Journal articles: 'Creative labour'

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Banks, John, and Mark Deuze. "Co-creative labour." International Journal of Cultural Studies 12, no. 5 (September 2009): 419–31. http://dx.doi.org/10.1177/1367877909337862.

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McGuigan, Jim. "Creative labour: working in the creative industries." Cultural Trends 20, no. 2 (June 2011): 213–14. http://dx.doi.org/10.1080/09548963.2011.563921.

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Colta, Alexandra. "Creative and emotional labour." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 128–45. http://dx.doi.org/10.33178/alpha.17.08.

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Film festival curation and programming remain highly individualistic practices, that negotiate several discourses/tensions, including the responsibility of the curator to others (artists and audiences) and the creative independence of the curator. Much remains to be written about the creative process of curation, and how aesthetic judgements are articulated by those who practice it. While progress in this direction has been made in relation to some festivals (LGBT, African), human rights film festivals have only recently started to be part of academic scholarship, which tended to focus on the main functions and spectatorship roles that they encourage (Tascón; Tascón and Wils; Davies). This article focuses on the creative process of programming human rights film festivals using the case study of Document Human Rights Film Festival in Glasgow. Part of a practice-led collaborative research project between the Universities of Glasgow, St Andrews and the festival, this article is based on my reflections and experience as a co-opted member of the programming team for the 2016 and 2017 editions. Drawing on practice-led ethnography, I argue that this festival adopted a form of ethical programming, sharing authorship and responsibility towards the audience, the filmmakers and the profession, as well as a form of emotional labour.

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Conor, Bridget, Rosalind Gill, and Stephanie Taylor. "Gender and Creative Labour." Sociological Review 63, no. 1_suppl (May 2015): 1–22. http://dx.doi.org/10.1111/1467-954x.12237.

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Banks, Mark. "Craft labour and creative industries." International Journal of Cultural Policy 16, no. 3 (August 2010): 305–21. http://dx.doi.org/10.1080/10286630903055885.

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Holt, Fabian, and Francesco Lapenta. "Introduction: Autonomy and Creative Labour." Journal for Cultural Research 14, no. 3 (July 2010): 223–29. http://dx.doi.org/10.1080/14797581003791453.

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de Kloet, Jeroen, Jian Lin, and Yiu Fai Chow. "Introduction: Creative labour in East Asia." Global Media and China 5, no. 4 (December 2020): 347–53. http://dx.doi.org/10.1177/2059436420973411.

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In this introduction to this special issue on creative labour in East Asia, we explore how the creative industries discourse, and related debates around creative labour, continue to be haunted by a Eurocentric cum Anglocentric bias. The critical language of this discourse often directs all discussion of “inequality”, “precarity” and “self-exploitation” of creative labour towards a critique of “neoliberalism”, thus running the risk of overlooking different socio-political contexts. We point at the urgency to contextualize and globalize, if not decolonize, creative work studies, including the debates surrounding precarity. This special issue explores the nuanced situations of governance and labour experiences in the cultural economies of East Asia.

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McGuigan, Jim. "Creative labour, cultural work and individualisation." International Journal of Cultural Policy 16, no. 3 (August 2010): 323–35. http://dx.doi.org/10.1080/10286630903029658.

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Lin, Jian. "Be creative for the state: Creative workers in Chinese state-owned cultural enterprises." International Journal of Cultural Studies 22, no. 1 (January 9, 2018): 53–69. http://dx.doi.org/10.1177/1367877917750670.

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This article studies creative labour in Chinese state-owned cultural enterprises (SOCEs). Based on the empirical analysis of fieldwork data, it analyses the governmentality of creative labour in Chinese SOCEs through an investigation of the condition of autonomy and the discourse of self-realization within selected Chinese media companies. The autonomy of creative work within the system is made contingent by the party state’s ideological concern, while since the commercialization reform of SOCEs, creative workers are also expected to ‘be creative for the state’ under the discourse of self-realization. In practice, as the case of loafing on the job illustrates, the system causes marked contradictions that furnish creative individuals with possibilities to distance themselves from the expected subjectivity of ‘being creative for the state’. This article offers an exemplary case study of how the governance of creativity and creative labour works in Chinese SOCEs, and of how it distinguishes itself from the creativity dispositif in the West. It suggests that the theorization of creative labour needs to go beyond the western neoliberal perspective and take into account the diversity of socio-political contexts across the world.

