Journal articles on the topic 'Entrepreneurship. Personality. High technology industries'

The article is devoted to the analysis of the practical aspect of professional mobility readiness of future engineers-teachers in the area of computer technology. It has been found out that organization of practical training (industrial practice) of engineers-teachers is focused on modern profession requirements. It contributes to the formation of necessary professional skills and testing the abilities and capabilities of future specialists’ professional activities needed to develop readiness for professional mobility. Emphasis has been placed on the advantages of project technology in the practical training of higher education applicants. It involves the development of creative potential, innovative thinking, high creativity, the ability to comprehensively combine research, design, entrepreneurship and evaluate the decisions consequences. At the same time, the practice provides mastery of the methodology and means of automated collective complex systems design at all life cycle stages and the formation of information and communication skills of the future engineers-teachers in the area of computer technology. It has been proved that the project technology introduction contributes to the pedagogical tasks implementation: intensification, improving the efficiency and quality of the educational process; training differentiation. It provides the future specialist with his own trajectory of self-education; system integration of subject tasks. The practical aspect of the formation of professional mobility readiness in the context of design technology, involves identifying personal prospects for professional development, self-improvement of the ideal model of professionally mobile personality. It promotes the ability formation of individual professional style of activity, creativity, self-development, and self-organization. At the same time, project technology provides readiness formation to create innovations and implement them, take into account all possible scenarios, be able to take risks, work in a team and interact in a highly competitive environment. That is, it creates all the conditions for the formation of professional mobility readiness of future engineersteachers in the area of computer technology.

This paper situates the context for entrepreneurship in the creative industries sector in New Zealand. Setting promotion of the creative industries against an overarching national context of the government's Growth and Innovation Framework, the focus of the paper is the screen production industry, mainly the film industry. Buoyed by The Lord of the Rings –The Return of the King's Oscar success and other acclaim, the industry appears to be surfing high waves, making it an interesting case to examine. Commencing with delineation of the nature of entrepreneurship in the creative sector, the discussion continues within an integrative multi-level entrepreneurship framework.

The Case Study section of the International Journal of Entrepreneurship and Innovation serves two purposes. First, the case studies presented are concerned with problematical issues that are pertinent to students of entrepreneurship. Thus they constitute appropriate teaching and learning vehicles on a variety of postgraduate and undergraduate programmes. Each case study is accompanied by a set of guidelines for the use of tutors. Second, it is envisaged that those engaged in entrepreneurial activities will find the cases both interesting and useful. Since the 1990s, public policy makers and private investors have been creating bio-incubators with the aim of obtaining a foothold in what many presume is one of the hottest future industries. This case study provides an in-depth picture of the biggest UK-based bio-incubator – BioCity Nottingham. The study outlines the history and regional context of the incubator as well as its service portfolio and a profile of its supported firms. The study provides insights into the formation of biotechnology companies, the role of the regional context in shaping business models and the emergence of a science-based business network. As a major implication, Nottingham's location, remote from the epicentre of both science and venture capital in the UK, favours service-based business models. BioCity provides a fascinating opportunity to become acquainted with local conditions of business incubation.

This study aims to describe the process of designing expert system applications in career development using entrepreneurship personality inventory. The reason for conducting this research is a) the limited number of instruments that are able to measure the entrepreneurship personality of vocational students, b) the high costs incurred in conducting personality tests in career development of vocational students, c) The need for an application that is able to speed up the process of identifying personality and provide recommendations careers for vocational students. The research methodology used is Research and Development. There are four stages that must be carried out: Define, Design, Develop and Disseminate. The instrument used to measure entrepreneurial personality is inventory (non-test) with four indicators of entrepreneurship personality, namely Extroverted, Leader, Moderate Risk Taker, Ambisious, and tested fit using Confirmatory Factor Analysis. The research sample was 30 vocational high school students in the field of Information Technology and Computers. Bayes Method is used for the process of transferring knowledge from experts to the system and decision making, after Based on the results of data analysis, it was found that a) Career development applications based on Entrepreneurship Personality are valid with a percentage (0.887) and very practical (91.11), the results of product effectiveness are 82.47 (effective). Therefore this application is declared valid, practical and effective in measuring the personality of vocational student entrepreneurship.

High-expectation start-ups are firms launched by entrepreneurs with high ambitions for growth. The encounter between new technology and entrepreneurship that characterizes such new ventures has a significant impact on the nature and speed of economic development, driving the growth of high-technology industries and helping to make the economic system open, complex and adaptive. Thus high-expectation entrepreneurship deserves special attention in entrepreneurship education. This paper introduces and explains the importance of high-expectation entrepreneurship. Then, using an approach borrowed from both experimental scientific research and the practice of medicine, the authors propose a form of business idea testing and entrepreneur training in a laboratory environment. The ability to transpose, test and iterate new ideas and models in a business laboratory has significant potential in terms of promoting rapid learning and the preliminary validation of a new business idea – thus cutting risk, reducing cost and maximizing revenue potential. The authors argue that this approach is far more appropriate for entrepreneurship development in the new economic environment than traditional business education models.

Digital disruption leads to high-level risk in innovation management that will impact established firms in disrupted industries. This study investigates the key variables to enhance innovation performance (IP) in a disruptive environment by applying strategic entrepreneurship framework from [Hitt, MA, DG Sirmon, RD Ireland and CA Trahms (2011). Strategic entrepreneurship: Creating value for individuals, organizations, and society. Academic of Management Executive, 25(5), 57–75]. This study sampled the managers of two largest established firms in telecommunication and banking industries in Indonesia. Both industries are in top five of the most disrupted industries. Entrepreneurial leadership (EL) is essential in formulating innovation strategy. This leadership variable has multicollinearity with that of entrepreneurial culture (EC). It indicates that both variables are symbiotic. While in implementing innovation strategy, the configuring core innovation capabilities that combine exploring the opportunity and exploiting the firm’s advantage enhance the IP. Due to core rigidities, this configuring core innovation capabilities should not be orchestrated with collaborative innovation.

Aim: To understand deeply how the trend of technology has motivated entrepreneurs to become entrepreneurs who have a high entrepreneurial spirit through a review of dozens of international publications interested in discussing technology trends and implications for business people with a high entrepreneurial spirit. Method: Search for data electronically on several Google scholar-based data and other literary sources. Then we analyze the data by involving data coding, evaluation, in-depth interpretation, and concluding the principle of all data that is valuable and reliable. We emphasize secondary data from several international publications focused on the theme of this study. Result: The positive impact of technology trends on business success through the spirit of referring to technology-driven business governance and entrepreneurship has colored the findings of this study. The skills and enthusiasm of the impact of technology trends on business people are evident in adapting business people to the adoption of modern technology across businesses and in various service and goods industries. Conclusion: These findings have become the basis for many groups such as industry, education, and policymaking in many countries.

This paper discusses an emerging heterodoxy in the academic literature on entre- preneurial technology finance that is based on the idea of "bootstrapping." Bootstrap finance is a third approach (emphasizing funding technology ventures through revenue and other non-traditional sources), alongside the orthodoxies of traditional business finance (emphasizing debt) and contemporary venture finance (emphasizing venture capital and public equity). The paper also reports the results of an original empirical study of entrepreneurial technology firms in the bioscience-related industries in the United States. The data from the study show that "unorthodox" bootstrap financing is actually the dominant kind of financing in those high technology industries. The data are analyzed to explore industry effects, regional milieux effects, and entrepreneurial-status effects on the relative mix of bootstrap finance and the three traditional sources of finance: venture capital, public equity and debt finance. The effects on firm behavior and performance of variations in financing strategy are explored, with implications for managers of entrepreneurial technology ventures and educators concerned with technology entrepreneurship.

The initial thesis in the present work is that the solution of the problem of improving the competiveness of the economy of Vojvodina indispensably should open the room for the development of high-tech industries, in the first line on the basis of dynamic entrepreneurship and development of small and medium enterprises (SMEs). Emphasis in the research is on the analysis of the problem of inappropriate institutional order as a factor blocking innovative entrepreneurial conduct, technological development and economic valorization of high technologies, efficient socio-economic coordination of individual development initiatives and larger orientation of financial capital to risky investments in new industries. In this context, the most important limiting factors of development and economic valorization of high technologies in Vojvodina are defined as: (1) absence of socio-economic motivation for innovative behavior and manufacturing entrepreneurship, (2) low availability of skilled and internationally competent labour, (3) poor quality of regional, subregional and local STIEOT infrastructure, (4) orientation of regional financial infrastructure to credit imports and population and (5) low efficiency of regional, sub regional and local administrative and public services in eliminating above problems. In the light of those observations the operationalization of the concrete contents of development strategy for high-tech industries in Vojvodina is defined as a measure of ability to include regional, subregional and local institutions and public services to find how to solve the following problems: 1. providing conditions for internationally competent training of entrepreneurs, managers and expert teams in the function of acquiring necessary knowledge for the implementation of modern technological, managerial and organizational solutions needed for the foundation and dynamic development of high-tech enterprises, 2. provision of technical and economic support to entrepreneurs, managers and expert teams in their concrete activities in the generation and economic valuation of new knowledge and 3. provision of technical and economic help for the implementation of contemporary solutions relating to standardization metrology, specification of quality and sustainable development in the function of providing microeconomic (global) competitiveness. The basis for functioning of the concept of development strategy for high-tech industries in Vojvodina defined that way is the activity of the public factor to advance the system of education and to develop relevant scientific-technological infrastructure. In this context, the University of Novi Sad as well as private faculties in Vojvodina, their respective specialized and multidisciplinary scientific-research institutes, innovation centers technology parks and the like (necessary to be developed and advanced as soon as possible!) should become basic factors for eliminating the consequences of actual institutional disorder and create entreprenurship oriented socio-economic environment as a basic framework for the development of the high-tech SMEs.

Purpose – First, using the task-relationship dichotomy as a framework, the purpose of this paper is to examine the direct effects of team personality level and team personality diversity on new venture growth. Second, the study examines the interaction effects of team personality level and diversity on venture growth. Design/methodology/approach – The sample consisted of 154 teams in a technology incubator in China. Data were collected through an online survey. Findings – Results indicate that high level but low diversity of team task-oriented personality was beneficial for new venture founding teams. Diversity of team task-oriented personality would hurt the new venture growth more when the level of task-oriented personality was low. Relationship-oriented personality diversity, but not the level of relationship-oriented personality, influenced new venture growth. Research limitations/implications – These findings advance research in entrepreneurship, groups, and teams, and provide practical policy implications as well. Practical implications – This study provides practical implications for policy makers regarding what supports should be provided in incubators and for entrepreneurs regarding team member selection. Originality/value – This is one of the first papers to study the personality composition of new venture founding teams.

The entrepreneurship can collaborate to the economy and solve environmental problems by contributing to achieve the university third mission through the incubators process as the majority of technology transfer mechanisms. However, Brazilian universities incubators are less developed than the ones from United States and Europe. Therefore, this paper aims to explore Brazilian universities incubators from an activities and Gross Domestic Product (GDP) perspective. As a result, we identified 122 incubators that are from public universities, in their majority and work mainly in social entrepreneurship and base-technology sectors. Universities installed in cities with a high GDP have a restricted number of activities compared to other economic classes, as well as in lower class there are an interesting number of incubators focused on promoting and creating jobs and income generation, corroborating the role of the universities third mission. Incubators are still in consolidation in Brazil, which reflects the early stage of innovation in universities and industries. Recent studies are recommended in the area of incubator management and effectiveness of technology transfer.

Silicon Valley is frequently portrayed as a manifestation of postindustrial entrepreneurship, where ingenious inventor-businessmen and venture capitalists forged a dynamic, high-tech economy unencumbered by government's “heavy hand.” Closer examination reveals that government played a major role in launching and sustaining some of the region's core industries through military contracting. Focusing on leading firms in the microwave electronics, missile, satellite, and semiconductor industries, this article argues that demand for customized military technology encouraged contractors to embark on a course of flexible specialization, batch production, and continuous innovation. Thriving throughout much of the Cold War, major military contractors fell on hard times when defense markets started to shrink in the late 1980s, because specialized design and production capabilities were rarely applicable to civilian product lines. But Pentagon funding for research and development helped lay the technological groundwork for a new generation of startups, contributing to Silicon Valley's economic renaissance in the 1990s.

Previous research has identified the clustering of high-tech industries, entrepreneurial start-ups, and venture capital across metropolitan areas. Using detailed ZIP code data on start-up activity and venture capital investment, this research tests three hypotheses informed by urban theory on the clustering of innovation, entrepreneurship, and high-technology industry: (1) that start-up activity and venture capital investment will concentrate in distinct microclusters within metro areas, (2) that a substantial level of start-up activity and venture capital investment will cluster in dense urban neighborhoods or ZIP codes, and (3) that the clustering of start-ups and venture capital investment will vary by industry or type of technology. The authors find evidence to support all three. Start-up activity and venture capital investment are concentrated in a relatively small number of ZIP codes in the United States, the majority of which are in dense urban neighborhoods, and this clustering varies by industry and type of technology.

Blockchain is the century’s most notable technological innovation that is reshaping all industries. Notwithstanding, the technology needs to achieve maturity and address critical problems to generate real business value. Consequently, blockchain-based new ventures have been dealing with high-technology-associated pressures to enter this modern market. Most of them are still in the platform proliferation stage, struggling to face serious regulation challenges. Alternatively, there are successful cases in which wise strategic choices allowed companies to overcome the challenges and leverage their business successfully – OriginalMy is one of them. It is a Brazilian born blockchain-based venture aiming to decentralise notary and authenticity contributing to reduce excessive bureaucracy and eventually restrain corruption that is relatively common not only in their country but all over the world. This Teaching Case covers how the venture strove against unpredictable and unfavourable situations to fund and develop its blockchain business. It is supplemented by in-depth Teaching Notes where we craft a synthesised theoretical background to support the complex decision-making process through which the Chief Executive Officer defined the company’s fate amid such challenges and uncertainties concerning blockchain technology. The case examines the entrepreneurs behind OriginalMy, its growth, the difficulties it has faced, the upright issues surrounding it and its future outlooks. It draws on theory from high-technology market entry and the inherent pressures of this kind of entrepreneurship, sustained by the strategies and alliances that entrepreneurs can enact to address them.

Ukraine lags behind the developed countries in technological and economic spheres, by average income per capita, by renovation of production equipment, etc. Instead, comparatively high level of labour resources’ qualification and intellectual capacity remain to be the competitive advantage. Based on the theory of competitive advantages and current EU smart specialization strategy, it is possible to focus on technology-intensive industries oriented on exports to secure the countries’ sustainable development. The state of innovation activity of enterprises of industry, entrepreneurship sectors and regions is considered. The structure of the types of innovative activities of Ukrainian industrial enterprises for 2010-2017 includes internal and external impacts, such as the purchase of equipment and software, training of employees, etc. Statistical, table, questionnaire, factor analysis methods were used. The comparative analysis provides an innovative index of Ukraine and its 10 components (human resources, attractive research systems, innovation friendly environment, finance and support, firm investments, innovators, linkages, intellectual assets, employment impacts, sales impacts) calculated by EU economic experts according to the methodology The European Innovation Scoreboard. Based on the answers of the managers of small businesses, the bottlenecks of innovation management are grounded: internal (qualifications of managers and specialists), limited financial resources, risk of activities diversification) and external (corruption, formal approach of authorities and institutional infrastructure). The paper proves the reasonability of the state policy of further investment development and stimulation of the IT sector due to its low material resources, proper system of education of specialists, legal support and fiscal policy. The record high growth rate of the information services market and the corresponding high-intellectual cluster of specialists allows predicting the integration of the national industry into the international division of labor from the angle of geopolitical smart specialization.

