英语论文网

Beyond ad hocery: Defining Creative Industries
Terry Flew
Media & Communication
Creative Industries Faculty
Queensland University of Technology
Paper presented to Cultural Sites, Cultural Theory, Cultural Policy, The 代写留学生论文Second International Conference on Cultural Policy Research, Te Papa, Wellington, New Zealand, 23-26 January 2002
ABSTRACT
This paper explores the rise of the creative industries, whose development marks an increasingly central element of contemporary economies, whose form is informational, global and networked. It begins with a discussion of the various ways in which the creative industries have been defined, in both policy statements and in the academic literature. It relates the development of the creative industries to three trends. First, it is connected to has the development of cultural industries as an object of public policy, as well as a critical rethinking of the best means by which cultural development can be supported through cultural policy. Second, the rise of the knowledge-based economy, and debates about the relationship between information, knowledge and creativity, have provided a stimulus to creative industries development. Third, the shift from manufacturing to services as the dominant employment sector has raised important issues about
2
the nature of services sector employment and the services industry model. Finally, there is a discussion of the significance of creative industries development to the concept of cluster development and policies to promote the development of creative cities and regions, as part of the ‘night time economy’.
Introduction
The emergence of creative industries is related to the rise of cultural industries, the significance of knowledge to all aspects of economic production, distribution and consumption, and the growing importance of the services sector. It is linked to the dynamics of the ‘new economy’, whose form is increasingly informational, global and networked (Castells 2000). Cultural processes such as design and signification impact upon all aspects of everyday life, particularly those related to the consumption of commodities. Culture is thus recast from being a distinct sphere of social life, to something that permeates everything from the design of urban spaces, offices, means of transport and communication (eg. the design of cars or mobile phones), the ways in which clothing signifies an identity to both its users and those who see the user, and the promotional strategies of corporations and, indeed, governments in an era of ‘promotional culture’ and electronic commerce. Similarly, creativity does not simply reside in the arts or media industries, but is a central- and increasingly important- input into all sectors where design and content form the basis of competitive advantage in global economic markets.
This turn to the creative industries results in part from the scope of ICTs to allow for greater flexibility in production, such as small batch production rather than long production runs. It is also connected to a growing reflexivity in consumption, or a process whereby consumers increasingly use commodities to construct a personal identity. Scott Lash and John Urry have termed this the ‘semiotisation of consumption’ (Lash and Urry 1994: 61), that is a part of what Mike Featherstone
3
has identified, more broadly, as the ‘aestheticisation of everyday life’, connected to consumer society and the blurring of本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。