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Генкин and Boris Genkin. "Creative component of labor as main source of profit in innovative economics." Management of the Personnel and Intellectual Resources in Russia 2, no. 3 (July 1, 2013): 4–7. http://dx.doi.org/10.12737/534.

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The analysis of conceptions that determine the sources of profit has been fulfilled. It has been proved that profit forming mechanism is based on human activity structure. It is expedient to single out three components in this structure: regulated (α-labour), creative (-labour) and spiritually-motivated (γ-labour). The α-labour result linearly depends on time and human energy expenditures. Unlike this the dependence of results related to creative and spiritually-motivated labour on time expenditures is not linear. It means that the new idea can increase labour productivity hundreds time more. The results related to activity of scientists, inventors, innovators exceed significantly their labour expenditures. The models of profit forming and distribution in the innovative economics are adduced in this article. Considerable attention has been paid to the role of entrepreneurs and heads of organizations in creation and distribution of added value (cost). The problem related to incomes ratio of enterprises’ social groups in modern economy is discussed in this aspect.

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Alacovska, Ana. "Informal creative labour practices: A relational work perspective." Human Relations 71, no. 12 (March 26, 2018): 1563–89. http://dx.doi.org/10.1177/0018726718754991.

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The informal nature of creative work is routinely acknowledged in the studies of creative labour. However, informality of creative work has been so far treated dualistically: firstly, as the informal governance of creative labour markets and secondly, as the ever-increasing informalization of creative workplaces. In contrast, this article argues for the importance of focusing on informal labour practices as infused in relational contexts so as to understand how creative workers uphold career sustainability and cope daily with contingent, insecure and underpaid work. Drawing on the relational work perspective from economic sociology, I contend that creative workers’ informal labour practices and economic activities are constituted by the meanings and quality workers attach to interpersonal relations. The more socially and spatially intimate and closer the interpersonal relationship, the less the economic benefit. The more socially and spatially distant the relationship, the greater the pecuniary motivation. The article maps relational work dynamics in: (1) informal paid labour practices, comprising work under-the-radar of state authorities, such as cash-in-hand work including online crowd-work, tips-based work, and paid favours and (2) informal unpaid labour practices, practices happening in webs of reciprocity that are not directly compensated with money, such as barter, favour-swapping and voluntary work.

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Farr-Wharton, Benjamin Stuart Rodney, Kerry Brown, Robyn Keast, and Yuliya Shymko. "Reducing creative labour precarity: beyond network connections." Management Decision 53, no. 4 (May 18, 2015): 857–75. http://dx.doi.org/10.1108/md-05-2014-0269.

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Morgan, George, and Pariece Nelligan. "Labile Labour – Gender, Flexibility and Creative Work." Sociological Review 63, no. 1_suppl (May 2015): 66–83. http://dx.doi.org/10.1111/1467-954x.12241.

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Hughes, Christina. "Gender, craft labour and the creative sector." International Journal of Cultural Policy 18, no. 4 (September 2012): 439–54. http://dx.doi.org/10.1080/10286632.2011.592187.

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Brouillette, Sarah. "Creative labour and auteur authorship: readingSomers Town." Textual Practice 23, no. 5 (October 2009): 829–47. http://dx.doi.org/10.1080/09502360903169193.

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Alacovska, Ana, and Rosalind Gill. "De-westernizing creative labour studies: The informality of creative work from an ex-centric perspective." International Journal of Cultural Studies 22, no. 2 (January 23, 2019): 195–212. http://dx.doi.org/10.1177/1367877918821231.