Purpose The purpose of this paper is to explore how low-technology corporate ventures use knowledge from multiple and often trans-sectoral fields to intensively create and deploy innovative production technologies in order to sustain significant competitive advantages. Design/methodology/approach The paper primarily draws evidence from an exploratory case study of a low-tech private enterprise operating in the wood processing industry in Greece. Findings Low-technology firms appear to invest mainly in process innovation and therefore production technologies, in order to secure a position within mature markets. Within the notion of knowledge-intensive entrepreneurship (KIE), a creative bricolage of knowledge based on research work and industrial practice results in innovative products and processes covering technologies from a wide range, including high-tech industries. The case indicates that low-tech companies may be something more than just “borrowers” of technology. Research limitations/implications The limitations regard the single case study research design and the focus on the wood industry in Greece. Future research may pursue more case studies in different traditional sectors and national contexts. Practical implications Entrepreneurs and managers of low-technology firms should focus on technological innovation and more specifically on co-creation of novel production technologies in order to sustain strong competitive advantages and enhance performances. Originality/value The analysis challenges the established opinion of common entrepreneurial processes in low-tech sectors. It adds to the ongoing discussion of low-tech, KIE and it contributes to the literature of industrial dynamics since there are only a handful of studies that probe the role of production technologies within a low-tech but knowledge-intensive context.

Formation of a strong middle class in Georgia requires a development of small and medium entrepreneurship. As a result of implementation of a rational economic policy and realization of the knowledge and technology based approach in this field, increasing the number of employment, improvement of the national enterprise possibilities, enhancing the competitiveness of the production and growth of the overall level of prosperity of population could be achieved. Small and medium enterprises have been growing during the recent years, however, the growth rate is not sufficient. Share of the population belonging to the middle class is still low in Georgia. According to the studies conducted by the World Bank, in 2014 only 7% of the population of Georgia belonged to the middle class. According to the economic statistical study conducted in Georgia in 2018, share of the population belonging to the middle class in 2016 was 16%. The same study, with exclusion of the employment factor, shows the growth of the above-mentioned share to 24,6%. Ignoring the employment – very important determinant of the middle class – naturally puts the last figure far from reality. Current income inequality and high level of poverty negatively impact formation of the middle class in the country. In order to achieve the growth of the small and medium entrepreneurship, and respectively, growth of the middle class share, the following actions should be taken by the Government of Georgia: Increase of the scale of small and medium entrepreneurship programs, maximally inclusion of the regions; Support of the start-ups, formation of innovative economy; Promotion of the entrepreneurial education, formation of the corresponding environmental system for the export oriented industries; Maintaining political and economic stability.

Formation of a strong middle class in Georgia requires a development of small and medium entrepreneurship. As a result of implementation of a rational economic policy and realization of the knowledge and technology based approach in this field, increasing the number of employment, improvement of the national enterprise possibilities, enhancing the competitiveness of the production and growth of the overall level of prosperity of population could be achieved. Small and medium enterprises have been growing during the recent years, however, the growth rate is not sufficient. Share of the population belonging to the middle class is still low in Georgia. According to the studies conducted by the World Bank, in 2014 only 7% of the population of Georgia belonged to the middle class. According to the economic statistical study conducted in Georgia in 2018, share of the population belonging to the middle class in 2016 was 16%. The same study, with exclusion of the employment factor, shows the growth of the above-mentioned share to 24,6%. Ignoring the employment – very important determinant of the middle class – naturally puts the last figure far from reality. Current income inequality and high level of poverty negatively impact formation of the middle class in the country. In order to achieve the growth of the small and medium entrepreneurship, and respectively, growth of the middle class share, the following actions should be taken by the Government of Georgia: Increase of the scale of small and medium entrepreneurship programs, maximally inclusion of the regions; Support of the start-ups, formation of innovative economy; Promotion of the entrepreneurial education, formation of the corresponding environmental system for the export oriented industries; Maintaining political and economic stability.

Abstract South Korea has achieved unprecedented economic and social development in history. This country, which had been among the poorest in the world until the early 1960s, became one of the world’s leading economies by the mid-1990s as demonstrated by high per-capita income and world-class industries. In the early 1960s, Korea had much of the characteristics shared by many developing countries today, such as prevalent poverty, low economic productivity, low levels of technology and entrepreneurship in society, insufficient capital, poor endowment of natural resources, over-population in a relatively small territory, and internal political instability and external threats to its security. Korea has successfully overcome these obstacles and achieved economic development within a single generation. Korea’s success in economic development was also accompanied by the advancement of the rule of law and elective democracy by the 1990s. What are the causes of this unprecedented success? This article, applying a recently developed theory of law and development, explores the legal and institutional dimensions of Korea’s development and draws lessons from its successful development.

Introduction. Small innovative businesses play an important role in the economy of developed countries and are an essential element of the innovation process. Small enterprises are the most flexible, dynamic and widespread form of enterprises. Ukraine’s aspiration to European integration necessitates the introduction of an innovative model of development, one of the components of which is the development of a domestic innovation enterprise, which prompts to seek new approaches to the implementation of scientific, technical and innovative potential of the country’s economy. The purpose of the article is to find out the features and problems of financial support for the development of small innovative enterprises in Ukraine and to substantiate directions for its improvement. Results. According to the data of the State Statistics Service of Ukraine, innovation activity in Ukraine in 2018 was carried out only by every eleventh enterprise. The share of enterprises that introduced innovations in 2017 amounted to 16.2%, and those engaged in innovations 14.3%, respectively. At the same time, the share of innovative products in the total industrial volume was, according to the results of 2017, only 0.7%. In Ukraine, as of January 1, 2018, in the total number of enterprises (338256 units), the share of small business entities amounted to 95.5%. This testifies to the dependence of the level of development of the Ukrainian economy on their innovative activity. Among the range of obstacles to the successful functioning of innovative entrepreneurship, the problem of low efficiency of functioning of the financial mechanism of ensuring their development is the most urgent. Particular attention should be paid to the use of national competitive advantages, avant-garde industries, high-tech industries, such as space technology, aviation industry, biotechnology, tool manufacture, defense and industrial complex. Innovation demand in Ukraine should become not only an economic category but also an essential property of a person’s character. Conclusions. The development of innovative entrepreneurship is not carried out quickly and purposefully. Its potential, as the main tool for commercializing scientific ideas, is practically not implemented in Ukraine. Before small innovative enterprises, there are many barriers and obstacles that prevent them from working effectively. Thus, in order to provide effective financial support for the development of small innovative entrepreneurship, it is necessary, first of all, to improve the financial and tax policy of supporting small businesses, as well as to increase the efficiency of the use of established institutions of market infrastructure for supporting small businesses. The details of the mechanisms for implementing these measures should be the subject of further research, the results of which will be highlighted in the following publications.

In modern conditions, the role of international industrial cooperation is increasing. Global industrial cooperation goes beyond normal interstate trade, direct cooperative link, and occupational production, foreign investment cooperation, and joint scientific and technical activities. International technological exchange, which serves as the dissemination of scientific and technological progress, also affects the effectiveness of the entire cycle of work, from development to commercial application. The forms of technology swapping are determined by the characteristics of the transferred technology and the characteristics of the subjects of the transfer process. The recipient of a technology or technologically intensive product gets the opportunity to assimilate most of the partner's scientific and technological experience. The article researches certain aspects of the technological development of Asian countries such as Singapore and China, whose experience in the area of successful international technological exchange is interesting to Kazakhstan and other countries that seek to actively integrate into global technological processes. The article assesses the existing systems for supporting innovations and stimulating high-tech industries in Kazakhstan. The article also provides an expert opinion of a foreign expert, Deputy Director of the Singapore organization the Action Community for Entrepreneurship, Brian Patrick Tan, as well as representatives of the venture Fund “Qaz Tech Venture” on the potential of integrating Kazakhstan into the international scientific and technical space.

PurposeIn this paper, the authors tentatively develop a theoretical model that depicts how the dynamic capabilities of a firm may be driven by three macro-organizational foundations: visionary leadership, organizational culture, and empowered human resources. The authors propose that visionary leaders are the original driver of dynamic capabilities and that visionary leaders create a unique organizational culture and empowered human resources so that their organizations embrace the spirit of entrepreneurship, an orientation toward learning, and a commitment to mission-driven improvement.Design/methodology/approachThe authors use a case of the early success of a highly performing Chinese telecommunication equipment producer, Huawei Technology, to explain the theoretical model that shows how dynamic capabilities are developed as visionary leaders influence firm routines for learning, innovation, and strategic human resource policies, which in turn collectively create and update operational capabilities to deliver directly manipulatable competitive advantages.FindingsThe paper concludes by arguing that the sources of dynamic capabilities need not be dynamic. Instead, visionary leadership, organizational culture, and human resource policies are relatively stable factors in comparison with other possible competence-building mechanisms such as innovation or ambidexterity.Practical implicationsThe authors’ model provides a direction for firms in high-tech industries to develop dynamic capabilities in order to maintain competitiveness and sustain high performance.Originality/valueThis paper is the first to present three macro-level drivers of dynamic capabilities, and it is also the first to understand the success of Huawei from a dynamic capabilities perspective.

Purpose This paper aims to identify, analyze and discuss a potential new business opportunity that arises from the intersection of the digital music and game industries across borders throughout network-based innovation approach. Design/methodology/approach The research draws on review of industry and academic literature, two online surveys and interviews, overall encompassed by a interpretative exploratory research methodology strategy. Findings The study supports the interest and potential for developing new products that combine digital music and casual digital games and that draw on firms from more than one region, while potentially involving a wide set of social network key stakeholders. Research limitations/implications This is an exploratory study in which findings should be challenged by confirmatory studies, including new product design and development of modeling techniques and network-based innovation approaches. This research contributes for the generation of new insights over technological and social driving forces, as well as emerging trends that shed light on the global competitiveness and on convergence of mobile gaming and digital music industries at regional innovation systems view. It also discusses spillover mechanisms based on new knowledge creation, knowledge diffusion and knowledge appropriation throughout the key stakeholders. The customer-centric innovation and network value autocorrelation hypothesis was validated, and both technology convergence and social factors are enhancement factors for innovation. Limitations and further research with larger sampling, specialization techniques and empirical modeling to in-depth analysis is suggested. Practical implications The study provides a framework for managers to develop new products that merges boundaries of related industries and encourages network-based innovation and cooperation between industry players, involving different regions. Ultimately, it shows opportunities of diversification, by introducing new products into new markets, as result of interdependence, soft factors, knowledge spillover and absorptive capacity mechanisms over a network of key stakeholders across different regions throughout customer-centric innovation, while impacting also new discussion on entrepreneurship and knowledge spillover theory and policy making. Social implications Social capital network is key for innovation and knowledge spillover among industry players. Content creation regarding products and services show high dependence on spatial external cultural influences, tastes and habits for customer-centric innovation, while impacting on social and learning customer experience, as well. Originality/value The paper has value for product development and innovation managers, researchers and practitioners. It discusses the value of innovation systems that are purposively developed beyond traditional geographic and industry boundaries.

The article gives a review and presents the results of the international study of growth and development prospects of the Russian Economy in “Exploring the Future of Russia’s Economy and Markets” collective monograph edited by Doctor of Economics, Professor B.S. Sergi (Harward University, USA) published in 2018 by Emerald publishing house. The authors identify key industry markets in the economy of modern Russia and make a future model of its growth and development for the medium term period (until 2025). The paper shows the battle of traditions and innovations within this model. This process implies achieving the goal of sustainable development and at the same time achieving Russia’s leadership in high technology industries (HighTech). On the basis of the book prepared by its editor Doctor of Sciences (Economics), Professor, president of “Institute of Scientific Communications” autonomous non-profit organization (Volgograd) E.G. Popkova, Doctor of Sciences (Economics), Professor of Plekhanov University of Economics (Moscow) E.V. Popova, chief researcher of the State Research Institute for System Analysis of the Audit Chamber of the Russian Federation (Moscow) Yu.V. Raulina, as well as Doctor of Sciences (Economics), Professor, chief researcher of the All-Russian Research Institute of Agricultural Economics, chief researcher of the State Research Institute of System Analysis of the Audit Chamber of the Russian Federation (Moscow) A.V. Bogoviz perspective directions for future growth and development of the Russian economy are identified. They are the integration of entrepreneurship (including international one), green innovations and dynamic innovative development based on industry 4.0 technologies.

Purpose – The purpose of this paper is to analyze and summarize the development of science and technology (S & T) policies in China from a government-driven perspective in chronological order. To develop knowledge-based economy, China enacts a range of S & T policies since “Reform and Open Policy” started in 1978. Furthermore, it investigates the overall effects of these S & T policies on university-industry linkages (UILs). Design/methodology/approach – This paper conducts an analysis framework of S & T policies in historical sequence to explain how government drives UILs to stimulate technological progress and economic growth in China. Findings – More than a site for high-quality workforce education and knowledge spread, universities as an important part of national innovation are required to participate in economic activities. Considering that most Chinese universities are national, S & T policies with particular regard to university technology transfer would be more important and essential. This research finds that S & T policies enacted by government have made critical contributions to UILs in economic transition period, such as improving academic faculty, enhancing university–industry collaborations and supporting university spin-off formation. The experiences of China suggest that government should enact more effective S & T policies in the knowledge-based economy era. Practical implications – First, universities need to educate high-level human resources that are important for economic growth and social development. Second, universities need to engage in R & D activities and enhance their collaboration with industries, such as consulting services, research contracts with industry, patent licensing and other general knowledge commercial mechanisms. Third, universities also can directly transfer commercial knowledge to start up new businesses by itself or in partnership with industrial sectors. Without doubt, a series of S & T policies or programs enacted by China’s government to drive entrepreneurship continuously played critical role in the UILs over the past 26 years. Originality/value – This paper is a pioneering work on how S & T policies enacted by government drive UILs to stimulate technological progress in transitional China.

