Relevant bibliographies by topics / Cultural industries

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Cultural industries'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Cultural industries"

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Rodríguez-Ferrándiz, Raúl. "From Cultural Industries to Entertainment and Creative Industries. The Boundaries of the Cultural Field." Comunicar 18, no. 36 (March 1, 2011): 149–56. http://dx.doi.org/10.3916/c36-2011-03-06.

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This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El artículo analiza la tendencia actual a la dilución del concepto de «industrias culturales» en fórmulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografía reciente especializada, acotamos el alcance y los solapamientos entre los términos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», íntimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnológicas de los productos culturales, a cambios en la titularidad de sus proveedores, así como de los roles de autor, actor y espectador. Para entender esta mutación recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clásico a la maleabilidad y convertibilidad que permiten las nuevas tecnologías, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentación participante, en constante circulación, mancomunada y lúdica; 3) de una aspiración a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones más ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomía de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (más placentero que el primero y más trascendente y esforzado que el segundo), también alcanza a borrar los límites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).
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Hesmondhalgh, David, and Andy C. Pratt. "Cultural industries and cultural policy." International Journal of Cultural Policy 11, no. 1 (March 2005): 1–13. http://dx.doi.org/10.1080/10286630500067598.

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Hirsch, Paul M. "Cultural Industries Revisited." Organization Science 11, no. 3 (June 2000): 356–61. http://dx.doi.org/10.1287/orsc.11.3.356.12498.

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Lawrence, Thomas B., and Nelson Phillips. "Understanding Cultural Industries." Journal of Management Inquiry 11, no. 4 (December 2002): 430–41. http://dx.doi.org/10.1177/1056492602238852.

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Oatley, Nick, and Cath Mackie. "Sheffield's Cultural Industries Quarter." Local Economy: The Journal of the Local Economy Policy Unit 11, no. 2 (August 1996): 172–79. http://dx.doi.org/10.1080/02690949608726324.

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Mato, Daniel. "ALL INDUSTRIES ARE CULTURAL." Cultural Studies 23, no. 1 (January 2009): 70–87. http://dx.doi.org/10.1080/09502380802016212.

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Throsby, David. "Modelling the cultural industries." International Journal of Cultural Policy 14, no. 3 (August 2008): 217–32. http://dx.doi.org/10.1080/10286630802281772.

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Spurgeon, Christina. "Review: The Cultural Industries." Media International Australia 107, no. 1 (May 2003): 152–53. http://dx.doi.org/10.1177/1329878x0310700119.

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Almond, Bradley A., and Rich DeJordy. "Institutionalization in cultural industries." Journal of Enterprising Communities: People and Places in the Global Economy 6, no. 4 (October 12, 2012): 304–24. http://dx.doi.org/10.1108/17506201211272751.

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Yang, Jianfei, and Jūratė Černevičiūtė. "Cultural and Creative Industries (CCI) and sustainable development: China’s cultural industries clusters." Entrepreneurship and Sustainability Issues 5, no. 2 (December 31, 2017): 231–42. http://dx.doi.org/10.9770/jesi.2017.5.2(6).

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Dissertations / Theses on the topic "Cultural industries"

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Brown, Adam. "Democratising popular culture : comparing and contrasting some cultural industries." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240742.

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Luca, Mariavittoria <1991&gt. ""Cultural and Creative Industries: the Role of Culture in the Economy"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10068.

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In the first chapter I will discuss the cultural industry making an historical overview, classification and analysis concerning the measurement methods related to it. In the second chapter I will speak about the cultural attractors (museums, theaters) and how these drivers create new jobs. In the third chapter instead I will consider the relationship between the creative and traditional industries. The final chapter will be about the policy and the access to finance for the cultural and creative sectors.
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Chen, Zhi Jie. "A strategy for th development of China's cultural industries." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2285452.

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Renzulli, Carmine. "Il regime di diritto internazionale applicabile alle cultural industries." Doctoral thesis, Universita degli studi di Salerno, 2012. http://hdl.handle.net/10556/1288.