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Creative labour studies focus almost exclusively on Euro-American metropolitan ‘creative hubs’ and hence the creative worker they theorize is typically white, middle-class, urban and overwhelmingly male. This article outlines the contours of a de-Westernizing project in creative labour studies while introducing a special journal issue that examines the lived dynamics of creative work outside the West. The article advocates an ‘ex-centric perspective’ on creative work. An ex-centric perspective does not merely aim at multiplying non-West empirical case studies. Rather, it aims at destabilizing, decentring and provincializing the taken-for-grantedness of some entrenched notions in creative labour studies such as informality and precarity. An ex-centric perspective, we contend, offers a potential challenge to many of the claims about creative work that have taken on the status of general truths and universal principles in spite of them being generated from limited empirical evidence gleaned from research sites situated almost exclusively in the creative hubs of Euro-America.

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Djulius, Horas, Choi Wongyu, N. A. Juanim, Raeni Dwisanty, and Alfath Prannisa. "Measuring labour contributions in the creation of added value in creative industries." International Journal of Economic Policy in Emerging Economies 13, no. 4 (2020): 385. http://dx.doi.org/10.1504/ijepee.2020.109582.

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Lin, Jian. "(Un-)becoming Chinese creatives: transnational mobility of creative labour in a ‘global’ Beijing." Mobilities 14, no. 4 (February 19, 2019): 452–68. http://dx.doi.org/10.1080/17450101.2019.1571724.

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Mediarta, Agus, and Ricardi S. Adnan. "PRECARIOUSNESS PADA CREATIVE LABOUR DI INDUSTRI FILM INDONESIA." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 25–34. http://dx.doi.org/10.31937/ultimart.v13i2.1843.

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Dalam sistem produksi di industri film, mayoritas pekerjanya memiliki karakteristik umum berstatus pekerja lepas, bekerja dengan waktu fleksibel, berbasis proyek jangka pendek, dan tanpa kepastian jaminan kerja (job insecurity) dan sosial (social benefit and security). Area produksi merupakan pusat keberadaan industri film—seperti halnya industri-industri di lingkup seni-budaya atau yang kini populer dengan istilah industri kreatif—yang setiap produknya (judul film) bersifat unik. Tidak ada dua judul film dengan hasil dan cara produksi yang sama atau identik. Hal yang membuat aktivitas dan modal utama produksi film sangat bertumpu pada creative labour. Karakteristik kerja dalam produksi film yang bersifat casual, cair (relasi dalam organisasi cenderung tidak kaku, birokratis, dan formal), dan dengan pendekatan project-based, dari sudut pandang industri merupakan bentuk antisipasi atas tingginya ketidakpastian dan resiko bisnis film. Pada creative labour, hal itu menghasilkan kondisi precariousness (ketidakpastian/uncertainty, ketidakamanan kelangsungan kerja/job insecurity, lemahnya jaminan dan keuntungan sosial yang umum terkait aktivitas kerja). Kajian ini merupakan identifikasi bentuk-bentuk precariousness di sektor produksi film dengan pendekatan kualitatif atas pemaknaan pengalaman creative labour yang masih aktif dan telah berada di industri film Indonesia lebih dari lima belas tahun. Pemaknaan atas kondisi precariousness merupakan hasil dari proses interaksi dengan struktur kerja di industri film, baik dalam moda produksi komersial maupun mandiri atau non-profit oriented. Pada kedua moda tersebut, tidak banyak menunjukkan perbedaan pemaknaan yang membuat creative labour bertahan di industri film.

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Kivinen, Nina H., and Carolyn Hunter. "‘Brand work’: Constructing assemblages in gendered creative labour." Human Relations 72, no. 5 (August 17, 2018): 910–31. http://dx.doi.org/10.1177/0018726718783826.