The paper is about the role of the African middle class as a base for entrepreneurship development. The key question is what the growth of the African middle class means for the emergence of an entrepreneurial class in Africa. In this context, the «missing middle» in Africa, the gap in small and medium sized companies between microenterprises and large companies, is of interest. So far the theoretical work and the empirical evidence on the relation between middle class growth and entrepreneurship development are quite scarce. First, the main concepts of defining and measuring the African middle class - via income and consumption, assets, vulnerability, and livelihoods - will be discussed. These differences in definition and measurement have implications for the assumed developmental implications of the growth of the African middle class and the growth of an entrepreneurial class. There are so many statements in the literature about the developmental potentials and the impacts of the African middle class. It is argued that the African middle class is a seedbed of entrepreneurship and management staff; a base for start-ups and high tech companies; that it has an impact on market competition and labour mobility; an impact on level and structure of consumption and marketing, on housing, car and finance markets; an impact on local saving, local investment and on a more long-term investment behaviour; a role in developing a new consumer society based on higher quality and branded goods; a role in participation, empowerment and the formation of economic interest groups; a role in the redistribution of income, assets and economic power; that it leads to a widespread use of new technologies and has a tremendous role in technology diffusion; that it is creating space for upward mobility and societal change; that it pushes the transition from survival firms to growth-oriented firms; that it has a role in pushing for more rational economic policies and that it is also demanding public goods and fair taxation; and that it is providing stability to the political regime, etc. Most of these arguments lack so far empirical evidence, and there is tremendous speculation and experimentation based on the way of defining and measuring the African middle class and the entrepreneurial class which is coming forth on this basis. A main instrument used for this endeavour is aggregation of some few data over Africa; but this is not enough to draw strong conclusions. Second, the scarce evidence on the assumed role of the African middle class as a seedbed of entrepreneurship and managerial competencies is discussed and evaluated. The main issue is the role of the African middle class in overcoming the «missing middle» of small and medium sized companies. There is a general discussion about Africa’s «missing middle», the assumed gap in terms of small and medium sized companies between the many mostly informal microenterprises and the large public and private companies. It is argued that the concepts of the African middle class used in the literature and the ways of defining and measuring it do not allow a deep investigation of entrepreneurship development and the identification of a growing entrepreneurial class in Africa. The main reason is that the economic lives of the various segments of the African middle class are so different. Also, the poor and the rich classes in Africa have distinct economic lives which partly overlap with those of lower and upper segments of the African middle class. Third, there is a lack of differentiating the African middle class with regard of the potential for entrepreneurship development, the establishment of entrepreneurial value systems (education, health, saving and investing), and the role in developing local industries (based on increasing middle class consumption). Any change towards the development of growth oriented small and medium-sized enterprises - between survival and micro enterprises at the lower end and large capitalist and conglomerate enterprises at the upper end - is of interest. Most important is to know more about the role of the African middle class in developing growth-oriented enterprises. It is also of interest to see how governments in Africa can support entrepreneurship and management competences based on specific African middle class segments, along with strategies to use the entrepreneurial potential of the poor and the rich classes. The purpose of the paper is to give evidence on the developmental role of the African Middle Class, by focussing on the «missing middle» of enterprises in Africa and the types of entrepreneurship being associated with the growth of the middle class. After the Introduction in Section 1 there is in Section 2 a discussion on Defining and Measuring the African Middle Class: What about Developmental Implications and Prospects? In Section 3 is a presentation on Africa’s Middle Class and the «Missing Middle» of Enterprises: New Potentials for the Growth of Enterprises? In Section 4 there are Conclusions and Policy Recommendations. This is an economists’ view, but much more interdisciplinary work is needed to cover the issues (and this is done in the collection of essays by Henning Melber, Editor, 2016).

Subject area Start-ups in emerging markets, entrepreneurship, business models and strategy. Study level/applicability The case is suitable for MBA and EMBA graduate and undergraduate students in strategic management, finance and the relevant areas. Case overview This case provides a real-life entrepreneurial situation in agricultural industry in China. The protagonist of the case is the founder and CEO of the start-up Harvest Agricultural Technology and Development Company Limited (Harvest). From his perspective, the case depicts the current business environment for private companies in China, and presents the opportunities and challenges a new start-up faces in this environment. Agricultural industry plays an important role in the Chinese economy. Especially because in China land is owned by the state or collective, agricultural industrialization has more significance and experiences greater difficulties. The company in the case explores the situation of integrating the different stakeholders of agricultural production and delivery given the current political and economic environment. The case describes the characteristics and quality that a typical Chinese entrepreneur has and questions why such factors matter so much in China. The case emphasizes the strategic planning process of Harvest and its unprecedented business model design. The case also touches upon the growth pattern of entrepreneurial companies in China. All the above issues deserve discussion and in-depth analysis. Expected learning outcomes After studying this case, students should be able to: describe the business environment in China and identify the stakeholders of the agricultural industry in China; describe the process and value chain of agriculture production and delivery by adopting management models if necessary; discuss the personality and quality of the founder and CEO and compare his characteristics with that of western entrepreneurs and analyse why these characteristics are helpful (or detrimental) to the start-up company; analyse the development of business model designs, and identify the merits, drawbacks and risks of each version of business model; analyse the competitive advantages of Harvest, and identify the key resources and capacities with management models if necessary; discuss different possibilities of Harvest's future with evidence and process analysis; discuss whether the business model and the development strategy of Harvest are applicable to other companies or industries; discuss how setting the goal of going public on the first day Harvest was founded will affect the development of the company; and compare the business models of Harvest with other companies serving as a platform in a different industry (i.e. Taobao marketplace). Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

Today's business environment is facing an unavoidable challenge. Small businesses’ success is, therefore, vital for maintaining the world economy in general and the Malaysian economy in particular. In addition, Entrepreneurship is a driving force in bringing innovation to the market and creating firms that can achieve high growth in the economy. The objective of this study is to investigate the relationship between customer satisfaction and loyalty in delivery industries.

Purpose The purpose of this paper is to examine how geographic diversification affects the performance of international new ventures. Design/methodology/approach This study develops hypotheses about the individual and joint effects of geographic diversification and industry life cycle on the performance of international new ventures. This paper also introduces industry technology characteristics as a contingent factor for the above relationships and tests the hypotheses on a large panel data set. Findings Based on the analyses of the strategies and performance of 699 listed Chinese international new ventures between 1991 and 2014, this study finds that the impact of geographic diversification on performance is contingent on the stage of the industry life cycle and that the moderating effect differs across high-technology and low-technology industries. The results suggest that it is fruitful for international new ventures in high-technology industries to undertake geographic diversification in earlier stages of the industry life cycle, but international new ventures in low-technology industries are better off undertaking geographic diversification during the later stages of the industry life cycle. Originality/value The study contributes to the literature on international entrepreneurship by identifying the industry life cycle conditions under which the learning advantages of international new ventures are effective and facilitate the achievement of better performance. This paper also shows that industry technology type matters for geographic diversification strategies of international new ventures.

Venture Capital (VC) is usually defined as an independently managed, dedicated pool of capital that focuses on equity or equity-linked investments in privately held, high growth companies. It is one of the important factors which contribute to the growth and potentiality of business as well as for entrepreneurs. Entrepreneurs and SME managers face two key choices when financing their ventures: debt or equity. Debt in the form of personal loans (including credit cards) and bank loans, key sources for most nascent ventures, gives efficient incentives for managers to exert effort and allow entrepreneurs to maintain control. The availability and utility of debt vary significantly with economic conditions, which, in turn, will have an impact on the supply and cost of capital. To a lesser extent, entrepreneurs rely on equity financing, in which parties external to a venture obtain partial ownership (and control) in exchange for financial capital, thus diluting manager's incentives to expand effort. Equity financing is particularly important for high-growth ventures, since the amount of debt financing available may not permit sufficient rapid growth in volatile industries (for example, technology). Objectives and incentives that are well aligned between investor and manager are most efficient and facilitate additional value for the venture. The paper tries to bring out effect and growth of venture capital funding over a period of time with that of traditional funding. Criteria of venture capital decided by the general investment venture capitalists, and then finally adding the conclusion of role and importance of Venture Capital in the Entrepreneurial Development.

Biotechnology is an incredible technology promising a better future worldwide and proved to be genera of great outcomes. Since its inception it has been projected to bring fantastic advances along with huge economic rewards, in short it promises more for less. Involvement of molecular biology in biotechnology lead its way into the various aspects of science based industries. Pharmacogenomics, drug discovery and drug delivery are the emerging tools in health industry which can only be possible due to the onset of biotechnology. Worldwide, pharmaceutical companies pursued research in the medicines and diagnostics by implementing biotechnology. Biotechnology is a major tool for improving human life by improving agriculture, human health and environment. Developing countries tend to have growing needs but scarce resources, therefore, such claims naturally appeal to those in power. The practical applications of Biotechnology extend from widely separated fields, creative minds, these ideas need to be researched and developed. Extent of scope in the field offer opportunities for great industrial growth. A novel product as a result of intensive research often leads to a business model. Past has seen several industries established by scientists to make a difference through their product by understanding the need of people and market potential. Entrepreneurial potential in biotechnology is governed by factors like development of technology as an only solution for the problem or the better solution for the currently available technologies. Critical testing and regulatory agency approval must be received prior to commercial production and marketing. Although the field has immense opportunity but the level of uncertainty and failure is also high. So, an efficient and well organized strategy should be followed to develop and deliver a successful business model for biotechnology. The paper presents an illustration about the business potential in biotechnology from incubation of an idea and its transformation into a value aided product or technology through various demanding and formative steps like financing, human resource and marketing.

AbstractAlthough the contribution of creative industries to world economy has been widely acknowledged in the last few decades, their failure rate is still high and frustrates creative entrepreneurs. However, few empirical studies have been done to explore what causes creative entrepreneurs’ intention to quit. This paper, therefore, aims to draw upon the theories of motivation and entrepreneurship to offer a better understanding of entrepreneurs’ withdrawal intention. We incorporate the theory of motivation, creativity, and opportunity to realize their inter-play roles in reducing entrepreneurs’ intention to quit in creative industry sector. A sample of 272 creative entrepreneurs in Taiwan’s creative industries is used to test the framework we propose. Results show that entrepreneurial creativity and opportunity recognition enhance entrepreneurs’ motivation by satisfying the need for basic finance, need for work–life equilibrium, need for social reputation, and need for career achievement. Moreover, we found that entrepreneurs’ motivation in need for work–life equilibrium and need for career achievement reduces their intention to quit.

<p>This study analyzes the technological capability upgrading and entrepreneurship in the Indonesian fish processing industry. The analysis viewed from the Sectoral Innovation System (SIS) focuses on two aspects: the enabling factors for innovation, and the role of entrepreneur in technological capability upgrading. The study finds that Indonesian fish processing companies: (i) are less interactive with local universities or other STI (science, technology and innovation) centers, and innovation was mostly done through learning by DUI (doing, using and interacting); (ii) are characterized as low-tech industries with a high standard for food safety and product differentiation; (iii) apply adaptive innovation, modified from existing technology or knowledge, except for the leading companies who apply innovation for new products in the market; (iv) actors, technology, market trends, and networks are the main enabling factors for innovation; and (v) the role of entrepreneurs – especially in building entrepreneurial networks – were dominant in the leading companies. The entrepreneurial networks exist and work in global distribution chains that are widely adopted by companies to export their products through buyer–producer relationships. The pathways toward export markets are: global born directly, fastly learned global, and delay learned global companies. These categories have enriched the Mets category (2012). The policy implications of the findings for government should: (i) facilitate companies’ interaction with local universities or other STI centers; and (ii) encourage domestic companies to improve their competitiveness by shifting to higher added value products through various innovations and trading policy schemes.</p>

Purpose The purpose of this paper is to empirically examine the cognitive drivers that push entrepreneurs toward sustainable venture creation using entrepreneurial cognitive scripts. In particular, this study tests the relationship between entrepreneurial cognitive scripts and sustainability orientation among entrepreneurs in an emerging economy to understand whether entrepreneurial cognitive scripts act as a driver toward sustainability. Design/methodology/approach A primary research study was conducted using a structured questionnaire among 351 sample respondents, of which 54% labeled themselves as entrepreneurs and 46% labeled themselves as traditional business people, business students or non-entrepreneurs. The entrepreneurs represented more than ten different industries such as agriculture, food and beverage, education, technology and entertainment. Findings The findings of this study highlighted a negative relationship between entrepreneurial cognitions and sustainability orientation as hypothesized. Additionally, non-entrepreneurs were found to be more sustainability-oriented, whereas entrepreneurs with high levels of cognitive scripts were found less concerned about sustainability issues. Research limitations/implications This study has a geographic limitation as it has been conducted in a developing country, which is Egypt. Accordingly, the results should be generalized with caution to other developing nations. Practical implications This study shows the importance of sustainable entrepreneurship education as an important part of the entrepreneurial ecosystem. The study sheds the light on the different stakeholders that are responsible for raising awareness about the importance of sustainability in developing countries. Originality/value This study empirically validates the relationship between entrepreneurial cognitive scripts and sustainability orientation among several industries in a developing country. The study has also a novel contribution in validating that non-entrepreneurs can enjoy entrepreneurial cognitive scripts without the necessity of starting their ventures.

Collaboration across disciplines in the sciences is on the rise. Yet, practitioner papers abound that describe a range of dysfunctional team experiences, especially in contexts where science and business intersect. A critical issue currently preventing successful bioscience commercialisation is management's lack of ‘soft skills,’ such as the ability to direct complex and functionally diverse teams to achieve productive outcomes. Our paper first reviews the diversity and teaming literature from several disciplinary perspectives in order to better understand how different types of diversity affect team outcomes and processes, as well as how to create higher functioning teams to engage in bioscience technology commercialisation. Research suggests that the ‘surface-level’ diversity issues associated with demographic and disciplinary differences may diminish over time, as team members move beyond initial stereotypes and gain more knowledge about their fellow group members. However, problems stemming from ‘deep-level’ diversity such as personality and values differences are more difficult to overcome and require a high degree of interaction frequency among team members, as well as strong communication skills. Going beyond the literature review, we demonstrate how these ‘lessons learned’ can be addressed through bioscience entrepreneurship education, using a case study of a Midwestern university programme funded by an NSF Partnerships for Innovation grant.

Purpose This study aims to explore the behavioral patterns of entrepreneurs, their cognitive styles and personality characteristics that can lead to a self-destructive chain of events during the transition from a fledgling business to one capable of long-term, profitable growth. This study adopts the self-regulation attitude theory to uncover the reasons for premature start-up scaling, which will help founders to study on their cognitive biases, emotions and behaviors and make efforts to do what does not come naturally to them. Design/methodology/approach The respondents for this qualitative study were selected from a group of entrepreneurs with extensive experience with technology start-ups that have either failed or succeeded during their development stages. In-depth semi-structured interviews were conducted with eight participants, who were selected through snowball sampling, on the theme of understanding “How do premature scaling mistakes happen?”. Thematic analysis was used to unearth common themes. Findings The results of this study identified the following themes, “comparison,” “emotional over-reaction,” “impatience,” “mistaken customer priorities,” “overestimation” and “overconfidence,” which eventually leads to premature scaling. The underlying decision-making heuristics of entrepreneurs can be identified as engulfed in different cognitive biases and emotions resulting in negative behavioral patterns, as in the case of premature scaling. Of the six themes, “comparison,” “mistaken customer priorities,” “overestimation” and “overconfidence relates to cognitive bias” and “emotional over-reaction” and “impatience” relate to emotional factors. Research limitations/implications The study was made possible with the support of the voluntary participants chosen by purposive and snowballing data sampling. The interviewee and interviewer biases could have also crept in as part of this qualitative approach. The study pertains only to start-ups in the information technology sector and further studies need to be done to generalize the results across industries as well. Practical implications This early-stage underestimation of unexpected obstacles in the entrepreneurship journey necessitates a focus on the entrepreneur too, as much as the concept. In these hectic and fast-paced circumstances, aspiring entrepreneurs must be taught how to deal objectively with themselves and others, as well as think strategically. Leaders who scale do so because they take purposeful measures to overcome their weaknesses through self-discipline, soliciting advice from others and using their right to change their attitude and points of view. Originality/value The study frames the new approach into the entrepreneurial literature, linking it to self-regulation attitude theory and adds to the nascent literature on neuroentrepreneurship which discuss entrepreneurial cognition, decision-making, and entrepreneurial behavior. This study attempted to explore the reasons behind the premature scaling of startups on an individual level. This study is pioneering in exploring the cognitive factors underlying an entrepreneur’s decision that results in premature scaling. This study provides insights for academicians, entrepreneurs and policymakers and helps understand the cognitive journey that leads to premature scaling.