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2010 - 2011
Il presente studio ha per oggetto il trattamento destinato alle opere culturali dei media nel quadro delle regole e dei principi che informano il diritto degli scambi commerciali in ambito internazionale ed europeo. I timori da molti manifestati circa le ripercussioni del processo di globalizzazione sociale, giuridica ed economica in atto sulle specificità e le tradizioni culturali locali, si amplificano e giungono al culmine quando si affrontano le politiche sul mercato dei media: in questo contesto, le trattative sul commercio e sugli investimenti si sono arenate sulla questione di una «eccezione culturale» che consentirebbe di rivolgere ai prodotti e ai servizi culturalmente rilevanti un trattamento differenziato rispetto alle altre categorie di beni o servizi, in virtù della convinzione che, per svilupparsi, la produzione culturale necessiti di un certo sostegno pubblico. Se, in diritto internazionale, la questione si è posta con tutta la sua problematicità al termine dell’Uruguay Round del 1994, con l’inserimento, tra le regole commerciali, di una clausola che escludeva il cinema e gli altri prodotti audiovisivi dalle norme adottate durante il negoziato, nel processo di integrazione europea l’esigenza di garantire la diversità culturale è destinata a scontrarsi con la spinta verso la realizzazione del mercato unico, che da sempre rappresenta una sua tematica propulsiva. Sul diverso versante della cooperazione in materia culturale, la Dichiarazione sulla diversità culturale promossa nel 2001 dall’UNESCO ha gettato le basi per una serie di iniziative internazionali le quali – volte ad incoraggiare la creazione di standard per la tutela della cultura nelle sue molteplici manifestazioni – sono culminate nel 2005, con la conclusione della Convenzione sulla protezione e la promozione della diversità delle espressioni culturali, primo strumento vincolante volto a garantire la diversità culturale. Nel tentativo di fornire una ricognizione generale sulle correlazioni che la produzione artistico-culturale dei media vive con il regime degli scambi commerciali, il lavoro sarà anzitutto orientato a comprendere, in via preliminare, quale sia il ruolo rivestito da tali opere nel più ampio contesto del patrimonio culturale. In tal senso, nel primo capitolo si osserverà come la nozione di cultural heritage si sia evoluta nel corso degli anni subendo un processo di progressivo ampliamento rispetto ai canoni classici, in cui i media vengono in considerazione in una prospettiva nuova e del tutto particolare, così come crescente è il rilievo assunto dalle imprese culturali (cultural industries) dei media, le quali si trovano oggi ad operare in un mercato globalizzato, cui fanno capo quote sostanziose di diritti di proprietà intellettuale e di cui non è agevole fornire una definizione valevole in ambito internazionale, anzitutto in virtù delle differenze sociali e normative esistenti tra gli Stati nel modo di concepire la produzione artistica. Nel corso del secondo capitolo sarà approfondita l’analisi dei rapporti tra mercato e cultura nell’ordinamento giuridico internazionale. In particolare, dopo aver analizzato in dettaglio la Convenzione sulla protezione e la promozione delle diversità delle espressioni culturali, si volgerà lo sguardo al regime degli scambi internazionali negoziato nell’ambito dell’OMC, valutando se l’articolato della Convenzione UNESCO del 2005 risulti idoneo, conformemente alle aspettative, a rappresentare un valido compromesso, per la produzione artistica dei media, tra esigenze commerciali e valori culturali. Il terzo capitolo sarà infine volto ad esaminare le relazioni intercorrenti tra mercato e cultura nel diritto dell’Unione Europea, dove le soluzioni raggiunte sono più interessanti grazie al maggior grado di integrazione tra gli Stati membri. In tale ambito, sono ancora diverse le deroghe concesse agli Stati membri dell’Unione in virtù di valori sovraordinati che possono dar luogo, tra le altre, alle restrizioni di cui all’art. 36 TFUE o alla compatibilità degli aiuti di Stato contemplati dall’art. 107 (3) TFUE. In entrambe le norme considerate, ricorrono le ipotesi di protezione e promozione della cultura tali da non incidere in misura eccessiva sullo sviluppo del libero scambio e della concorrenza tra imprese. Prescindendo dalla salvaguardia del patrimonio culturale stricto sensu, il lavoro intende complessivamente osservare – alla luce della normativa di riferimento e della giurisprudenza più significativa sul tema – entro quali limiti le imprese nazionali operanti nel settore dei media (editori librari e musicali, emittenti radiotelevisive, produttori cinematografici) possano legittimamente essere destinatarie di trattamenti privilegiati in ragione del loro status di «imprese culturali» e quando, viceversa, tali agevolazioni risultino contrastanti con i monolitici principi posti a tutela del libero mercato nell’attuale scenario globale. [a cura dell'autore]
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Yarabatioula, Jacob. "Industries culturelles et créatives au Burkina Faso. : Analyse des filières au prisme des politiques et des stratégies d'acteurs." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL018/document.