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Recent work has highlighted how brands play an important role within organizational practice. To extend this discussion, we ask: how do gendered media brands come into being in an organization by connecting ideas, objects and people? This article challenges the assumption that brands simply reflect management norms by positioning the brand as an ‘assemblage’ of multiple connections and linkages, simultaneously shaping and being shaped by those that partake in its production. Employees engage in ‘brand work’; that is, the negotiation of the assemblages of the brand in situated and gendered practices. Brand work is explored here in the gendered creative labour of producing girls’ magazines. Two studies of pre-teen and teenage girls’ magazines in the UK and a Nordic country were analysed in relation to how multiple brand fragments were situated in gendered practices and power relations. Brand work offers an alternative, fragmented perspective to normative forms of control, introducing a simultaneous territorialization and deterritorialization process of stabilization and contestation of the assemblage.

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Raley, Gabrielle. "Creative Labour: Media Work in Three Cultural Industries." Contemporary Sociology: A Journal of Reviews 41, no. 1 (January 2012): 87–88. http://dx.doi.org/10.1177/0094306111430635t.

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Homan, Shane. "Creative labour: media work in three cultural industries." International Journal of Cultural Policy 20, no. 5 (December 19, 2013): 637–38. http://dx.doi.org/10.1080/10286632.2013.869586.

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Conor, Bridget. "Everybody's a Writer Theorizing screenwriting as creative labour." Journal of Screenwriting 1, no. 1 (January 1, 2010): 27–43. http://dx.doi.org/10.1386/josc.1.1.27/1.

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Lee, David, David Hesmondhalgh, Kate Oakley, and Melissa Nisbett. "Regional creative industries policy-making under New Labour." Cultural Trends 23, no. 4 (May 16, 2014): 217–31. http://dx.doi.org/10.1080/09548963.2014.912044.

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Brook, Scott. "Social inertia and the field of creative labour." Journal of Sociology 49, no. 2-3 (May 22, 2013): 309–24. http://dx.doi.org/10.1177/1440783313481531.

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Męczyński, Michał. "Personal Networks on the Labour Market: Who Finds a Job in the Creative Sector in Poznań?" Quaestiones Geographicae 35, no. 4 (December 1, 2016): 133–43. http://dx.doi.org/10.1515/quageo-2016-0041.

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Abstract The spread of urban policies based on a set of standardised ‘creative city’ strategies has been criticised on a number of counts. In Scott’s (2006: 11) view, focusing just on “creating a high-quality urban environment, rich in cultural amenities and conducive to diversity in local social life” is too limited. He points out that the relationship between the presence of creative people and the development of a city is far more complex. The research undertaken as part of the European ACRE project (Accommodating Creative Knowledge: Competitiveness of Metropolitan Regions within the Enlarged Union) has revealed that access to a diversity of creative-labour-market opportunities is vital to both attract and retain talent in the longer term. Accessible and inclusive networks of creative workers are also vital, but their importance is often overlooked. The functionality of such networks has a huge impact on the possibility of finding a new job, and can be particularly important for lowering entry barriers for newcomers in creative occupations. Here, these issues are explored on the basis of a research conducted among managers of creative firms and international creative-class migrants in Poznań (Poland). This city has recently experienced major economic restructuring and a shift from the manufacturing industry towards a more creative and knowledge-based one.

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France, Malgorzata. "CREATIVE INTELLIGENCE (A Psychological and Sociological Perspective)." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 19–36. http://dx.doi.org/10.33989/2226-4051.2016.13.171535.

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Intelligence has been defined in many ways but most often it was consociated with a cognitive capability of a special kind. Intelligence cooperates with the abilities of various spheres of the human psychic. Therefore, the term “intelligence” is broad in its range, and on that account different types of intelligence are being distinguished: cognitive (abstract), verbal, social, emotional, cultural, and creative. The name of intelligentsia is also used to denote a social class which members support themselves by engaging in mental labour. Nowadays, the name “intelligentsia” is used to denote people working on positions requiring higher education. We use the word to describe people who occupy themselves with creative mental labour.

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Wibisono, Haryo, and Semiarto Purwanto. "AFFECTIVE TECHNOLOGY AND CREATIVE LABOUR IN INDONESIA’S EXTRACTIVE INDUSTRY." International Journal of Management, Innovation & Entrepreneurial Research 6, no. 2 (September 8, 2020): 55–63. http://dx.doi.org/10.18510/ijmier.2020.626.