IntroductionThis paper is concerned with recent attempts to develop the creative economy in rural Scotland. Research shows that the creative economy is far from self-organising, and that an appropriate institutional landscape is important to its development (Andersson and Henrekson). In Scotland, there is a proliferation of support mechanisms – from those designed to help creative entrepreneurs improve their business, management, or technical expertise, to infrastructure projects, to collective capacity-building. In rural Scotland, this support landscape is particularly cluttered. This article tackles the question: How do rural creative entrepreneurs negotiate this complex funding and support landscape, and how do they aid the development of the rural creative economy ‘from below’? From Creative Industries to the Creative EconomyThe creative industries have been central to the UK’s economic growth strategy since the 1990s. According to the Centre for Economics and Business Research the creative industries contributed £5.9bn to the economy in 2013 (CEBR 17). In the last five years there have been significant improvements in ICTs, leading to growth in digital creative production, distribution, and consumption. The established creative industries, along with the nascent ‘digital industries’ are often grouped together as a separate economic sector – the ‘creative economy’ (Nesta A Manifesto for the Creative Economy).Given its close association with creative city discourses (see Florida 2002), research on the creative economy remains overwhelmingly urban-focused. As a result of this urban bias, the rural creative economy is under-researched. Bell and Jayne (209) note that in the last decade a small body of academic work on the rural creative economy has emerged (Harvey et al.; White). In particular, the Australian context has generated a wealth of discussion as regards national and regional attempts to develop the rural creative economy, the contribution of ‘creativity’ to rural economic and social development, sustainability and resilience, and the role that individual creative practitioners play in developing the rural creative economy (see Argent et al.; Gibson, Gibson and Connell; Waitt and Gibson).In the absence of suitable infrastructure, such as: adequate transport infrastructure, broadband and mobile phone connectivity, workspaces and business support, it often falls to rural creative practitioners themselves to ‘patch the gaps’ in the institutional infrastructure. This paper is concerned with the ways in which rural creative practitioners attempt to contribute to the development of the creative economy ‘from below’. ICTs have great potential to benefit rural areas in this respect, by “connecting people and places, businesses and services” (Townsend et al. Enhanced Broadband Access 581).The Scottish InfrastructureSince 1998, cultural policy has been devolved to Scotland, and has fallen under the control of the Scottish Government and Parliament. In an earlier examination of a Scottish creative business support agency, I noted that the Scottish Government has adopted a creative industries development strategy broadly in line with that coming out of Westminster, and subsequently taken up worldwide, and that the Scottish institutional infrastructure is extremely complex (Schlesinger et al.). Crucially, the idea of ‘intervention’, or, the availability of a draw-down programme of funding and support that will help creative practitioners develop a business from their talent, is key (Schlesinger).The main funder for Scottish artists and creative practitioners is Creative Scotland, who distribute money from the Scottish Government and the National Lottery. Highlands and Islands Enterprise (HIE) also offer funding and support for creative practitioners working in the Highlands and Islands region. Further general business support may be drawn down from Business Gateway (who work Scotland-wide but are not creative-industries specific), or Scottish Enterprise (who work Scotland-wide, are not creative-industries specific, and are concerned with businesses turning over more than £250,000 p.a.). Additionally, creative-sector specific advice and support may be sought from Cultural Enterprise Office (based in Glasgow and primarily serving the Central Belt), Creative Edinburgh, Dundee or Stirling (creative networks that serve their respective cities), the Creative Arts and Business Network (based in Dumfries, serving the Borders), and Emergents (based in Inverness, dealing with rural craftspeople and authors).MethodologyThe article draws on material gathered as part of three research projects, all concerned with the current support landscape for creative practitioners in Scotland. The first, ‘Supporting Creative Business’ was funded by the Arts and Humanities Research Council, the second, ‘Towards a model of support for the rural creative industries’ was funded by the University of Glasgow and the third, ‘The effects of improved communications technology of rural creative entrepreneurs’ funded by CREATe, the Research Council's UK Centre for the Study of Copyright and New Business Models in the Creative Economy.In all three cases, the research was theoretically and practically informed by the multi-sited ethnographies of cultural, creative and media work conducted by Moeran (Ethnography at Work, The Business of Ethnography) and Mould et al. Whilst the methodology for all three of my projects was ethnography, the methods utilised included interviews (n=23) – with interviewees drawn from across rural Scotland – participant and non-participant observation, and media and document analysis. Interviewees and study sites were accessed via snowball sampling, which was enabled by the measure of continuity between the three projects. This paper draws primarily on interview material and ethnographic ‘vignettes’. All individuals cited in the paper are anonymised in line with the University of Glasgow’s ethics guidelines.Cities, Creativity, and ‘Buzz’As noted earlier, cities are seen as the driving force behind the creative industries; and accordingly, much of the institutional infrastructure that supports the rural creative industries is modelled on urban systems of intervention. Cities are seen as breeding grounds for creativity by virtue of what Storper and Venables call their ‘buzz’ – consider, for example, the sheer numbers of creative practitioners that congregate in cities, the presence of art schools, work spaces and so on. Several of the creative practitioners I spoke to identified the lack of ‘buzz’ as one key difference between working in cities and working from rural places:It can be isolating out here. There are days when I miss art school, and my peers. I really valued their support and just the general chit chat and news. […] And having everything on your doorstep. (Visual artist, Argyll)Of course, rural creatives didn’t equate the ‘buzz’ of activity in cities with personal or professional creative success. Rather, they felt that developing a creative business was made easier by the fact that most funders and support agencies were based in Scotland’s Central Belt. The creatives resident there were able to take advantage of that proximity and the relationships that it enabled them to build, but also, the institutional landscape was supplemented by the creative ‘buzz’, which was difficult to quantify and impossible to replicate in rural areas.Negotiating the Funding and Support LandscapeI spoke to rural creative practitioners about whether the institutional infrastructure – in this case, relevant policy at national and UK level, funding and support agencies, membership bodies etcetera – was adequate. A common perspective was that the institutional infrastructure was extremely complex, which acted as a barrier for creatives seeking funding and support:Everything works ok, the problem is that there’s so many different places to go to for advice, and so many different criteria that you have to meet if you wanted funding, and what’s your first port of call, and it’s just too complicated. I feel that as a rural artist I fall between the cracks […] am I a creative business, a rural creative business, or just a rural business? (Craftsperson, Shetland) Interviewees suggested that there were ‘gaps’ in the institutional infrastructure, caused not by the lack of appropriate policy, funders, or support agencies but rather by their proliferation and a sense of confusion about who to approach. Furthermore, funding agencies such as Creative Scotland have, in recent years, come under fire for the complexity of their funding and support systems:They have simplified their application process, but I just can’t be bothered trying to get anything out of Creative Scotland at the moment. I don’t find their support that useful and they directed me to Cultural Enterprise Office when I asked for advice on filling in the form and tailoring the application, and CEO were just so pushed for time, I couldn’t get a Skype with them. The issue with getting funding from anywhere is the teeny tiny likelihood of getting money, coupled with how time-consuming the application process is. So for now, I’m just trying to be self-sufficient without asking for any development funds. But I am not sure how sustainable that is. (Craftsperson, Skye, interview) There was a sense that ‘what works’ to enable urban creative practitioners to develop their practice is not necessarily sufficient to help rural creatives. Because most policymakers, funders and support bodies are based in the Central Belt, rural creatives feel that the challenges they face are poorly understood. One arts administrator summed up why, statingthe problem is that people in the Central Belt don’t get what we’re dealing with up here, unless they’ve actually lived here. The remoteness, poor transport links, internet and mobile access […] it impacts on your ability to develop your business. If I want to attend a course, some organisations will pay travel and accommodation. But they don’t account for the fact that if I travel from Eigg, I’ll need to work around the ferry times, which might mean two extra nights’ accommodation plus the cost of travel … we’re excluded from opportunities because of our location. (Arts administrator, the Small Isles) A further issue identified by several participants in this research is that funding and support agencies Scotland-wide tend to work to standardised definitions of the creative industries that privilege high-growth sectors (see Luckman). This led to many heritage and craft businesses feeling excluded. One local authority stakeholder told me,exactly what the creative industries are, well that might be obvious on paper but real life is a bit more complicated. Where do we put a craftsperson whose craft work is done in her spare time but pays just enough to stop her needing a second job? How do we tell people like this, who say they are in the creative industries, that they aren’t actually according to this criteria or that criteria? (Local authority stakeholder, Shetland, interview)Creating Virtual ‘Buzz’? The Potential of ICTsAccording to 2015 OFCOM figures (10-12), in rural Scotland 85.9% of households can receive broadband, and 6.3% can receive superfast. The Scottish Government’s ambition is to deliver superfast broadband to up to 90 per cent of premises in Scotland by March 2016, and to extend this to 95 per cent by 2017. Whilst the current landscape as regards broadband provision is far from ideal, there are signs that improved provision is profoundly affecting the way that rural creatives develop their practice, and the way they engage with the institutional infrastructure set up to support them.At an industry event run by HIE in July 2015, a diverse panel of rural creatives spoke of how they exploited the possibilities associated with improved ICTs in order to offset some of the aforementioned problems of working from rural and remote areas. As the event was conducted under Chatham House rules, the following is adapted from field notes,It was clear from the panel and the Q&A that followed that improved ICTs meant that creatives could access training and support in new ways–online courses and training materials, webinars, and one-on-one Skype coaching, training and mentoring. Whilst of course most people would prefer face-to-face contact in this respect, the willingness of training providers to offer online solutions was appreciated, and most of the creatives on the panel (and many in the audience) had taken advantage of these partial solutions. The rural creatives on the panel also detailed the tactics that they used in order to ‘patch the gaps’ in the institutional infrastructure:There were four things that emerged from the panel discussion, Q&A and subsequent conversations I had on how technology benefited rural creatives: peer support, proximity to decision-makers, marketing and sales, and heritage and provenance.In terms of peer support, the panel felt that improved connectivity allowed them to access ‘virtual’ peer support through the internet. This was particularly important in terms of seeking advice regarding funding, business support and training, generating new creative ideas, and seeking emotional support from others who were familiar with the strains of running a creative business.Rural creatives found that social media (in particular) meant that they had a closer relationship with ‘distant’ decision-makers. They felt able to join events via livestreaming, and took advantage of hash tagging to take part in events, ‘policy hacks’ and consultations. Attendees I spoke to also mentioned that prominent Government ministers and other decision-makers had a strong Twitter presence and made it clear that they were at times ‘open’ to direct communication. In this way, rural creatives felt that they could ‘make their voices heard’ in new ways.In terms of marketing and sales, panel members found social media invaluable in terms of building online ‘presence’. All of the panel members sold services and products through dedicated websites (and noted that improved broadband speeds and 3G meant that these websites were increasingly sophisticated, allowing them to upload photographs and video clips, or act as client ‘portals’), however they also sought out other local creatives, or creatives working in the same sector in order to build visible networks on social media such as Instagram, Twitter and Facebook. This echoes an interview I conducted with a designer from Orkney, who suggested that these online networks allowed designers to build a rapport with customers, but also to showcase their products and build virtual ‘buzz’ around their work (and the work of others) in the hope their designs would be picked up by bloggers, the fashion press and stylists.The designer on the panel also noted that social media allowed her to showcase the provenance of her products. As she spoke I checked her Twitter and Instagram feeds, as well as the feeds of other designers she was linked to; a large part of their ‘advertising’ through these channels entailed giving followers an insight into life on the islands. The visual nature of these media also allowed them to document how local histories of making had influenced their practice, and how their rural location had influenced their work. It struck me that this was a really effective way to capture consumers’ imaginations. As we can see, improved ICTs had a substantial impact on rural creatives’ practice. Not only did several of the panel members suggest that improved ICTs changed the nature of the products that they could produce (by enabling them to buy in different materials and tools, and cultivate longer and more complex supply chains), they also noted that improved ICTs enabled them to cultivate new markets, to build stronger networks and to participate more fully in discussions with ‘distant’ policymakers and decision makers. Furthermore, ICTs were seen as acting as a proxy for ‘buzz’ for rural creatives, that is, face-to-face communication was still preferred, but savvy use of ICTs went some way to mitigating the problems of a rural location. This extends Storper and Venables’s conceptualisation of the idea, which understands ‘buzz’ as the often-intangible benefits of face-to-face contact.Problematically however, as Townsend et al. state, “rural isolation is amplified by the technological landscape, with rural communities facing problems both in terms of broadband access technologies and willingness or ability of residents to adopt these” (Enhanced Broadband Access 5). As such, the development activities of rural creatives are hampered by poor provision and a slow ‘roll out’ of broadband and mobile coverage. ConclusionsThis paper is concerned with recent attempts to develop the rural creative economy in Scotland. The paper can be read in relation to a small but expanding body of work that seeks to understand the distinctive formation of the rural creative industries across Europe and elsewhere (Bell and Jayne), and how these can best be developed and supported (White). Recent, targeted intervention in the rural creative industries speaks to concerns about the emergence of a ‘two tier’ Europe, with remote and sparsely-populated rural regions with narrow economic bases falling behind more resilient cities and city-regions (Markusen and Gadwa; Wiggering et al.), yet exactly how the rural creative industries function and can be further developed is an underdeveloped research area.In order to contribute to this body of work, this paper has sketched out some of the problems associated with recent attempts to develop the creative economy in rural Scotland. On a Scotland-wide scale, there is a proliferation of policies, funding bodies, and support agencies designed to organise and regulate the creative economy. In rural areas, there is also an ‘overlap’ between Scotland-wide bodies and rural-specific bodies, meaning that many rural creatives feel as if they ‘fall through the cracks’ in terms of funding and support. Additionally, rural creatives noted that Central Belt-based funders and support agencies struggled to fully understand the difficulties associated with making a living from a rural location.The sense of being distant from decision makers and isolated in terms of practice meant that many rural creatives took it upon themselves to develop the creative economy ‘from below’. The creatives that I spoke to had an array of ‘tactics’ that they used, some of which I have detailed here. In this short paper I have focused on one issue articulated within interviews – the idea of exploiting ICTs in order to build stronger networks between creatives and between creatives and decision makers within funding bodies and support agencies. Problematically, however, it was recognised that these creative-led initiatives could only do so much to mitigate the effects of a cluttered, piecemeal funding and support landscape.My research suggests that as it stands, ‘importing’ models from urban contexts is alienating and frustrating for rural creatives and targeted, rural-specific intervention is required. Research demonstrates that creative practitioners often seek to bring about social and cultural impact through their work, rather than engaging in creative activities merely for economic gain (McRobbie Be Creative, Rethinking Creative Economies; Waitt and Gibson). Whilst this is true of creatives in both urban and rural areas, my research suggests that this is particularly important to rural creatives, who see themselves as contributing economically, social and culturally to the development of the communities within which they are embedded (see Duxbury and Campbell; Harvey et al.). ‘Joined up’ support for this broad-based set of aims would greatly benefit rural creatives and maximise the potential of the rural creative industries.ReferencesAndersson, Martin, and Magnus Henrekson. "Local Competiveness Fostered through Local Institutions for Entrepreneurship." Research Institute on Industrial Economics Work Paper Series (2014), 0-57. Argent, Neil, Matthew Tonts, Roy Jones and John Holmes. “A Creativity-Led Rural Renaissance? Amenity-Led Migration, the Creative Turn and the Uneven Development of Rural Australia.” Applied Geography 44 (2013): 88-98.Bell, David, and Mark Jayne. "The Creative Countryside: Policy and Practice in the UK Rural Cultural Economy." Journal of Rural Studies 26.3 (2010): 209-18.Centre for Economic and Business Research. The Contribution of the Arts and Culture to the National Economy. London: CEBR, 2013. 1-13.Duxbury, Nancy, and Heather Campbell. “Developing and Revitalizing Rural Communities through Arts and Culture.” Small Cities Imprint 3.1 (2011): 1-7.Florida, Richard. The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life. London: Basic Books, 2002.Gibson, Chris. “Cultural Economy: Achievements, Divergences, Future Prospects.” Geographical Research 50.3 (2012): 282-290.Gibson, Chris, and Jason Connell. “The Role of Festivals in Drought-Affected Australian Communities.” Event Management 19.4 (2015): 445-459.Harvey, David, Harriet Hawkins, and Nicola Thomas. "Thinking Creative Clusters beyond the City: People, Places and Networks." Geoforum 43.3 (2012): 529-39.Luckman, Susan. Locating Cultural Work: The Politics and Poetics of Rural, Regional and Remote Creativity. London: Palgrave Macmillan, 2012.McRobbie, Angela. Be Creative! London: Polity, 2016.———. “Rethinking Creative Economies as Radical Social Enterprise.” Variant 41 (2011): 32–33 Moeran, Brian. Ethnography at Work. London: A&C Black, 2007.———. The Business of Ethnography. London: Berg, 2005.Mould, Oliver, Tim Vorley, and Kai Liu. “Invisible Creativity? Highlighting the Hidden Impact of Freelancing in London's Creative Industries.” European Planning Studies 12 (2014): 2436-55.Nesta. Creative Industries and Rural Innovation. London: Nesta, 2007.———. A Manifesto for the Creative Economy. London: Nesta, 2013.Oakley, Kate. "Good Work? Rethinking Cultural Entrepreneurship." Handbook of Management and Creativity (2014): 145-59.O'Brien, Dave, and Peter Matthews. After Urban Regeneration: Communities, Policy and Place. London: Policy Press, 2015.Office of the Communications Regulator. Communications Market Report 2015. London: OFCOM, 2015. i-431.Schlesinger, Philip. “Foreword.” In Bob Last, Creativity, Value and Money. Glasgow: Cultural Enterprise Office, forthcoming 2016. 1-2.Schlesinger, Philip, Melanie Selfe, and Ealasaid Munro. Curators of Cultural Enterprise: A Critical Analysis of a Creative Business Intermediary. London: Springer, 2015. 1-134.Storper, Michael, and Anthony J. Venables. "Buzz: Face-to-Face Contact and the Urban Economy." Journal of Economic Geography 4.4 (2004): 351-70.Townsend, Leanne, Arjun Sathiaseelan, Gorry Fairhurst, and Claire Wallace. "Enhanced Broadband Access as a Solution to the Social and Economic Problems of the Rural Digital Divide." Local Economy 28.6 (2013): 580-95.Townsend, Leanne, Claire Wallace, Alison Smart, and Timothy Norman. “Building Virtual Bridges: How Rural Micro-Enterprises Develop Social Capital in Online and Face-to-Face Settings.” Sociologia Ruralis 56.1 (2016): 29-47.Waitt, Gordon, and Chris Gibson. “The Spiral Gallery: Non-Market Creativity and Belonging in an Australian Country Town.” Journal of Rural Studies 30 (2013): 75-85.White, Pauline. "Creative Industries in a Rural Region: Creative West: The Creative Sector in the Western Region of Ireland." Creative Industries Journal 3.1 (2010): 79-88.