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Comment se construisent, se structurent et s’organisent les filières des industries culturelles et créatives au Burkina Faso ? Quel est leur niveau de développement ? Quels sont les défis actuels auxquels elles sont confrontées et quelles sont les stratégies des acteurs. Ce sont-là les questions que se propose de répondre notre travail de recherche.Le développement des industries culturelles au Burkina Faso est en marche depuis les indépendances et s’est accentué lors de ces dix dernières années. Cette dynamique connait des hauts et des bas au gré des circonstances (environnement), des acteurs et des politiques publiques. Malgré les efforts et les avancées dans le secteur, on note la faible industrialisation de la culture et le caractère dit embryonnaire des filières. Pendant ce temps les espoirs des acteurs placés en ces industries culturelles et créatives pour leurs capacités à créer des richesses et des emplois sont grands et relatifs. Les discours et les pratiques sont souvent contradictoires et les politiques publiques manquent de pragmatisme.Face à cette situation, couplée avec les mutations qui atteignent aujourd’hui les industries culturelles, notre travail s’est évertué à montrer l’état ou l’environnement dans lequel a évolué et évoluent actuellement l’industrialisation de la culture et comment les acteurs à chaque niveau des filières industrielles (Livre, Musique enregistrée, Cinéma et audiovisuel, Jeux vidéo) et des filières dites créatives (Mode et textile et Design & artisanat d’art) s’organisent et structurent leurs secteurs pour continuer d’exister dans un contexte d’ouverture, de mondialisation des œuvres artistiques et culturelles. Enfin, le travail se conclut en s’ouvrant sur les mutations actuelles qui caractérisent les filières industrielles de la culture, tant au niveau des facteurs de production que des stratégies des acteurs.Mots-clésIndustries culturelles ; Industries culturelles et créatives ; Développement culturel ; Filières ; Stratégies d’acteurs ; Politiques culturelles ; Politiques publiques ; Economie de la culture ; Economie politique
How are built, to structure and organize courses cultural industries and creative in Burkina Faso? What is their level of development? What are the current challenges they are facing and what are the strategies actors? These are just issues that sets out to answer our research work.The development of cultural industries in Burkina Faso is in operation since independence and has intensified over the past ten years. This dynamic knows the ups and downs depending on the circumstances (environment), actors and public policy.Despite the efforts and progress in the sector there is the low industrialization of culture and embryonic chains character. Meanwhile the hopes of the actors placed in them (cultural industries and creative) for their ability to create wealth and jobs are large and related. Discourses and practices are often contradictory and public policy lack of pragmatism.Faced with this situation, our work is striven is to show the State or the environment in which evolved and are currently changing the industrialization of culture and how the actors at each level of the streams industrial (Book, Music, Cinema and audiovisual, Video games) and the so-called creative industries (Fashion and textile design & Arts and crafts) are organized and structure their sectors to continue to exist in a context of openness, globalization of artistic and cultural works.Finally, the work closes by opening up the current changes that characterize the industrial sectors of culture both at the level of production factors in the strategies of the actors.KeywordsCultural industries ; Cultural and creative industries ; Cultural development ; Dies ; Stakeholder strategies ; Cultural policies ; Public policies ; Economy of culture ; Political economics
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Li, Chuang (Austin). "China's skateboarding youth culture as an emerging cultural industry." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34372.

