Main objective of this course is to trace the development of the Cultural and Creative Industries as an idea and as concept and to identify the key points of changes within it in relations with contemporary digital connected world. Another important task of this course is to provide the deep understanding of the difference between cultural and symbolic meaning products (such as films, recorded music, book and periodicals, online media content etc) and other kind of goods. This course will help you to: - Identify main peculiarities of cultural and symbolic goods in their difference with other branches of economy in terms of production chain, risks, relationship between different stages of production. - Be able to analyze cultural products and symbolic goods from the organizational, economic, business model point of view. - Be able to invent new business models and analyze cultural products in terms of their productions risk. - Be able to analyze cultural policies and creative industries/clusters policies. Main prerequisite to this course is to be able to produce analytical texts in humanities. Normally the course addresses all students of master level interested in peculiarities of media and cultural economy and management. This course is strongly not recommended for those who: - Analyse any market or industry only in microeconomic terms (supply and demand, level of competitions etc). This course is not about market but about peculiarities of symbolic goods; - Try to interpret culture only in terms of marketing and management (i.e. culture is considered like a simple good to be sold to the consumer). This course considers it more broadly like a human agency to produce meanings of everyday life. That’s why cultural goods are different and can not be interpreted exclusively in terms of consuming and need more or less state support; - Try to interpret culture like pure “art” and consequently are absolutely not preoccupied by organizational aspect of its working. This course uses a large number of concepts coming from different fields of science: political economy of communications, cultural studies, sociology etc. Some aspects of the course are commented by known scholars in this field such as David Hesmondhalgh (University of Leeds), Phillipe Bouquillion (University Paris 13 Nord), Bernard Miege (Grenoble Alpes University).
Origins of cultural policy
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Del curso dictado por National Research University Higher School of Economics
Cultural and creative industries
6 calificaciones
National Research University Higher School of Economics
6 calificaciones
De la lección
Policies in the field of creative and cultural industries
During this week we'll talk about different approaches to policies in cultural and creative industries. You will learn main principles of regulation in such industries.
Conoce a los instructores
Iliya KiriaProfessor
Department of Media
Welcome to the week eight of our course,
and this week will be devoted to
the policies in the field of creative and cultural industries.
This week will be the final week of our course.
First of all, we'll speak about different views or approaches to
cultural policy and media policy in general and it will be the first part of this week.
Let's take a look on origins of cultural policy.
Origins of cultural policy depends on territories,
depends on countries where it was implemented,
because in different countries,
there are different views of what should be
protected how culture should be regulated by the state et cetera.
And we can observe for example that in Europe,
after the expansion of the American culture or the so-called global culture et cetera,
especially in the second half of the 20th century, starting from 60s,
70s, we can see the implementation of this so-called cultural policy.
Policy which aims to protect the identity,
the national identity of the European countries et cetera.
In Anglo-Saxon world, it was quite different and have had
much more moderate view just because
Anglo-Saxonian culture since it was much more based on the English language,
which became very popular in
the second half of the 20th century as the international language,
the language of international exchange et cetera.
This problem, the problem of protection over the identity has been a little bit weaker.
So, of course, the principle of cultural policy there,
reason for cultural policy was very different in different countries.
Of course, one of such reasons is the reaction on
the market force and support innovations in the field of culture.
So, the cultural policy aims to react on market force.
So, to regulate something which cannot be regulated by
the so-called market force and to support particular will say,
aesthetic innovations in field of culture.
Another important question is of course,
the use of the cultural policy in
order to support another economic industries for example.
So, there is a particular multiplicity effect on economic industries,
because we understand perfectly that if you are developing the industry of content,
the cultural industry, the industry of movie, et cetera,
you are also contributing to the development of for example, industry of electronics,
because a majority of the devices which can be
used to consume the movie sector for example,
the movie production produced by
electronic companies or companies from
information technology industry et cetera, et cetera.
And finally, another reason these are of
course the general contribution to the social welfare,
to promotion of aesthetic values,
because each country or each culture possess a particular aesthetic values.
All we can think that such aesthetic values should be promoted,
should be developed in particular places.
Of course, during the different period,
different models of support and
different issues inside the culture policies has been developed.
One of the first was the spectrum management issue.
So, starting from the 1920s,
just after launching the first commercial radio stations
or public radio stations in Europe and even the United States.
Of course, the state started to regulate the management of spectrum of radio spectrum,
just because radio spectrum eats another resource which is renewable.
Means that there are a number of potential frequencies where you
can place the radio broadcasting is physically limited.
You cannot have more than a certain number of radio stations.
So, the states started to regulate the,
or say, the rule.
What companies could pretend to obtaining frequencies to broadcast.
Then in the middle of 20th century,
we can see the rise of particular antitrust regulation in one of such decision was
the so-called separation of the theatrical demonstration and distribution
of Hollywood Major in the United States.
So, the prohibition to major to own they own theatrical chains,
which means that they these decision was aimed to
develop the separate from majors theatrical chains,
which would contribute to the development of some movies which outside will say,
they're purely commercial realm.
In Europe or in the United States,
in the middle of 20th century,
there was the rise of the state policy in the field of
National Heritage Museums, et cetera.
And then, especially at the end of 20th century,
we can see a lot of new things to regulate and need a lot of new issues to regulate.
Of course, it was there.
A lot of them was a reaction to the globalization,
the globalization of the culture products to the well say,
a particular domination of especially English speaking production and
United States production in the cultural markets of other countries,
which of course provoked a particular reactions
of other countries to elaborate national cultural policies,
which has been oriented toward promotion of national production,
quotation of broadcasting of
national production and quota for the broadcasting of the foreign production.
So, limits on importing a particular cultural production and it was a rise
of a particular national policy is one of
such policy was so-called cultural exception voice which was
quality official cultural policy in France for
example and we will take a look on it a little bit later in this week.
But finally, of course we can see some some
liberal or regulation or regulation oriented toward what will say curbing piracy,
toward supporting the exportation et cetera.
And it was mainly the policy promoted by United States and especially after
2000 and during the first 10 years of the 21st century,
we have deal with the rise of the policy in field of creativity or creative industries,
creativity support and cultural policy for economic policy.
So the idea that creativity in
general or creative industries in general could contribute to
the development of economy in general.
At the same time, we also should refer to the idea that
historically any cultural content was the particular object of the regulation.
We can do a reference to the regulation of printing houses by
Catholic Church during the middle
and middle ages and then in
the new times and such regulation was based on an idea of authorization.
So before to print something you should obtain a stamp or before copying the book,
written book you should obtain
a particular authorization from someone or indexers so a catalog
of prohibited books which regulated and which has been used to enforcement in this field.
Of course, it's also the regulation of periodical, periodical press,
newspapers or so in Europe
and especially during the modern times such regulation was based
on idea that a lot of periodicals could
contribute to that will say distribution of libel,
to distribution of to abuse of private life for example et cetra.
And of course, such filching which should be heavily regulated.
And finally, in field of artistic creation, performances, art,
professional guilds and foundations
regulated the preparatory of performances troubadours,
theaters et cetera, et cetera.
So it means that historical cultural content has been always regulated.
So, the content by itself and sometimes you require
a particular pre-authorization before
doing a particular self-expression in a field of culture.
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