IntroductionThree broad stages of Australia’s arts and culture sectors may be discerned with reference to the Northern Hemisphere. The first is in Australia’s early years where artists travelled to the metropoles of Europe to learn from acknowledged masters, to view the great works and to become part of a broader cultural scene. The second is where Australian art was promoted internationally, which to some extent began in the 1960s with exhibitions such as the 1961 ‘Survey of recent Australian painting’ at the Whitechapel gallery. The third relates to the strong promotion and push to display and sell Indigenous art, which has been a key area of focus since the 1970s.The Allure of the NorthFor a long time Australasian artists have mostly travelled to Britain (Britain) or Europe (Cooper; Frost; Inkson and Carr), be they writers, painters or musicians for example. Hecq (36) provides a useful overview of the various periods of expatriation from Australia, referring to the first significant phase at the end of the twentieth century when many painters left “to complete their atelier instruction in Paris and London”. Many writers also left for the north during this time, with a number of women travelling overseas on account of “intellectual pressures as well as intellectual isolation”(Hecq 36). Among these, Miles Franklin left Australia in “an open act of rebellion against the repressive environment of her family and colonial culture” (37). There also existed “a belief that ‘there’ is better than ‘here’” (de Groen vii) as well as a “search for the ideal” (viii). World War I led to stronger Anglo-Australian relations hence an increase in expatriation to Europe and Britain as well as longer-term sojourns. These increased further in the wake of World War II. Hecq describes how for many artists, there was significant discontent with Australian provincialism and narrow-mindedness, as well as a desire for wider audiences and international recognition. Further, Hecq describes how Europe became something of a “dreamland”, with numerous artists influenced by their childhood readings about this part of the world and a sense of the imaginary or the “other”. This sense of a dream is described beautifully by McAuliffe (56), who refers to the 1898 painting by A.J. Daplyn as a “melancholic diagram of the nineteenth-century Australian artist’s world, tempering the shimmering allure of those northern lights with the shadowy, somnolent isolation of the south”.Figure 1: The Australian Artist’s Dream of Europe; A.J. Daplyn, 1898 (oil on canvas; courtesy artnet.com)In ‘Some Other Dream’, de Groen presents a series of interviews with expatriate Australian artists and writers as an insight into what drove each to look north and to leave Australia, either temporarily or permanently. Here are a few examples:Janet Alderson: “I desperately wanted to see what was going on” (2)Robert Jacks: “the dream of something else. New York is a dream for lots of people” (21)Bruce Latimer: “I’d always been interested in America, New York in particular” (34)Jeffrey Smart: “Australia seemed to be very dull and isolated, and Italy seemed to be thrilling and modern” (50)Clement Meadmore: “I never had much to do with what was happening in Melbourne: I was never accepted there” (66)Stelarc: “I was interested in traditional Japanese art and the philosophy of Zen” (80)Robert Hughes: “I’d written everything that I’d wanted to write about Australian art and this really dread prospect was looming up of staying in Australia for the rest of one’s life” (128)Max Hutchison: “I quickly realised that Melbourne was a non-art consuming city” (158)John Stringer: “I was not getting the latitude that I wanted at the National Gallery [in Australia] … the prospects of doing other good shows seemed rather slim” (178)As the testimony here suggests, the allure of the north ranges from dissatisfaction with the south to the attraction of various parts of the world in the north.More recently, McAuliffe describes a shift in the impact of the overseas experience for many artists. Describing them as business travellers, he refers to the fact that artists today travel to meet international art dealers and to participate in exhibitions, art fairs and the like. Further, he argues that the risk today lies in “disorientation and distraction rather than provincial timidity” (McAuliffe 56). That is, given the ease and relatively cheap costs of international travel, McAuliffe argues that the challenge is in adapting to constantly changing circumstances, rather than what are now arguably dated concepts of cultural cringe or tyranny of distance. Further, given the combination of “cultural nationalism, social cosmopolitanism and information technology”, McAuliffe (58) argues that the need to expatriate is no longer a requirement for success.Australian Art Struggles InternationallyThe struggles for Australian art as a sector to succeed internationally, particularly in Britain, Europe and the US, are well documented (Frost; Robertson). This is largely due to Australia’s limited history of white settlement and established canon of great art works, the fact that power and position remain strong hence the dominance of Europe and North America in the creative arts field (Bourdieu), as well as Australia’s geographical isolation from the major art centres of the world, with Heartney (63) describing the “persistent sense of isolation of the Australian art world”. While Australia has had considerable success internationally in terms of its popular music (e.g. INXS, Kylie Minogue, The Seekers) and high-profile Hollywood actors (e.g. Geoffrey Rush, Hugh Jackman, Nicole Kidman), the visual arts in particular have struggled (O’Sullivan), including the Indigenous visual arts subsector (Stone). One of the constant criticisms in the visual art world is that Australian art is too focussed on place (e.g. the Australian outback) and not global art movements and trends (Robertson). While on the one hand he argues that Australian visual artists have made some inroads and successes in the international market, McAuliffe (63) tempers this with the following observation:Australian artists don’t operate at the white-hot heart of the international art market: there are no astronomical prices and hotly contested bidding wars. International museums acquire Australian art only rarely, and many an international survey exhibition goes by with no Australian representation.The Push to Sell Australian Cultural Product in the NorthWriting in the mid-nineties at the time of the release of the national cultural policy Creative Nation, the then prime minister Paul Keating identified a need for Australia as a nation to become more competitive internationally in terms of cultural exports. This is a theme that continues today. Recent decades have seen several attempts to promote Australian visual art overseas and in particular Indigenous art; this has come with mixed success. However, there have been misconceptions in the past and hence numerous challenges associated with promoting and selling Aboriginal art in international markets (Wright). One of the problems is that a lot of Europeans “have often seen bad examples of Aboriginal Art” (Anonymous 69) and it is typically the art work which travels north, less so the Indigenous artists who create them and who can talk to them and engage with audiences. At the same time, the Indigenous art sector remains a major contributor to the Australian art economy (Australia Council). While there are some examples of successful Australian art managers operating galleries overseas in such places as London and in the US (Anonymous-b), these are limited and many have had to struggle to gain recognition for their artists’ works.Throsby refers to the well-established fact that the international art market predominantly resides in the US and in Europe (including Britain). Further, Throsby (64) argues that breaking into this market “is a daunting task requiring resources, perseverance, a quality product, and a good deal of luck”. Referring specifically to Indigenous Australian art, Throsby (65) reveals how leading European fairs such as those at Basel and Cologne, displaying breath-taking ignorance if not outright stupidity, have vetoed Aboriginal works on the grounds that they are folk art. This saga continues to the present day, and it still remains to be seen whether these fairs will eventually wake up to themselves.It is also presented in an issue of Artlink that the “challenge is to convince European buyers of the value of Australian art, even though the work is comparatively inexpensive” (Anonymous 69). Is the Rite of Passage Relevant in the 21st Century?Some authors challenge the notion that the rite of passage to the northern hemisphere is a requirement for success for an Australian artist (Frost). This challenge is worthy of unpacking in the second decade of the twenty-first century, and particularly so in what is being termed the Asian century (Bice and Sullivan; Wesley). Firstly, Australia is far closer to Asia than it is to Europe and North America. Secondly, the Asian population is expected to continue to experience rapid economic and population growth, for example the rise of the middle class in China, potentially representing new markets for the consumption of creative product. Lee and Lim refer to the rapid economic modernisation and growth in East Asia (Japan to Singapore). Hence, given the struggles that are often experienced by Australian artists and dealers in attempting to break into the art markets of Europe and North America, it may be more constructive to look towards Asia as an alternative north and place for Australian creative product. Fourthly, many Asian countries are investing heavily in their creative industries and creative economy (Kim and Kim; Kong), hence representing an opportune time for Australian creative practitioners to explore new connections and partnerships.In the first half of the twentieth century, Australians felt compelled to travel north to Europe, especially, if they wanted to engage with the great art teachers, galleries and art works. Today, with the impact of technology, engaging with the art world can be achieved much more readily and quickly, through “increasingly transnational forms of cultural production, distribution and consumption” (Rowe et al. 8). This recent wave of technological development has been significant (Guerra and Kagan), in relation to online communication (e.g. skype, email), social media (e.g. Facebook, Twitter) as well as content available on the Web for both informal and formal learning purposes. Artists anywhere in the world can now connect online while also engaging with what is an increasing field of virtual museums and galleries. For example, the Tate Gallery in London has over 70,000 artworks in its online art database which includes significant commentary on each work. While online engagement does not necessarily enable an individual to have the lived experience of a gallery walk-through or to be an audience member at a live performance in an outstanding international venue, online technologies have made it much easier for developing artists to engage from anywhere in the world. This certainly makes the ‘tyranny of distance’ factor relevant to Australia somewhat more manageable.There is also a developing field of research citing the importance of emerging artists displaying enterprising and/or entrepreneurial skills (Bridgstock), in the context of a rapidly changing global arts sector. This broadly refers to the need for artists to have business skills, to be able to seek out and identify opportunities, as well as manage multiple projects and/or various streams of income in what is a very different career type and pathway (Beckman; Bridgstock and Cunningham; Hennekam and Bennett). These opportunity seeking skills and agentic qualities have also been cited as critical in relation to the fact that there is not only a major oversupply of artistic labour globally (Menger), but there is a growing stream of entrants to the global higher education tertiary arts sector that shows no signs of subsiding (Daniel). Concluding RemarksAustralia’s history features a strong relationship with and influences from the north, and in particular from Britain, Europe and North America. This remains the case today, with much of Australian society based on inherited models from Britain, be this in the art world or in such areas as the law and education. As well as a range of cultural and sentimental links with this north, Australia is sometimes considered to be a satellite of European civilisation in the Asia-Pacific region. It is therefore explicable why artists might continue this longstanding relationship with this particular north.In our interesting and complex present of the early twenty-first century, Australia is hampered by the lack of any national cultural policy as well as recent significant cuts to arts funding at the national and state levels (Caust). Nevertheless, there are opportunities to be further explored in relation to the changing patterns of production and consumption of creative content, the impact of new and next technologies, as well as the rise of Asia in the Asian Century. The broad field of the arts and artists is a rich area for ongoing research and inquiry and ultimately, Australia’s links to the north including the concept of the rite of passage deserves ongoing consideration.ReferencesAnonymous a. "Outposts: The Case of the Unofficial Attache." Artlink 18.4 (1998): 69–71.Anonymous b. "Who’s Selling What to Whom: Australian Dealers Taking Australian Art Overseas." Artlink 18. 4 (1998): 66–68.Australia Council for the Arts. Arts Nation: An Overview of Australian Arts. 2015. <http://www.australiacouncil.gov.au/workspace/uploads/files/arts-nation-final-27-feb-54f5f492882da.pdf>.Beckman, Gary D. "'Adventuring' Arts Entrepreneurship Curricula in Higher Education: An Examination of Present Efforts, Obstacles, and Best Practices." The Journal of Arts Management, Law, and Society 37.2 (2007): 87–112.Bice, Sara, and Helen Sullivan. "Abbott Government May Have New Rhetoric, But It’s Still the ‘Asian Century’." The Conversation 2013. <https://theconversation.com/abbott-government-may-have-new-rhetoric-but-its-still-the-asian-century-19769>.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Routledge & Kegan Paul, 1984.Bridgstock, Ruth. "Not a Dirty Word: Arts Entrepreneurship and Higher Education." Arts and Humanities in Higher Education 12.2–3 (2013,): 122–137. doi:10.1177/1474022212465725.———, and Stuart Cunningham. "Creative Labour and Graduate Outcomes: Implications for Higher Education and Cultural Policy." International Journal of Cultural Policy 22.1 (2015): 10–26. doi:10.1080/10286632.2015.1101086.Britain, Ian. Once an Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes. Oxford: Oxford UP, 1997.Caust, Josephine. "Cultural Wars in an Australian Context: Challenges in Developing a National Cultural Policy." International Journal of Cultural Policy 21.2 (2015): 168–182. doi:10.1080/10286632.2014.890607.Cooper, Roslyn Pesman. "Some Australian Italies." Westerly 39.4 (1994): 95–104.Daniel, Ryan, and Robert Johnstone. "Becoming an Artist: Exploring the Motivations of Undergraduate Students at a Regional Australian University". Studies in Higher Education 42.6 (2017): 1015-1032.De Groen, Geoffrey. Some Other Dream: The Artist the Artworld & the Expatriate. Hale & Iremonger, 1984.Frost, Andrew. "Do Young Australian Artists Really Need to Go Overseas to Mature?" The Guardian, 9 Oct. 2013. <https://www.theguardian.com/culture/australia-culture-blog/2013/oct/09/1https://www.theguardian.com/culture/australia-culture-blog/2013/oct/09/1, July 20, 2016>.Guerra, Paula, and Sacha Kagan, eds. Arts and Creativity: Working on Identity and Difference. Porto: University of Porto, 2016.Heartney, Eleanor. "Identity and Locale: Four Australian Artists." Art in America 97.5 (2009): 63–68.Hecq, Dominique. "'Flying Up for Air: Australian Artists in Exile'." Commonwealth (Dijon) 22.2 (2000): 35–45.Hennekam, Sophie, and Dawn Bennett. "Involuntary Career Transition and Identity within the Artist Population." Personnel Review 45.6 (2016): 1114–1131.Inkson, Kerr, and Stuart C. Carr. "International Talent Flow and Careers: An Australasian Perspective." Australian Journal of Career Development 13.3 (2004): 23–28.Keating, P.J. "Exports from a Creative Nation." Media International Australia 76.1 (1995): 4–6.Kim, Jeong-Gon, and Eunji Kim. "Creative Industries Internationalization Strategies of Selected Countries and Their Policy Implications." KIEP Research Paper. World Economic Update-14–26 (2014). <https://ssrn.com/abstract=2488416>.Kong, Lily. "From Cultural Industries to Creative Industries and Back? Towards Clarifying Theory and Rethinking Policy." Inter-Asia Cultural Studies 15.4 (2014): 593–607.Lee, H., and Lorraine Lim. Cultural Policies in East Asia: Dynamics between the State, Arts and Creative Industries. Springer, 2014.McAuliffe, Chris. "Living the Dream: The Contemporary Australian Artist Abroad." Meanjin 71.3 (2012): 56–61.Menger, Pierre-Michel. "Artistic Labor Markets and Careers." Annual Review of Sociology 25.1 (1999): 541–574.O’Sullivan, Jane. "Why Australian Artists Find It So Hard to Get International Recognition." AFR Magazine, 2016.Robertson, Kate. "Yes, Capon, Australian Artists Have Always Thought about Place." The Conversation, 2014. <https://theconversation.com/yes-capon-australian-artists-have-always-thought-about-place-31690>.Rowe, David, et al. "Transforming Cultures? From Creative Nation to Creative Australia." Media International Australia 158.1 (2016): 6–16. doi:10.1177/1329878X16629544.Stone, Deborah. "Presenters Reject Indigenous Arts." ArtsHub, 2016. <http://www.artshub.com.au/news-article/news/audience-development/deborah-stone/presenters-reject-indigenous-arts-252075?utm_source=ArtsHub+Australia&utm_campaign=7349a419f3-UA-828966-1&utm_medium=email&utm_term=0_2a8ea75e81-7349a419f3-302288158>.Throsby, David. "Get Out There and Sell: The Visual Arts Export Strategy, Past, Present and Future." Artlink 18.4 (1998): 64–65.Wesley, Michael. "In Australia's Third Century after European Settlement, We Must Rethink Our Responses to a New World." The Conversation, 2015. <https://theconversation.com/in-australias-third-century-after-european-settlement-we-must-rethink-our-responses-to-a-new-world-46671>.Wright, Felicity. "Passion, Rich Collectors and the Export Dollar: The Selling of Aboriginal Art Overseas." Artlink 18.4 (1998): 16.