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This thesis focuses on the skateboarding industry in China as both a youth subculture and a cultural industry. I am investigating the transition between the two and examining how the emerging skateboarding industry operates through detailed analysis of the feelings, motivations and meanings attributed to it by its participants and the emerging strata of cultural workers. In order to achieve this research objective, this thesis has positioned the analysis in a triangle of forces between the development of Chinese skateboarding culture, the emerging skateboarding cultural industry and government interventions. This ethnographic study takes into account distinctive characters in the development of Chinese skateboarding communities that signify continuities inside contemporary Chinese youth cultures. I argue that such continuity is still embedded in the organisation of the Chinese skateboarding industry as a cultural industry, in both subcultural and corporate entrepreneurial practices. Moreover, this thesis contributes to ongoing discussions in the field of not only cultural studies but also of the political economic analysis of cultural/creative industries by examining the dynamic incorporations at play between the commercial and governmental forces at the centre of current debate around the inclusion of skateboarding in the Olympic Games, and the consequences of the sportisation of skateboarding in mainstream economic structures. Last but not least, this research captures the working conditions of the cultural labourers who are at the forefront of shaping and reshaping the Chinese skateboarding industry.
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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.

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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective. Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities. This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap. Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.
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Urban Planning and Design
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Doctor of Philosophy
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Al-Khalifa, K. N. "Understanding the cultural constraints of TQM implementation in Qatar industries." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508644.

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Tams, Elly. "The gendering of work in Sheffield's Cultural Industries Quarter (CIQ)." Thesis, Sheffield Hallam University, 2003. http://shura.shu.ac.uk/5442/.

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Cultural and creative activities have been part of life since the earliest periods of human history. Their meanings and roles in society have changed over time and have been interpreted in a variety of ways by different groups of people around the world. In this thesis, I focus on the 'creative industries', a term that has only become prominent in the UK since the late 1990s, in national economic and cultural policy, and in arts and social inclusion literature. Although a lot has been written on the important role of the creative industries in the economic growth of cities, regions and the nation, there has been very little research conducted on the subject of work in the creative industries, and even less on gender and work. Thus I aim to build upon a small area of literature, by focusing on the gendering of work in the context of Sheffield's Cultural Industries Quarter, an area that houses numerous creative industries organizations. The study is based on a social constructionist epistemology. In my research I have been concerned with, and involved in, sense-making practices within creative industries discourse, including policy documents, conference proceedings and the accounts of participants that I interviewed in Sheffield's CIQ. Taking a social constructionist approach to gender means that in the thesis I present gender, not as something we inherently are, but as something that is accomplished through social interaction. The research is also informed by feminist and post-Marxist theories. The thesis focuses on two key aspects of gender at work in creative industries discourse. The first relates to the way in which the creative industries have been constructed and presented as pioneers of the 'new economy'. Creative industries policy literature uses terms such as 'enterprise', 'innovation' and 'creativity' to emphasize the economic role of the creative industries. I show how the discourse of the new economy is based on individualistic ideologies which mean that arguments and campaigns for gender equality and other aspects of social equity are undermined. The discourse of the new economy promotes a version of the ideal worker-the entrepreneur. I examine how the entrepreneur is constructed in policy literature, at conferences and through interview talk, as the archetypal individual with certain personality traits. I demonstrate that the model of the creative entrepreneur is a masculinized one, that combines with gender divisions at work and in the domestic sphere to maintain and reproduce gender inequalities in creative industries work. The second aspect of the gendering of work in the creative industries that I examine is the accounts of people working in Sheffield's CIQ. In particular I examine how they account for gender divisions and inequalities at work. I argue that the people I interviewed tended to justify gender divisions at work using a number of discursive practices. These practices draw on gendered discourses and thus contribute to maintaining and reproducing gender inequality. I also explore the examples in the accounts of resistance to gender inequality. The thesis is based on interdisciplinary research, which draws on sociology, psychology, cultural and urban studies. The aim is for the thesis to be a useful addition to critical writing on gender and work, the creative industries and enterprise culture.
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Nasta, Luigi. "Team dynamics and technology impact on creative and cultural industries." Doctoral thesis, Luiss Guido Carli, 2017. http://hdl.handle.net/11385/201146.