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Purpose: This article examines affective technology to understand the significance of creative labour in Indonesia multinational oil and gas companies in the city of Balikpapan, East Kalimantan. Methodology: The data is gathered from desk studies by reviewing policies, monographs, and printed documents, and ethnographic observations to understand the social and cultural context. Main findings: We identified two types of affective technologies created by creative labours: the visual simulation to create new subjects and visual efforts to forge corporate reputation. They are important in helping in the production of subjects and the value of corporate branding. Practical Implications: This study shows the need for extractive industries to pay more detail in providing safety instructions for their employees. Creative workers can be the right agents to compose effective messages with their ability to touch the affective side of employees through the works they produce. Social Implications: The creative workers are increasing in number; however, their nature of work which is mainly based on gigs is somewhat vulnerable in developing countries like Indonesia. Closer cooperation with the big industries will be favorable for them with the hope that in return they will come up with some products to strengthen the companies' social responsibility. The novelty of study: While previous studies have rarely underlined the interplay between creative work and extractive industries, this article provides insight into affective technology within the context of extractive industries.

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Bide, Bethan. "Class and creativity in fashion education: A comparison of the pedagogies of making and design at British technical schools and art and design schools, 1870s‐1950s." International Journal of Fashion Studies 8, no. 2 (October 1, 2021): 175–94. http://dx.doi.org/10.1386/infs_00049_1.

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Discourses of creativity play a crucial role in shaping cultural perceptions of what constitutes creative labour, who performs it and where it is located. This article explores the historical role that businesses, policy-makers and education providers played as co-producers of discourses about creativity in British fashion and textile design education. Beginning with the emergence of new vocational courses for textile design and manufacture in the 1870s, it traces how the language used to describe conceptions of creativity evolved in relation to educational provision for textiles, dressmaking and, later, fashion over the first half of the twentieth century. During this period, creativity became associated with labour related to designing fashion and textile goods ‐ such as illustration ‐ rather than the labour of making them. This shift resulted from the establishment of fashion and textile design as respected courses within art and design schools, which backed the ideal of a professional designer. It was implemented at the expense of, and with the effect of undermining the creative labour of staff and students in vocational trade schools. As a result, this article challenges the idea that the development of fashion and textile design courses in art and design schools democratized the creative labour of design in the British fashion industry by opening opportunities for the middle-classes. Rather, it finds that discourses around creative labour worked to exclude the creativity of the predominantly working-class students at technical schools, with long-term implications for the relationship between socio-economic status and access to the creative industries.

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McDonald, Paul. "Doing, Having, and Getting Work: Acting as Creative Labour." Italianist 41, no. 2 (May 4, 2021): 267–70. http://dx.doi.org/10.1080/02614340.2021.1950433.

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Tkacz, Nathaniel. "Review: Organized Networks: Media Theory, Creative Labour, New Institutions." Media International Australia 127, no. 1 (May 2008): 197–99. http://dx.doi.org/10.1177/1329878x0812700133.

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Hesmondhalgh, David, and Sarah Baker. "Creative Work and Emotional Labour in the Television Industry." Theory, Culture & Society 25, no. 7-8 (December 2008): 97–118. http://dx.doi.org/10.1177/0263276408097798.

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Sanchez-Serra, Daniel. "Talent and Creative Economy in French Local Labour Systems." Environment and Planning C: Government and Policy 32, no. 3 (January 2014): 405–25. http://dx.doi.org/10.1068/c11152r.

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Prokhorovska, Svitlana. "INFLUENCE SOCIAL-LABOUR RELATIONS ON QUALITY LIFE POPULATION IN UNITED TERRITORIAL COMMUNITIES." Regional’ni aspekti rozvitku produktivnih sil Ukraїni, no. 25 (2020): 140–46. http://dx.doi.org/10.35774/rarrpsu2020.25.140.