In August 2006 the LiveJournal (hereafter LJ) community sga_flashfic posted its bimonthly challenge: a “Mission Report” challenge. Challenge communities are fandom-specific sites where moderators pick a theme or prompt to which writers respond and then post their specific fan works. The terms of this challenge were to encourage participants to invent a new mission and create a piece of fan fiction in the form of a mission report from the point of view of the Stargate Atlantis team of explorers. As an alternative possibility, and this is where the trouble started, the challenge also allowed to “take another author’s story and write a report” of its mission. Moderator Cesperanza then explained, “if you choose to write a mission report of somebody else’s story, we’ll ask you to credit them, but we won’t require you to ask their permission” (sga_flashfic LJ, 21 Aug. 2006, emphasis added). Whereas most announcement posts would only gather a few comments, this reached more than a hundred responses within hours, mostly complaints. Even though the community administrators quickly backtracked and posted a revision of the challenge not 12 hours later, the fannish LiveJournal sphere debated the challenge for days, reaching far beyond the specific fandom of Stargate Atlantis to discuss the ethical questions surrounding fannish appropriation and remix. At the center of the debate were the last eight words: “we won’t require you to ask their permission.” By encouraging fans to effectively write fan fiction of fan fiction and by not requiring permission, the moderators had violated an unwritten norm within this fannish community. Like all fan communities, western media fans have developed internal rules covering everything from what to include in a story header to how long to include a spoiler warning following aired episodes (for a definition and overview of western media fandom, see Coppa). In this example, the mods violated the fannish prohibition against the borrowing of original characters, settings, plot points, or narrative structures from other fan writers without permission—even though as fan fiction, the source of the inspiration engages in such borrowing itself. These kinds of normative rules can be altered, of course, but any change requires long and involved discussions. In this essay, we look at various debates that showcase how this fan community—media fandom on LiveJournal—creates and enforces but also discusses and changes its normative behavior. Fan fiction authors’ desire to prevent their work from being remixed may seem hypocritical, but we argue that underlying these conversations are complex negotiations of online privacy and control, affective aesthetics, and the value of fan labor. This is not to say that all fan communities address issues of remixing in the same way media fandom at this point in time did nor to suggest that they should; rather, we want to highlight a specific community’s internal ethics, the fervor with which members defend their rules, and the complex arguments that evolve from all sides when rules are questioned. Moreover, we suggest that these conversations offer insight into the specific relation many fan writers have to their stories and how it may differ from a more universal authorial affect. In order to fully understand the underlying motivations and the community ethos that spawned the sga_flashfic debates, we first want to differentiate between forms of unauthorised (re)uses and the legal, moral, and artistic concerns they create. Only with a clear definition of copyright infringement and plagiarism, as well as a clear understanding of who is affected (and in what ways) in any of these cases, can we fully understand the social and moral intersection of fan remixing of fan fiction. Only when sidestepping the legal and economic concerns surrounding remix can we focus on the ethical intricacies between copyright holders and fan writers and, more importantly, within fan communities. Fan communities differ greatly over time, between fandoms, and even depending on their central social interfaces (such as con-based zines, email-based listservs, journal-based online communities, etc.), and as a result they also develop a diverse range of internal community rules (Busse and Hellekson, “Works”; Busker). Much strife is caused when different traditions and their associated mores intersect. We’d argue, however, that the issues in the case of the Stargate Atlantis Remix Challenge were less the confrontation of different communities and more the slowly changing attitudes within one. In fact, looking at media fandom today, we may already be seeing changed attitudes—even as the debates continue over remix permission and unauthorised use. Why Remixes Are Not Copyright Infringement In discussing the limits of unauthorised use, it is important to distinguish plagiarism and copyright violation from forms of remix. While we are more concerned with the ethical issues surrounding plagiarism, we want to briefly address copyright infringement, simply because it often gets mixed into the ethics of remixes. Copyright is strictly defined as a matter of law; in many of the online debates in media fandom, it is often further restricted to U.S. Law, because a large number of the source texts are owned by U.S. companies. According to the U.S. Constitution (Article I, Section 8), Congress has the power to secure an “exclusive Right” “for limited Times.” Given that intellectual property rights have to be granted and are limited, legal scholars read this statute as a delicate balance between offering authors exclusive rights and allowing the public to flourish by building on these works. Over the years, however, intellectual property rights have been expanded and increased at the expense of the public commons (Lessig, Boyle). The main exception to this exclusive right is the concept of “fair use,” defined as use “for purposes such as criticism, comment, news reporting, teaching..., scholarship, or research” (§107). Case law circumscribes the limits of fair use, distinguishing works that are merely “derivative” from those that are “transformative” and thus add value (Chander and Sunder, Fiesler, Katyal, McCardle, Tushnet). The legal status of fan fiction remains undefined without a specific case that would test the fair use doctrine in regards to fan fiction, yet fair use and fan fiction advocates argue that fan fiction should be understood as eminently transformative and thus protected under fair use. The nonprofit fan advocacy group, the Organization for Transformative Works, in fact makes clear its position by including the legal term in their name, reflecting a changing understanding of both fans and scholars. Why Remixes Are Not Plagiarism Whereas copyright infringement is a legal concept that punishes violations between fan writers and commercial copyright holders, plagiarism instead is defined by the norms of the audience for which a piece is written: definitions of plagiarism thus differ from academic to journalist to literary contexts. Within fandom one of the most blatant (and most easily detectable) forms of plagiarism is when a fan copies another work wholesale and publishes it under their own name, either within the same fandom or by simply searching and replacing names to make it fit another fandom. Other times, fan writers may take selections of published pro or fan fiction and insert them into their works. Within fandom accusations of plagiarism are taken seriously, and fandom as a whole polices itself with regards to plagiarism: the LiveJournal community stop_plagiarism, for example, was created in 2005 specifically to report and pursue accusations of plagiarism within fandom. The community keeps a list of known plagiarisers that include the names of over 100 fan writers. Fan fiction plagiarism can only be determined on a case-by-case basis—and fans remain hypervigilant simply because they are all too often falsely accused as merely plagiarising when instead they are interpreting, translating, and transforming. There is another form of fannish offense that does not actually constitute plagiarism but is closely connected to it, namely the wholesale reposting of stories with attributions intact. This practice is frowned upon for two main reasons. Writers like to maintain at least some control over their works, often deriving from anxieties over being able to delete one’s digital footprint if desired or necessary. Archiving stories without authorial permission strips authors of this ability. More importantly, media fandom is a gift economy, in which labor is not reimbursed economically but rather rewarded with feedback (such as comments and kudos) and the growth of a writer’s reputation (Hellekson, Scott). Hosting a story in a place where readers cannot easily give thanks and feedback to the author, the rewards for the writer’s fan labor are effectively taken from her. Reposting thus removes the story from the fannish gift exchange—or, worse, inserts the archivist in lieu of the author as the recipient of thanks and comments. Unauthorised reposting is not plagiarism, as the author’s name remains attached, but it tends to go against fannish mores nonetheless as it deprives the writer of her “payment” of feedback and recognition. When Copyright Holders Object to Fan Fiction A small group of professional authors vocally proclaim fan fiction as unethical, illegal, or both. In her “Fan Fiction Rant” Robin Hobbs declares that “Fan fiction is to writing what a cake mix is to gourmet cooking” and then calls it outright theft: “Fan fiction is like any other form of identity theft. It injures the name of the party whose identity is stolen.” Anne Rice shares her feelings about fan fiction on her web site with a permanent message: “I do not allow fan fiction. The characters are copyrighted. It upsets me terribly to even think about fan fiction with my characters. I advise my readers to write your own original stories with your own characters. It is absolutely essential that you respect my wishes.” Diana Gabaldon calls fan fiction immoral and describes, “it makes me want to barf whenever I’ve inadvertently encountered some of it involving my characters.” Moreover, in a move shared by other anti-fan fiction writers, she compares her characters to family members: “I wouldn’t like people writing sex fantasies for public consumption about me or members of my family—why would I be all right with them doing it to the intimate creations of my imagination and personality?” George R.R. Martin similarly evokes familial intimacy when he writes, “My characters are my children, I have been heard to say. I don’t want people making off with them.” What is interesting in these—and other authors’—articulations of why they disapprove of fan fiction of their works is that their strongest and ultimate argument is neither legal nor economic reasoning but an emotional plea: being a good fan means coloring within the lines laid out by the initial creator, putting one’s toys back exactly as one found them, and never ever getting creative or transformative with them. Many fan fiction writers respect these wishes and do not write in book fandoms where the authors have expressed their desires clearly. Sometimes entire archives respect an author’s desires: fanfiction.net, the largest repository of fic online, removed all stories based on Rice’s work and does not allow any new ones to be posted. However, fandom is a heterogeneous culture with no centralised authority, and it is not difficult to find fic based on Rice’s characters and settings if one knows where to look. Most of these debates are restricted to book fandoms, likely for two reasons: (1) film and TV fan fiction alters the medium, so that there is no possibility that the two works might be mistaken for one another; and (2) film and TV authorship tends to be collaborative and thus lowers the individual sense of ownership (Mann, Sellors). How Fannish Remixes Are like Fan Fiction Most fan fiction writers strongly dismiss accusations of plagiarism and theft, two accusations that all too easily are raised against fan fiction and yet, as we have shown, such accusations actually misdefine terms. Fans extensively debate the artistic values of fan fiction, often drawing from classical literary discussions and examples. Clearly echoing Wilde’s creed that “there is no such thing as a moral or immoral book,” Kalichan, for example, argues in one LJ conversation that “whenever I hear about writers asserting that other writing is immoral, I become violently ill. Aside from this, morality & legality are far from necessarily connected. Lots of things are immoral and legal, illegal and moral and so on, in every permutation imaginable, so let’s just not confuse the two, shall we” (Kalichan LJ, 3 May 2010). Aja Romano concludes an epic list of remixed works ranging from the Aeneid to The Wind Done Gone, from All’s Well That Ends Well to Wicked with a passionate appeal to authors objecting to fan fiction: the story is not defined by the barriers you place around it. The moment you gave it to us, those walls broke. You may hate the fact people are imagining more to your story than what you put there. But if I were you, I’d be grateful that I got the chance to create a story that has a culture around it, a story that people want to keep talking about, reworking, remixing, living in, fantasizing about, thinking about, writing about. (Bookshop LJ, 3 May 2010)Many fan writers view their own remixes as part of a larger cultural movement that appropriates found objects and culturally relevant materials to create new things, much like larger twentieth century movements that include Dada and Pop Art, as well as feminist and postcolonial challenges to the literary canon. Finally, fan fiction partakes in 21st century ideas of social anarchy to create a cultural creative commons of openly shared ideas. Fan Cupidsbow describes strong parallels and cross-connection between all sorts of different movements, from Warhol to opensource, DeviantArt to AMV, fanfiction to mashups, sampling to critique and review. All these things are about how people are interacting with technology every day, and not just digital technology, but pens and paper and clothes and food fusions and everything else. (Cupidsbow LJ, 20 May 2009) Legally, of course, these reuses of collectively shared materials are often treated quite differently, which is why fan fiction advocates often maintain that all remixes be treated equally—regardless of whether their source text is film, TV, literature, or fan fiction. The Archive of Our Own, a project of the Organization for Transformative Works, for example, does not distinguish in its Content and Abuse Policy section between commercial and fan works in regard to plagiarism and copyright. Returning to the initial case of the Stargate Atlantis Mission Report Challenge, we can thus see how the moderator clearly positions herself within a framework that considers all remixes equally remixable. Even after changing the guidelines to require permission for the remixing of existing fan stories, moderator Cesperanza notes