offer a common meeting ground. It acts clearly as a bridge, and hence a boundary concept, allowing for an intensification of mutual co-operation. This is discussed in the final part of the paper.
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| 4 |
ID:
151966
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China took up the discourses and agenda of creative industries increasingly in the first post-millennium decade. Amidst the attempt to turn from ‘made in China’ to ‘created in China’, would the translation of the creativity discourse usher in a better society in China? This article serves as one of the probing steps to ascertain what creativity enables and disables in China. I do so in an inquiry that departs from existing scholarship on two aspects. First, it follows a regional, cross-border labour flow. Second, it focuses on the people in the frontline of creative work. My study draws on the experiences of 12 Hong Kong creative workers who moved to Shanghai and Beijing. Their translocal and transcultural encounters allowed me to trace and foreground the particularities of creative practices in China. Like many fellow creative workers, my informants moved north to pursue better career opportunities. But they also wanted to do something more. Some of them managed to do so. At the same time, their stories were punctuated with disappointments, frustrations and continuous adjustments, categorized into what I call the precarious and the ethical. The findings of this inquiry pose questions on the hypothesis, the hype and the hope of creativity in China.
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| 5 |
ID:
117509
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2012.
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India's growing profile on the global scene owes much to the vibrancy of its cultural and creative industries, media and telecommunications. This article analyses India's media in terms of four 'dividends' (and their corresponding deposits): democractic, diasporic, digital and demographic. Although the deficits produce considerable challenges, the dividends are stronger and the author is optimistic about India's capacity for development and ability to lead to globalisation with an Indian flavour. He reflects on India's potential contribution to international media studies, especially in relation to liberal pluralism, representation of Islam and discourses about development.
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| 6 |
ID:
092969
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2009.
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| Summary/Abstract |
Increasing attention is being paid to how workers in the creative industries negotiate transitions from amateur to professional status and seek opportunities for work and spaces for expression that suit artistic desires. The settings have usually been large cities with populations that can support diverse and specialised audiences and subcultural scenes. In this paper, we discuss research where we participated in a music scene, and talked to dance music disc jockeys and venue owners in a small, regional university city - Dunedin. In Dunedin opportunities for musical work are comparatively plentiful but are constrained in a number of ways. Disc jockeys negotiate audience demands, distances from key musical centres and associated infrastructure, and the shifting venues available for performance. We emphasise the importance of an ethnographic perspective to the study of musical work that remains attuned to the manner in which urban spaces are created, transformed, challenged and remade in the musical nightlife economy.
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| 7 |
ID:
190944
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Recent developments in digital technologies in South Asia require special attention on the restructuring of industries based on creativity, arts and culture. More specifically, powerful players from the communication industries have been at the heart of changes in the legacy creative industries. The aim of this special section is twofold. On the one hand, to critically assess transformations taking place in the industrial and policy dynamics shaping the creative industries in India; and, on the other hand, to identify the peculiarity of Indian dynamics amidst what is widely perceived as a fairly uniform set of global phenomena. Through examples focusing on audiovisual and music sectors, the contributions explore how these dynamics are deeply anchored within social and political contexts at the local, national and global scales, and how – far from its emancipatory promise – the digital often tends to reinforce uneven economic scenarios and power relations.
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| 8 |
ID:
141402
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| Summary/Abstract |
Since the 1990s, Chinese entrepreneurs in the textile and apparel industry have confronted rapid change and increasing pressure stemming from mature foreign entrants and changing local demand. Facing multiple challenges to differentiate and keep a competitive advantage, they are being transformed into creativity-driven organisations. The transition of the Chinese clothing industry into a fashion-creating system entails a specific environment. Not only is it under construction, but its evolution may impact the global fashion economy.
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