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Introduction. Social-labour problems in Ukraine, that a but upon the questions of national safety, predetermine cardinal changes in social-labour relations, that must assist in crease of quality life of population. Goal is to determine the directions of reforming social and labor relations within the framework of interaction between public authorities and local governments, united territorial communities to improve the quality and standard of living of the population. Results. Investigational, that the aim of adjusting of social-labour relations in СTС (corporated territorial communities) is providing of development of social-labour relations in society in the legal field and in direction of up grading life of population and basic tasks are distinguished. It is well-proven that a necessity is forming of the newest mechanisms of adjusting of social-labour relations in the in corporated territorial communities adapted under Ukrainian realities and solvent in case of their introduction to provide effective activity of organs local self-government in direction of not only adjusting of social labour relations in communities but also them steady development. Measures are distinguished in relation to the increase of level of profits from labour activity in CTC. The articles of social-labour relations are certain at the level of territorial communities. Reasonably, that at the level of territorial communities, influence of social-labour relations shows up in creation of stimuli and terms of development of social-labour relations at local level, adjusting of relations between the local subjects of social-labour sphere. Conclusions. Investigational, that creation economically of effective work places communities is basis of development of social-labour relations and employment, as they give an opportunity to develop creative potential of the hired worker, promote the level of his qualification, wage rate, and, thus, to improve quality life of capable of working population of communities. The measures of concordance of general interests of society, hired workers and employers, for the increase of efficiency of their activity and quality of life of population.

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Yang, Victoria. "“Why I Left BuzzFeed”: Alienation, YouTube, and Creative Labour in the Digital Age." IJournal: Graduate Student Journal of the Faculty of Information 6, no. 1 (December 23, 2020): 1–15. http://dx.doi.org/10.33137/ijournal.v6i1.35271.

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Digital media companies on YouTube, exemplified by BuzzFeed, reinforce the perception of employment in the creative industries as an ideal opportunity for young millennials to make money “doing what they love.” In 2016, dozens of videos made by former BuzzFeed employees announcing their departures from the company went viral, challenging this view and granting the public unprecedented insight into the company's labour practices. BuzzFeed thus serves as a valuable case study for digital labour in the contemporary creative industries during a time when formal companies, individual creators, and unpaid users compete for viewership on the platform. This research paper reveals and critically engages with the tradeoffs that creative workers face when negotiating the benefits of working for a company, versus “going independent.” Using Marx’s theory of alienation to analyze “Why I Left BuzzFeed” videos, this paper argues that the option for professional creative workers to become independent creators on YouTube represents a shift towards the ideal of “non-alienated labour.” This article concludes by examining how, despite this shift, independent creative workers are still subsumed under capital.

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Treimane, Agnese. "ACTUALISATION OF CREATIVITY IN THE LATVIAN LABOUR MARKET: CREATIVE PERSONS AND EDUCATION." Culture Crossroads 7 (November 14, 2022): 111–23. http://dx.doi.org/10.55877/cc.vol7.232.

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Creativity has become a characteristic feature and a driving force of the contemporary labour market. The researcher Richard Florida characterises the creative professionals as a modern basic class. Creativity is viewed as a basic feature of each person and sustainability of the state. However, this raises the question in what way representatives of creative professions become part of and compete in an environment of general creativity. How grounded is it to speak about a law for creative persons when it is so problematic to define the target group of this law and the representatives of those professions who will be able to claim relief and privileges that this law would provide? Creative persons or representatives of creative professions is a complex, non-homogeneous and problematic group, the same as students of art universities in Latvia who, although they acquire education and skills of a similar profile, is a non-homogeneous, split and essentially different group, which does not lend itself to analysis when we speak about their common adequacy to the labour market in Latvian. Does a student who graduates from the Art Academy of Latvia, the Latvian Academy of Culture or the Jāzeps Vītols Latvian Academy of Music become a creative person, a creative professional or a representative of a creative profession, or all of them together? Or perhaps none of the above? How adequate to and ready for the labour market is this graduate? To what extent does it matter which of the universities has been graduated and how significant it is in the future career of the graduate? The paper seeks answers to these questions and attempts to establish what connection exists between the creative class, creative people, representatives of creative professions, graduates-bohemians and students of Latvian art universities.