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The creative economy has become a powerful transformative driving force in the world. Its potential for development is vast and waiting to be totally unlocked. It represents one of the most rapidly growing sectors of the world economy, not just in terms of income generation but also for job creation and export earnings. For these reasons, an increasing interest on the contexts of creative and cultural industries has emerged in the last years and, since human creativity and innovation, at both the individual level and group level, are the key drivers of these industries, they have attracted the attention of numerous researchers who started investigating these phenomena. Therefore, the aim of this dissertation is to contribute to this stream of research by investigating two sectors belonging to the CCI: music and visual arts. Specifically, the first part of this thesis will be focused on the analysis of the music industry and the effects that diverse teams might have on the performances achieved. I will discuss how characteristics of the group can serve to either enhance or constrain engagement in creative processes, the development of creative outcomes, and ultimately project performance. The second part of this dissertation will instead shift the attention to cultural industries, specifically visual arts, to investigate the controversial effects that technology might have on the dynamics of this sector. Indeed, since technological innovations and digitization have hit old and new economic sectors pervasively, it is important to investigate the attitude to change of the people already in the sector to understand if they will resist the change or operate in favour of it. As a matter of fact, these individuals can consider technology as a chance to reshape and empower their role or, on the contrary, they might not be able to redefine their role in the new technology-driven competitive scenario, and they may feel threatened of being replaced by technological innovation.
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Books on the topic "Cultural industries"

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1952-, Beck Andrew, ed. Cultural work: Understanding the cultural industries. London: Routledge, 2002.

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Peris-Ortiz, Marta, Mayer Rainiero Cabrera-Flores, and Arturo Serrano-Santoyo, eds. Cultural and Creative Industries. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99590-8.

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Candace, Jones, and Thornton Patricia H, eds. Transformation in cultural industries. Amsterdam: Elsevier JAI, 2005.

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CLES, ed. Arts and cultural industries. Manchester: Centre for Local Economic Strategies, 1989.

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Moyo, Last. Cultural Policy and Cultural Industries in Africa. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-57742-0.

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Bretton Hall College of Higher Education., ed. Cultural industries key data: The cultural industries in Yorkshire and the Humber. Wakefield: Bretton Hall, 2000.

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Durán, Carlos Santos. Industrias culturales: Retos para el desarrollo cultural. Santo Domingo: Fundación Global Democracia y Desarrollo, 2004.

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Communications, Canada Dept of. Canadian Cultural Industries: Vital Links. S.l: s.n, 1987.

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Lindqvist, Katja. Cultural and Creative Industries Policymaking. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-48094-2.

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Dasgupta, Rohit K., and Clelia Clini. The Cultural Industries of India. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003372523.

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Book chapters on the topic "Cultural industries"

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Gómez, Rodrigo, and José Carlos Lozano. "Cultural industries." In The Routledge Handbook to the Culture and Media of the Americas, 309–18. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-27.

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Xu, Guobin, Yanhui Chen, and Lianhua Xu. "Cultural Industries." In Understanding Chinese Culture, 207–29. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8162-0_9.

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Rudgard, Frances, and Phloeun Prim. "Negotiating cultural industries." In Routledge Handbook of Cultural and Creative Industries in Asia, 362–71. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315660509-27.

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Soronen, Anne. "Cultural Stakeholders." In Media Industries in Crisis, 55–67. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003387794-6.

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Turner, Graeme. "Culture, Politics and the Cultural Industries." In Essays in Media and Cultural Studies, 145–55. 1 Edition. | New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429322716-11.

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Beauregard, Devin. "Cultural Industries in Québec." In Cultural Policy and Industries of Identity, 79–110. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73624-2_4.