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Dale-Olsen, Harald. "Do unions contribute to creative destruction?" PLOS ONE 16, no. 12 (December 13, 2021): e0261212. http://dx.doi.org/10.1371/journal.pone.0261212.

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We apply a shift-share approach and historical unionisation data from 1918 to study the impact of regional unionisation changes in Norway on regional wage and productivity growth, job-creation and -destruction and social security uptake during the period 2003–2012. As unionisation increases, wages grow. Lay-offs through plant closures and shrinking workplaces increase, causing higher retirement rates, while job creation, plant entry and other social security uptakes are unaffected. Productivity grows, partly by enhanced productivity among surviving and new firms and partly by less productive firms forced to close due to increased labour costs. Thus, unions promote creative destruction.

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Greenhalgh, Liz. "From Arts Policy to Creative Economy." Media International Australia 87, no. 1 (May 1998): 84–94. http://dx.doi.org/10.1177/1329878x9808700110.

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This article considers the may the Labour Party, since its election in May 1997, has promoted ideas about the value of the creative economy to Britain's industrial future. It argues that the Party's approach to the creative economy has more in common with new business and management theories, rather than being a fully worked-out approach to cultural policy. There is now a disjunctive between the recognition of the creative economy and the continued existence of traditional arts policy-making institutions. New government initiatives around the idea of re-branding Britain and promoting Britain's creative economies through the public spectacle and millennium celebrations have opened up this incipient gap between traditional arts policies and new thinking about the creative economy. The article notes that much of the pioneering work developing the idea of cultural industries was carried out more than a decade ago by city councils in Britain, which sought to sustain their small cultural businesses with limited programs of investment and business support. At the time, this work was largely ignored by traditional arts policy bodies. The paper concludes by speculating about whether the Labour Party can turn its rhetoric about the creative economy into a more substantive policy which brings together the mixed economy of public and private in the cultural sector.

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Tewksbury, Doug. "Educating the Precariat: Intern Labour and a Renewed Approach to Media Literacy Education." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 13, no. 2 (September 30, 2015): 526–32. http://dx.doi.org/10.31269/triplec.v13i2.594.

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As internships have become more common in the production of media content, the media literacy movement has been neglectful in addressing the role of labour in general and internship labour in particular as a necessary component in deconstructing media content. This paper argues that media literacy educators should teach citizens to understand not just the content and grammar of media production, but also the labour conditions that underlie the creation of this content, with internships being among the most exploitative development in recent years and representative of a larger issue of worker precarity. The paper concludes with a call for reforms to media literacy pedagogy to address workers’ rights and dignity in media and creative industries.

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DRUZHYNINA, Viktoriia, Yuliia VIEDIENINA, Lesia SAKUN, and Ganna LIKHONOSOVA. "Creative Analysis of Innovation as a Catalizer of Socialization of Structural Change." European Journal of Sustainable Development 9, no. 2 (June 1, 2020): 349–65. http://dx.doi.org/10.14207/ejsd.2020.v9n2p349.

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The multiple analysis of rate of dependency between innovative processes and structural labour market changes in the form of evolution in sector of employment was exposed in the article. It has been proved that the impact of innovations on the labour market can be considered, on the one hand, as a part of multi-factor socio-economic macro-, meso-, micro-level systems, which makes a direct or indirect impact on state of other elements of system and which is under its influence at this time; on the other hand, as an open, dynamic, flexible system, functioning of which leads to socio-economic resources development. The definition of labour market has been suggested as a system of socio-economic relations between workers, employers and society (organizations and institutes) for realization of ability to work, supporting social guarantees, approximation of parties’ interests of labour relations, state`s interests, legal control of terms of employment etc. The analysis of structural changes, which take place in the labour market of different levels administrative territorial state`s structure by means of innovations, covers the period 2012-2017. The impact of innovations on employment is associated with `creative destruction` where innovations, on the one hand, ruin current workplaces and, on the other hand, create new ones. Analysis has demonstrated that employment increasing and related structural improvements are determined by kind of incorporated innovations. Organizational innovations have more impact on size and structure of employment, than technological ones. The practical importance of the research involves developing of methodological and practical aspects of choosing multiple approach in relation to innovation analysis as a determinant of structural labour market changes. The originality of the research is reflected in the comprehensive creative analysis of innovations from the point of view of activation of the youth labour market in Ukraine. The key factors of the low level of involvement of young citizens in the country's economy and society are identified. The authors have suggested the prospects for the development of the youth labour market, the elimination of youth unemployment, which are conditioned by the peculiarities of the social condition and employment behaviour of young people. The need to study the experience of European countries is emphasized, where training in the working professions is well organized and the youth unemployment rate is the lowest in Europe. Distinctiveness. Conducted researches let to confirm attained results in relation to choosing implements for coping with current troubles and disproportions in society. Implementation of multiply approach of analysis and diagnostics of correlation of innovations and employment will make a direct impact on supporting living standards and progressive socio-economic state`s development. The monitoring of solidarity of actions of public communities, government agencies, enterprise structures will ensure attainment of active increasing of innovation technologies, high living standards level, that will offer some new opportunities for business environment in relation to labour productiveness maintaining method and equivalent income level from enterprise activity, will solve the unemployment and labour migration issues, create some new flexible forms of employment, increase the level of state`s competitiveness in global economy facilities. Key Words: creative analysing, diagnostics, employment of population, innovations, multiple approach

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FREEMAN, Alan. "CREATIVE LABOUR, MENTAL OBJECTS AND THE MODERN THEORY OF PRODUCTION." Scientific Works of the Free Economic Society of Russia 223, no. 3 (2020): 583–94. http://dx.doi.org/10.38197/2072-2060-2020-223-3-583-594.

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Van Steen, Paul J. M., and Piet H. Pellenbarg. "Creative Class And Self-Employment In The Dutch Labour Market." Tijdschrift voor economische en sociale geografie 103, no. 5 (November 16, 2012): 634–37. http://dx.doi.org/10.1111/j.1467-9663.2012.00750.x.

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Mitchell, Rebecca N. "‘Cultivated Idleness’: Carlyle, Wilde, and Victorian representations of creative labour." Word & Image 32, no. 1 (January 2, 2016): 104–15. http://dx.doi.org/10.1080/02666286.2015.1136871.

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Conor, Bridget. "Book review: Creative Labour: Media Work in Three Cultural Industries." Cultural Sociology 7, no. 2 (May 29, 2013): 275–77. http://dx.doi.org/10.1177/1749975513489795a.

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MacNeill, Kate. "Pina Bausch, creative industries and the materiality of artistic labour." International Journal of Cultural Policy 15, no. 3 (August 2009): 301–13. http://dx.doi.org/10.1080/10286630902785623.

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Murray, Catherine, and Mirjam Gollmitzer. "Escaping the precarity trap: a call for creative labour policy." International Journal of Cultural Policy 18, no. 4 (September 2012): 419–38. http://dx.doi.org/10.1080/10286632.2011.591490.

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Bielby, Denise D. "Book Review: Creative Labour: Media Work in Three Cultural Industries." Work and Occupations 39, no. 3 (July 20, 2012): 282–84. http://dx.doi.org/10.1177/0730888412443223.

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Kanngieser, Anja. "Creative labour in Shanghai: Questions on politics, composition and ambivalence." Subjectivity 5, no. 1 (March 2, 2012): 54–74. http://dx.doi.org/10.1057/sub.2011.25.

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Hesmondhalgh, David. "Normativity and Social Justice in the Analysis of Creative Labour." Journal for Cultural Research 14, no. 3 (July 2010): 231–49. http://dx.doi.org/10.1080/14797581003791461.

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Novitz, Tonia. "Creative Labour Regulation: Indeterminacy and Protection in an Uncertain World." Industrial Law Journal 45, no. 2 (April 24, 2016): 267–70. http://dx.doi.org/10.1093/indlaw/dww013.

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Journal articles on the topic 'Creative labour'

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