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Bouquillion, Philippe. "Cultural Diversity in the Country of Cultural Exception." In Audiovisual Industries and Diversity, 50–67. London ; New York : Routledge, 2019. | Series: Routledge studies in media and cultural industries ; 4: Routledge, 2019. http://dx.doi.org/10.4324/9780429427534-3.

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Beauregard, Devin. "The Cultural Industries Turn in Cultural Policy." In Cultural Policy and Industries of Identity, 51–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73624-2_3.

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Handke, Christian. "Cultural Policy and Development." In Creative Industries in India, 23–39. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003129370-3.

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Santagata, Walter. "The Cultural and Creative Industries." In The Culture Factory, 75–83. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-13358-9_9.

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Conference papers on the topic "Cultural industries"

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Hriptulov, Igor, Larisa Rubtsova, and Julia Chernyavskaya. "Modern Development of Cultural Industries." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.411.

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Deniz, D. "Sustaining cultural industries: Menemen pottery as a cultural heritage." In SUSTAINABLE DEVELOPMENT AND PLANNING 2015, edited by O. Mengi and A. C. Ozcan. Southampton, UK: WIT Press, 2015. http://dx.doi.org/10.2495/sdp150491.

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Yanyan Liu, Yanling Li, and Xianli Xue. "Exploring Beijing cultural and creative industries." In 2011 International Conference on Computer Science and Service System (CSSS). IEEE, 2011. http://dx.doi.org/10.1109/csss.2011.5975040.

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Zhi-Biao Wang. "Market size, cultural discount and investment decisions of cultural industries." In 2011 2nd International Conference on Artificial Intelligence, Management Science and Electronic Commerce (AIMSEC). IEEE, 2011. http://dx.doi.org/10.1109/aimsec.2011.6010536.

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Chen, Chun-Liang, and Shi Chen. "Cases Study of Cultural Production Innovation in Chinese Cultural Industries." In 2011 International Conference on Information Management, Innovation Management and Industrial Engineering (ICIII). IEEE, 2011. http://dx.doi.org/10.1109/iciii.2011.368.

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Sui, Baolu. "On the Coordinated Development of Cultural Undertakings and Cultural Industries." In 2017 International Conference on Education Science and Economic Management (ICESEM 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesem-17.2017.60.

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Signore, Stefano, Aurora Rimini, and Mariangela Lazoi. "Evaluating Process Maturity in creative and cultural Industries." In 2021 IEEE International Conference on Engineering, Technology and Innovation (ICE/ITMC). IEEE, 2021. http://dx.doi.org/10.1109/ice/itmc52061.2021.9570242.

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Božić Miljković, Ivana, Nikica Radović, and Marija Nešić. "Contribution of Creative and Cultural Industries to Development of Cultural Tourism in Serbia." In SITCON 2018. Belgrade, Serbia: Singidunum University, 2018. http://dx.doi.org/10.15308/sitcon-2018-86-94.

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Liu, Han Fang, and Wei Jie Li. "Research on the Protection of Industrial Heritage under the Cultural and Creative Industries." In 5th International Conference on Civil Engineering and Transportation. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/iccet-15.2015.26.

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Cao, Cheng-ming. "The analysis of Guangxi's cultural and creative industries development." In EM 2011). IEEE, 2011. http://dx.doi.org/10.1109/icieem.2011.6035586.

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Reports on the topic "Cultural industries"

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Vena, Anne. Cultural Center Annual Report 2013. Inter-American Development Bank, March 2014. http://dx.doi.org/10.18235/0006016.

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During 2013 the IDB Cultural Center raised its international profile by dramatically increasing strategic partnerships and advancing the cultural and creative industries agenda.Cultural Development Program grants were distributed to 45 partners in 25 nations.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Wollongong. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206965.

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Wollongong’s geographic proximity to the southern sprawl of Sydney, accessible transport and cultural diversity have been an attractor for many inward bound creative migrants, helping it diversify away from its industrial past. Wollongong City Council, understanding the importance of the creative industries, has been very proactive in ensuring that the heart of the city has been well and truly activated by sectors of these industries, while the University of Wollongong and its Innovation Campus have also proved a boon to both specialist and embedded creatives. Wollongong maintains a balance between traditional creatives and newer tech-oriented operatives, most with local, national and international suppliers and clients.
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Quartesan, Alessandra, Francesco Lanzafame, and Monica Romis. Cultural Industries in Latin America and the Caribbean: Challenges and Opportunities. Inter-American Development Bank, September 2007. http://dx.doi.org/10.18235/0008518.

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Over the past decade, the new creative-cultural industries have increasingly become one of the main sources of greater production and employment in many countries. Although the growth of cultural industries has been mostly limited to the world's richest countries, a number of low- and middle-income countries have come to recognize that they too can participate in the cultural economy. In this regard, Latin American and Caribbean (LAC) countries have begun to identify new opportunities and are actively seeking sustainable solutions to maintain these industries as an integral part of cultural and economic life. The objective of this paper is to assess the strengths and weaknesses of cultural industries in LAC and offer lessons learned through this analysis to policymakers and donors. This study demonstrates the value and the potential for cultural industries in the LAC economy and also identifies the need for a comprehensive approach, structured policies, and targeted interventions aimed at improving the conditions and prospects of these industries.
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.
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García Canclini, Néstor, Ronald Inglehart, Wayne E. Baker, and Camile Herrera. Cultural Capital and its Impact on Development: Modernization, Cultural Change, and the Persistence of Traditional Values: Culture Industries and the Development Crisis in Latin America. Inter-American Development Bank, October 2001. http://dx.doi.org/10.18235/0007946.

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Camilo Herrera (1975-), Colombian sociologist and economist, founding director of the Center for Cultural Studies for Political, Economic and Social Development in Bogotá. Ronald Inglehart (1934-), North American political scientist, Director of Institute for Social Research at University of Michigan; and Wayne E. Baker, Faculty Associate. Néstor García Canclini (1939-), distinguished Argentine philosopher and anthropologist, Casa de las Americas Prize (1981), and Director of Urban Culture Studies at UNAM.
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Cunningham, Stuart, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis - Innovation Precincts in Adelaide. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206903.

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There is a fraught history to the relationship between creative industries on the one hand and innovation and entrepreneurship policy and programs on the other. Such policy and program frameworks have rarely been inclusive of creative industries... This is, however, what we see happening in South Australia.
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Khuder, Wafaa. The Role of Small and Medium Industries in the Heritage Identity in Iraq: A Case Study of Bashiqa Town. Institute of Development Studies, May 2023. http://dx.doi.org/10.19088/creid.2023.005.

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This paper aims to identify the most famous Yazidi heritage industries in the town of Bashiqa, in Nineveh governorate. It explores the economic, social and cultural reality of three non-material industries (the manufacture of al-rashi, olive oil and soap) in the town of Bashiqa by comparing how they were manufactured in the past with how they are manufactured in the present, and assessing the impact of ISIS gangs on these industries. Finally, the paper puts forward proposals for how these industries can be developed to maintain their heritage and sustainability. The research also aims to invoke the cultural and scientific heritage of the local community to draw inspiration from their sources of strength to plan how local production of the traditional heritage industries can be revitalised after the destruction caused by ISIS. The paper also explores the attachment of the Yazidi community in Bashiqa to the traditional industrial crafts and the extent of their influence on social and economic life, especially given that the city of Mosul is famous for its craft activity, in addition to the cultural and religious differences among the local population of Bashiqa, which comprises several components of Iraqi society (Yazidi, Catholic and Orthodox Christians, and the Muslim Shabak – Sunni, Shiite, and Kurdish) and thus affect the community’s view of the traditional crafts.
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Ortega-Mohedano, F., A. Jiménez-Sánchez, and JM Lavín. Cultural industries and character composition in children’s animated television series broadcast in Spain. Revista Latina de Comunicación Social, January 2018. http://dx.doi.org/10.4185/rlcs-2018-1246en.

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Murciano Martínez, M., and C. González Saavedra. The cultural and creative industries in the Spanish regions: The case of Catalonia. Revista Latina de Comunicación Social, January 2018. http://dx.doi.org/10.4185/rlcs-2018-1250en.

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