that she “remain[s] philosophically committed to the idea that people have the right to make art based on other art provided that due credit is given the original artist” (sga_flashfic LJ, 21 Aug. 2006). Indeed, other fans agree with her position in the ensuing discussions, drawing attention to the hypocrisy of demanding different rules for what appears to be the exact same actions: “So explain to me how you can defend fanfiction as legitimate derivative work if it’s based on one type of source material (professional writing or TV shows), yet decry it as ‘stealing’ and plagiarism if it’s based on another type of source material (fanfiction)” (Marythefan LJ, 21 Aug. 2006). Many fans assert that all remixes should be tolerated by the creators of their respective source texts—be they pro or fan. Fans expect Rowling to be accepting of Harry Potter’s underage romance with a nice and insecure Severus Snape, and they expect Matthew Weiner to be accepting of stories that kill off Don Draper and have his (ex)wives join a commune together. So fans should equally accept fan fiction that presents the grand love of Rodney McKay and John Sheppard, the most popular non-canonical fan fiction pairing on Stargate Atlantis, to be transformed into an abusive and manipulative relationship or rewritten with one of them dying tragically. Lydiabell, for example, argues that “there’s [no]thing wrong with creating a piece of art that uses elements of another work to create something new, always assuming that proper credit is given to the original... even if your interpretation is at odds with everything the original artist wanted to convey” (Lydiabell LJ, 22 Aug. 2006). Transforming works can often move them into territory that is critical of the source text, mocks the source text, rearranges relationships, and alters characterisations. It is here that we reach the central issue of this article: many fans indeed do view intrafandom interactions as fundamentally different to their interactions with professional authors or commercial entertainment companies. While everyone agrees that there are no legal, economic, or even ultimately moral arguments to be made against remixing fan fiction (because any such argument would nullify the fan’s right to create their fan fiction in the first place), the discourses against open remixing tend to revolve around community norms, politeness, and respect. How Fannish Remixes Are Not like Fan Fiction At the heart of the debate lie issues of community norms: taking another fan’s stories as the basis for one’s own fiction is regarded as a violation of manners, at least the way certain sections of the community define them. This, in fact, is not unlike the way many fan academics engage with fandom research. While it may be perfectly legal to directly cite fans’ blog posts, and while it may even be in compliance with institutional ethical research requirements (such as Internal Review Boards at U.S. universities), the academic fan writing about her own community may indeed choose to take extra precautions to protect herself and that community. As Kristina Busse and Karen Hellekson have argued, fan studies often exists at the intersection of language and social studies, and thus written text may simultaneously be treated as artistic works and as utterances by human subjects (“Identity”). In this essay (and elsewhere), we thus limit direct linking into fannish spaces, instead giving site, date, and author, and we have consent from all fans we cite in this essay. The community of fans who write fic in a particular fandom is relatively small, and most of them are familiar with each other, or can trace a connection via one or two degrees of separation only. While writing fan fiction about Harry Potter may influence the way you and your particular circle of friends interpret the novels, it is unlikely to affect the overall reception of the work. During the remix debate, fan no_pseud articulates the differing power dynamic: When someone bases fanfic on another piece of fanfic, the balance of power in the relationship between the two things is completely different to the relationship between a piece of fanfic and the canon source. The two stories have exactly equal authority, exactly equal validity, exactly equal ‘reality’ in fandom. (nopseud LJ, 21 Aug. 2006) Within fandom, there are few stories that have the kind of reach that professional fiction does, and it is just as likely that a fan will come across an unauthorised remix of a piece of fan fiction as the original piece itself. In that way, the reception of fan fiction is more fragile, and fans are justifiably anxious about it. In a recent conversation about proper etiquette within Glee fandom, fan writer flaming_muse articulates her reasons for expecting different behavior from fandom writers who borrow ideas from each other: But there’s a huge difference between fanfic of media and fanfic of other fanfic authors. Part of it is a question of the relationship of the author to the source material … but part of it is just about not hurting or diminishing the other creative people around you. We aren’t hurting Glee by writing fic in their ‘verse; we are hurting other people if we write fanfic of fanfic. We’re taking away what’s special about their particular stories and all of the work they put into them. (Stoney321 LJ, 12 Feb. 2012)Flaming_muse brings together several concepts but underlying all is a sense of community. Thus she equates remixing within the community without permission as a violation of fannish etiquette. The sense of community also plays a role in another reason given by fans who prefer permission, which is the actual ease of getting it. Many fandoms are fairly small communities, which makes it more possible to ask for permission before doing a translation, adaptation, or other kind of rewrite of another person’s fic. Often a fan may have already given feedback to the story or shared some form of conversation with the writer, so that requesting permission seems fairly innocuous. Moreover, fandom is a community based on the economy of gifting and sharing (Hellekson), so that etiquette becomes that much more important. Unlike pro authors who are financially reimbursed for their works, feedback is effectively a fan writer’s only payment. Getting comments, kudos, or recommendations for their stories are ways in which readers reward and thank the writers for their work. Many fans feel that a gift economy functions only through the goodwill of all its participants, which remixing without permission violates. How Fan Writing May Differ From Pro Writing Fans have a different emotional investment in their creations, only partially connected to writing solely for love (as opposed to professional writers who may write for love but also write for their livelihood in the best-case scenarios). One fan, who writes both pro and fan fiction, describes her more distanced emotional involvement with her professional writing as follows, When I’m writing for money, I limit my emotional investment in the material I produce. Ultimately what I am producing does not belong to me. Someone else is buying it and I am serving their needs, not my own. (St_Crispins LJ, 27 Aug. 2006)The sense of writing for oneself as part of a community also comes through in a comment by pro and fan writer Matociquala, who describes the specificity and often quite limited audience of fan fiction as follows: Fanfiction is written in the expectation of being enjoyed in an open membership but tight-knit community, and the writer has an expectation of being included in the enjoyment and discussion. It is the difference, in other words, between throwing a fair on the high road, and a party in a back yard. Sure, you might be able to see what’s going on from the street, but you’re expected not to stare. (Matociquala LJ, 18 May 2006)What we find important here is the way both writers seem to suggest that fan fiction allows for a greater intimacy and immediacy on the whole. So while not all writers write to fulfill (their own or other’s) emotional and narrative desires, this seems to be more acceptable in fan fiction. Intimacy, i.e., the emotional and, often sexual, openness and vulnerability readers and writers exhibit in the stories and surrounding interaction, can thus constitute a central aspect for readers and writers alike. Again, none of these aspects are particular to fan fiction alone, but, unlike in much other writing, they are such a central component that the stories divorced from their context—textual, social, and emotional—may not be fully comprehensible. In a discussion several years ago, Ellen Fremedon coined the term Id Vortex, by which she refers to that very tailored and customised writing that caters to the writers’ and/or readers’ kinks, that creates stories that not only move us emotionally because we already care about the characters but also because it uses tropes, characterisations, and scenes that appeal very viscerally: In fandom, we’ve all got this agreement to just suspend shame. I mean, a lot of what we write is masturbation material, and we all know it, and so we can’t really pretend that we’re only trying to write for our readers’ most rarefied sensibilities, you know? We all know right where the Id Vortex is, and we have this agreement to approach it with caution, but without any shame at all. (Ellen Fremedon LJ, 2 Dec. 2004)Writing stories for a particular sexual kink may be the most obvious way fans tailor stories to their own (or others’) desires, but in general, fan stories often seem to be more immediate, more intimate, more revealing than most published writing. This attachment is only strengthened by fans’ immense emotional attachment to the characters, as they may spend years if not decades rewatching their show, discussing all its details, and reading and writing stories upon stories. From Community to Commons These norms and mores continue to evolve as fannish activity becomes more and more visible to the mainstream, and new generations of fans enter fandom within a culture where media is increasingly spreadable across social networks and all fannish activity is collectively described and recognised as “fandom” (Jenkins, Ford, and Green). The default mode of the mainstream often treats “found” material as disseminable, and interfaces encourage such engagement by inviting users to “share” on their collection of social networks. As a result, many new fans see remixing as not only part of their fannish right, but engage in their activity on platforms that make sharing with or without attribution both increasingly easy and normative. Tumblr is the most recent and obvious example of a platform in which reblogging other users’ posts, with or without commentary, is the normative mode. Instead of (or in addition to) uploading one’s story to an archive, a fan writer might post it on Tumblr and consider reblogs as another form of feedback. In fact, our case study and its associated differentiation of legal, moral, and artistic justifications for and against remixing fan works, may indeed be an historical artifact in its own right: media fandom as a small and well-defined community of fans with a common interest and a shared history is the exception rather than the norm in today’s fan culture. When access to stories and other fans required personal initiation, it was easy to teach and enforce a community ethos. Now, however, fan fiction tops Google searches for strings that include both Harry and Draco or Spock and Uhura, and fan art is readily reblogged by sites for shows ranging from MTV’s Teen Wolf to NBC’s Hannibal. Our essay thus must be understood as a brief glimpse into the internal debates of media fans at a particular historical juncture: showcasing not only the clear separation media fan writers make between professional and fan works, but also the strong ethos that online communities can hold and defend—if only for a little while. References Boyle, James. The Public Domain: Enclosing the Commons of the Mind. Ithaca: Yale University Press, 2008. Busker, Rebecca Lucy. “On Symposia: LiveJournal and the Shape of Fannish Discourse.” Transformative Works and Cultures 1 (2008). http://journal.transformativeworks.org/index.php/twc/article/view/49. Busse, Kristina, and Karen Hellekson. “Work in Progress.” In Karen Hellekson and Kristina Busse, eds., Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson, N.C.: McFarland, 2006. 5–40. Busse, Kristina, and Karen Hellekson. “Identity, Ethics, and Fan Privacy.” In Katherine Larsen and Lynn Zubernis, eds., Fan Culture: Theory/Practice. Newcastle upon Tyne: Cambridge Scholars Publishing, 2012. 38-56. Chander, Anupam, and Madhavi Sunder. “Everyone’s a Superhero: A Cultural Theory of ‘Mary Sue’ Fan Fiction as Fair Use.” California Law Review 95 (2007): 597-626. Coppa, Francesca. “A Brief History of Media Fandom.” In Karen Hellekson and Kristina Busse, eds., Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson, N.C.: McFarland, 2006. 41–59. Fiesler, Casey. “Everything I Need to Know I Learned from Fandom: How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content.” Vanderbilt Journal of Entertainment and Technology Law 10 (2008): 729-62. Gabaldon, Diana. “Fan Fiction and Moral Conundrums.” Voyages of the Artemis. Blog. 3 May 2010. 7 May 2010 http://voyagesoftheartemis.blogspot.com/2010/05/fan-fiction-and-moral-conundrums.html. Hellekson, Karen. “A Fannish Field of Value: Online Fan Gift Culture.” Cinema Journal 48.4 (2009): 113–18. Hobbs, Robin. “The Fan Fiction Rant.” Robin Hobb’s Home. 2005. 14 May 2006 http://www.robinhobb.com/rant.html. Jenkins, Henry, Sam Ford, and Joshua Green. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press, 2013. Katyal, Sonia. “Performance, Property, and the Slashing of Gender in Fan Fiction.” Journal of Gender, Social Policy, and the Law 14 (2006): 463-518. Lessig, Lawrence. Remix: Making Art and Commerce Thrive in a Hybrid Economy. New York: Penguin, 2008. Mann, Denise. “It’s Not TV, It’s Brand Management.” In Vicki Mayer, Miranda Banks, and John Thornton Caldwell, eds., Production Studies: Cultural Studies of Media Industries. New York: Routledge, 2009. 99-114. Martin, George R.R. “Someone is Angry on the Internet.” LiveJournal. 7 May 2010. 15 May 2013. http://grrm.livejournal.com/151914.html. McCardle, Meredith. “Fandom, Fan Fiction and Fanfare: What’s All the Fuss?” Boston University Journal of Science and Technology Law 9 (2003): 443-68. Rice, Anne. “Important Message From Anne on ‘Fan Fiction’.” n.d. 15 May 2013. http://www.annerice.com/readerinteraction-messagestofans.html. Scott, Suzanne. “Repackaging Fan Culture: The Regifting Economy of Ancillary Content Models.” Transformative Works and Cultures 3 (2009). http://dx.doi.org/10.3983/twc.2009.0150. Sellors, C. Paul. Film Authorship: Auteurs and Other Myths. London: Wallflower, 2010. Tushnet, Rebecca. “Copyright Law, Fan Practices, and the Rights of the Author.” In Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington, eds., Fandom: Identities and Communities in a Mediated World. New York: New York University Press, 2007. 60-71.

Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction within it. Reality television offers a different perspective. Like drama it uses the plot device of a mentor character to heighten the story arc, but instead of focusing on knowledge-based portrayals (Gadamer 112) of the mentor and mentee, the emphasis is instead on the mentee’s quest for ascension. In attempting to transcend their unknownness (Boorstin) contestants aim to penetrate an exclusive creative class (Florida). Populated by celebrity chefs, businessmen, entertainers, fashionistas, models, socialites and talent judges (to name a few), this class seemingly adds authenticity to ‘competitions’ and other formats. While the mentor’s role, on the surface, is to provide divine knowledge and facilitate the journey, a different agenda is evident in the ways carefully scripted (Booth) dialogue heightens the drama through effusive praise (New York Daily News) and “tactless” (Woodward), humiliating (Hirschorn; Winant 69; Woodward) and cruel sentiments. From a screen narrative point of view, this takes reality television as ‘storytelling’ (Aggarwal; Day; Hirschorn; “Reality Writer”; Rupel; Stradal) into very different territory. The contrived and later edited (Crouch; Papacharissi and Mendelson 367) communication between mentor and mentee not only renders the relationship disingenuous, it compounds the primary ethical concerns of associated Schadenfreude (Balasubramanian, Forstie and van den Scott 434; Cartwright), and the severe financial inequality (Andrejevic) underpinning a multi-billion dollar industry (Hamilton). As upward mobility and instability continue to be ubiquitously portrayed in 21st century reality entertainment under neoliberalism (Sender 4; Winant 67), it is with increasing frequency that we are seeing the systematic reinvention of the once significant cultural and historical role of the mentor. Mentor as Fictional Archetype and Communicator of ThemesDepictions of mentors can be found across the Western art canon. From the mythological characters of Telemachus’ Athena and Achilles’ Chiron, to King Arthur’s Merlin, Cinderella’s Fairy Godmother, Jim Hawkins’ Long John Silver, Frodo’s Gandalf, Batman’s Alfred and Marty McFly’s Doc Emmett Brown (among many more), the dramatic energy of the teacher, expert or supernatural aid (Vogler 39) has been timelessly powerful. Heroes, typically, engage with a mentor as part of their journey. Mentor types range extensively, from those who provide motivation, inspiration, training or gifts (Vogler), to those who may be dark or malevolent, or have fallen from grace (such as Michael Douglas’ Gordon Gekko in Wall Street 1987, or the ex-tribute Haymitch in The Hunger Games, 2012). A good drama usually complicates the relationship in some way, exploring initial reluctance from either party, or instances of tragedy (Vogler 11, 44) which may prevent the relationship achieving its potential. The intriguing twist of a fallen or malevolent mentor additionally invites the audience to morally analyze the ways the hero responds to what the mentor provides, and to question what our teachers or superiors tell us. In television particularly, long running series such as Mad Men have shown how a mentoring relationship can change over time, where “non-rational” characters (Buzzanell and D’Enbeau 707) do not necessarily maintain reciprocity or equality (703) but become subject to intimate, ambivalent and erotic aspects.As the mentor in fiction has deep cultural roots for audiences today, it is no wonder they are used, in a variety of archetypal capacities, in reality television. The dark Simon Cowell (of Pop Idol, American Idol, Britain’s Got Talent, America’s Got Talent and The X-Factor series) and the ‘villainous’ (Byrnes) Michelin-starred Marco Pierre White (Hell’s Kitchen, The Chopping Block, Marco Pierre White’s Kitchen Wars, MasterChef Australia, New Zealand, South Africa) provide reality writers with much needed antagonism (Rupel, Stradal). Those who have fallen from grace, or allowed their personal lives to play out in tabloid sagas such as Britney Spears (Marikar), or Caitlyn Jenner (Bissinger) provide different sources of conflict and intrigue. They are then counterbalanced with or repackaged as the good mentor. Examples of the nurturer who shows "compassion and empathy" include American Idol’s Paula Abdul (Marche), or the supportive Jennifer Hawkins in Next Top Model (Thompson). These distinctive characters help audiences to understand the ‘reality’ as a story (Crouch; Rupel; Stradal). But when we consider the great mentors of screen fiction, it becomes clear how reality television has changed the nature of story. The Karate Kid I (1984) and Good Will Hunting (1998) are two examples where mentoring is almost the exclusive focus, and where the experience of the characters differs greatly. In both films an initially reluctant mentor becomes deeply involved in the mentee’s project. They act as a special companion to the hero in the face of isolation, and, significantly, reveal a tragedy of their own, providing a nexus through which the mentee can access a deeper kind of truth. Not only are they flawed and ordinary people (they are not celebrities within the imagined worlds of the stories) who the mentee must challenge and learn to truly respect, they are “effecting and important” (Maslin) in reminding audiences of those hidden idiosyncrasies that open the barriers to friendship. Mentors in these stories, and many others, communicate themes of class, culture, talent, jealousy, love and loss which inform ideas about the ethical treatment of the ‘other’ (Gadamer). They ultimately prove pivotal to self worth, human confidence and growth. Very little of this thematic substance survives in reality television (see comparison of plots and contrasting modes of human engagement in the example of The Office and Dirty Jobs, Winant 70). Archetypally identifiable as they may be, mean judges and empathetic supermodels as characters are concerned mostly with the embodiment of perfection. They are flawless, untouchable and indeed most powerful when human welfare is at stake, and when the mentee before them faces isolation (see promise to a future ‘Rihanna’, X-Factor USA, Season 2, Episode 1 and Tyra Banks’ Next Top Model tirade at a contestant who had not lived up to her potential, West). If connecting with a mentor in fiction has long signified the importance of understanding of the past, of handing down tradition (Gadamer 354), and of our fascination with the elder, wiser other, then we can see a fundamental shift in narrative representation of mentors in reality television stories. In the past, as we have opened our hearts to such characters, as a facilitator to or companion of the hero, we have rehearsed a sacred respect for the knowledge and fulfillment mentors can provide. In reality television the ‘drama’ may evoke a fleeting rush of excitement at the hero’s success or failure, but the reality belies a pronounced distancing between mentor and mentee. The Creative Class: An Aspirational ParadigmThemes of ascension and potential fulfillment are also central to modern creativity discourse (Runco; Runco 672; United Nations). Seen as the driving force of the 21st century, creativity is now understood as much more than art, capable of bringing economic prosperity (United Nations) and social cohesion to its acme (United Nations xxiii). At the upper end of creative practice, is what Florida called “the creative class: a fast growing, highly educated, and well-paid segment of the workforce” (on whose expertise corporate profits depend), in industries ranging “from technology to entertainment, journalism to finance, high-end manufacturing to the arts” (Florida). Their common ethos is centered on individuality, diversity, and merit; eclipsing previous systems focused on ‘shopping’ and theme park consumerism and social conservatism (Eisinger). While doubts have since been raised about the size (Eisinger) and financial practices (Krätke 838) of the creative class (particularly in America), from an entertainment perspective at least, the class can be seen in full action. Extending to rich housewives, celebrity teen mothers and even eccentric duck hunters and swamp people, the creative class has caught up to the more traditional ‘star’ actor or music artist, and is increasingly marketable within world’s most sought after and expensive media spaces. Often reality celebrities make their mark for being the most outrageous, the cruelest (Peyser), or the weirdest (Gallagher; Peyser) personalities in the spotlight. Aspiring to the creative class thus, is a very public affair in television. Willing participants scamper for positions on shows, particularly those with long running, heavyweight titles such as Big Brother, The Bachelor, Survivor and the Idol series (Hill 35). The better known formats provide high visibility, with the opportunity to perform in front of millions around the globe (Frere-Jones, Day). Tapping into the deeply ingrained upward-mobility rhetoric of America, and of Western society, shows are aided in large part by 24-hour news, social media, the proliferation of celebrity gossip and the successful correlation between pop culture and an entertainment-style democratic ideal. As some have noted, dramatized reality is closely tied to the rise of individualization, and trans-national capitalism (Darling-Wolf 127). Its creative dynamism indeed delivers multi-lateral benefits: audiences believe the road to fame and fortune is always just within reach, consumerism thrives, and, politically, themes of liberty, egalitarianism and freedom ‘provide a cushioning comfort’ (Peyser; Pinter) from the domestic and international ills that would otherwise dispel such optimism. As the trials and tests within the reality genre heighten the seriousness of, and excitement about ascending toward the creative elite, show creators reproduce the same upward-mobility themed narrative across formats all over the world. The artifice is further supported by the festival-like (Grodin 46) symbology of the live audience, mass viewership and the online voting community, which in economic terms, speaks to the creative power of the material. Whether through careful manipulation of extra media space, ‘game strategy’, or other devices, those who break through are even more idolized for the achievement of metamorphosing into a creative hero. For the creative elite however, who wins ‘doesn’t matter much’. Vertical integration is the priority, where the process of making contestants famous is as lucrative as the profits they will earn thereafter; it’s a form of “one-stop shopping” as the makers of Idol put it according to Frere-Jones. Furthermore, as Florida’s measures and indicators suggested, the geographically mobile new creative class is driven by lifestyle values, recreation, participatory culture and diversity. Reality shows are the embodiment this idea of creativity, taking us beyond stale police procedural dramas (Hirschorn) and racially typecast family sitcoms, into a world of possibility. From a social equality perspective, while there has been a notable rise in gay and transgender visibility (Gamson) and stories about lower socio-economic groups – fast food workers and machinists for example – are told in a way they never were before, the extent to which shows actually unhinge traditional power structures is, as scholars have noted (Andrejevic and Colby 197; Schroeder) open to question. As boundaries are nonetheless crossed in the age of neoliberal creativity, the aspirational paradigm of joining a new elite in real life is as potent as ever. Reality Television’s Mentors: How to Understand Their ‘Role’Reality television narratives rely heavily on the juxtaposition between celebrity glamour and comfort, and financial instability. As mentees put it ‘all on the line’, storylines about personal suffering are hyped and molded for maximum emotional impact. In the best case scenarios mentors such as Caitlyn Jenner will help a trans mentee discover their true self by directing them in a celebrity-style photo shoot (see episode featuring Caitlyn and Zeam, Logo TV 2015). In more extreme cases the focus will be on an adopted contestant’s hopes that his birth mother will hear him sing (The X Factor USA, Season 2, Episode 11 Part 1), or on a postal clerk’s fear that elimination will mean she has to go back “to selling stamps” (The X Factor US - Season 2 Episode 11 Part 2). In the entrepreneurship format, as Woodward pointed out, it is not ‘help’ that mentees are given, but condescension. “I have to tell you, my friend, that this is the worst idea I’ve ever heard. You don’t have a clue about how to set up a business or market a product,” Woodward noted as the feedback given by one elite businessman on The Shark Tank (Woodward). “This is a five million dollar contract and I have to know that you can go the distance” (The X Factor US – Season 2 Episode 11, Part 1) Britney Spears warned to a thirteen-year-old contestant before accepting her as part of her team. In each instance the fictitious premise of being either an ‘enabler’ or destroyer of dreams is replayed and slightly adapted for ongoing consumer interest. This lack of shared experience and mutual recognition in reality television also highlights the overt, yet rarely analyzed focus on the wealth of mentors as contrasted with their unstable mentees. In the respective cases of The X Factor and I Am Cait, one of the wealthiest moguls in entertainment, Cowell, reportedly contracts mentors for up to $15 million per season (Nair); Jenner’s performance in I Am Cait was also set to significantly boost the Kardashian empire (reportedly already worth $300 million, Pavia). In both series, significant screen time has been dedicated to showing the mentors in luxurious beachside houses, where mentees may visit. Despite the important social messages embedded in Caitlyn’s story (which no doubt nourishes the Kardashian family’s generally more ersatz material), the question, from a moral point of view becomes: would these mentors still interact with that particular mentee without the money? Regardless, reality participants insist they are fulfilling their dreams when they appear. Despite the preplanning, possibility of distress (Australia Network News; Bleasby) and even suicide (Schuster), as well as the ferocity of opinion surrounding shows (Marche) the parade of a type of ‘road of trials’ (Vogler 189) is enough to keep a huge fan base interested, and hungry for their turn to experience the fortune of being touched by the creative elite; or in narrative terms, a supernatural aid. ConclusionThe key differences between reality television and artistic narrative portrayals of mentors can be found in the use of archetypes for narrative conflict and resolution, in the ways themes are explored and the ways dialogue is put to use, and in the focus on and visibility of material wealth (Frere-Jones; Peyser). These differences highlight the political, cultural and social implications of exchanging stories about potential fulfillment, for stories about ascension to the creative class. Rather than being based on genuine reciprocity, and understanding of human issues, reality shows create drama around the desperation to penetrate the inner sanctum of celebrity fame and fortune. In fiction we see themes based on becoming famous, on gender transformation, and wealth acquisition, such as in the films and series Almost Famous (2000), The Bill Silvers Show (1955-1959), Filthy Rich (1982-1983), and Tootsie (1982), but these stories at least attempt to address a moral question. Critically, in an artistic - rather than commercial context – the actors (who may play mentees) are not at risk of exploitation (Australia Network News; Bleasby; Crouch). Where actors are paid and recognized creatively for their contribution to an artistic work (Rupel), the mentee in reality television has no involvement in the ways action may be set up for maximum voyeuristic enjoyment, or manipulated to enhance scandalous and salacious content which will return show and media profits (“Reality Show Fights”; Skeggs and Wood 64). The emphasis, ironically, from a reality production point of view, is wholly on making the audience believe (Papacharissi and Mendelson 367) that the content is realistic. This perhaps gives some insight as to why themes of personal suffering and instability are increasingly evident across formats.On an ethical level, unlike the knowledge transferred through complex television plots, or in coming of age films (as cited above) about the ways tradition is handed down, and the ways true mentors provide altruistic help in human experience; in reality television we take away the knowledge that life, under neoliberalism, is most remarkable when one is handpicked to undertake a televised journey featuring their desire for upward mobility. The value of the mentoring in these cases is directly proportionate to the financial objectives of the creative elite.ReferencesAggarwal, Sirpa. “WWE, A&E Networks, and Simplynew Share Benefits of White-Label Social TV Solutions at the Social TV Summit.” Arktan 25 July 2012. 1 August 2014 <http://arktan.com/wwe-ae-networks-and-simplynew-share-benefits-of-white-label-social-tv-solutions-at-the-social-tv-summit/>. 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The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires. — William Arthur WardIntroductionThe first documented use of the term Mentor can be traced back to the 8th century BC poem by Homer entitled Odyssey (Hay, Gerber and Minichiello). Although this original representation of Mentor is contested in the literature (Colley), historically the term mentor has evolved to imply a wise and trusted other who advises, teaches, protects and supports someone younger who is inexperienced and not so knowledgeable with the ways of the world. The mentor within a 21st century construct still aligns to this historical portrayal, however the evolution of society, the influence of technology, the growth of entrepreneurship, and a greater understanding of the impact of our interactions with others has forced us to consider mentoring in contemporary ways. As such, popular culture, through books, film and images, provide many impressions of the mentor and what it means to mentor in both historical and contemporary circumstances. Similarly, popular culture provides us with a variety of impressions of the teacher. Throughout old and new history, teaching is considered to be a honourable profession, one that is complex and involves specific skills and knowledge to be effective (Marsh). Society has high expectations of teachers as they are entrusted with shaping the future generation (Parkay). Although the levels of respect and trust of teachers changes within different cultural circumstances, society allows teachers to be one of the most influential figures in a child’s life. Popular film often picks up on this theme and portrays teachers as inspirational figures, pillars of society and those that can have a major influence over the development of the student’s in their care. Within the brief story that a film provides, teachers are more often than not, positioned as a ‘mentor type’ figure to the students entrusted in their care, who guides and supports them to become who they want to be. This paper explores the constructs of the mentor and mentorship through a popular culture lens. Culture is broadly described as the “bricks and mortar of our most commonplace understandings” (Willis 185) and our understandings are shaped by what we see, hear and do. The paper is framed by and seeks to answer the following question: To what extent is the teacher as mentor portrayed in popular film a realistic image? Accordingly this paper will examine the rise of the teacher as mentor and determine what images are portrayed through the medium of film. In order to answer the question, the paper will briefly examine current literature for the characteristics and roles of mentors and teachers. The paper will then delve into the way that teachers are portrayed in film and will be followed by an examination of a selection of films that portray teachers as mentors. A comparison will be made between the characteristics of mentors and the characteristics that the movie teachers display. Analysis through the use of reader-response theory will provide insight into the extent of the reality of the teacher as mentor that are portrayed. Mentors and Teachers: A Review of Selected Literature Mentoring consists of a series of interactions that can be of a social, intellectual or emotional nature (Lentz and Allen). Mentoring can be described as a helping relationship whereby two or more people work together in order to achieve personal and professional goals (Johnson and Ridley). Effective mentoring is also known to be mutually beneficial to all participants (Ambrosetti, Knight and Dekkers). When scanning the literature there are a number of common descriptors that are used consistently to situate the interactions a mentor undertakes: supporter, guide, advisor, teacher, protector and counselor (Sundli; Hall et al.). Such descriptors indicate that a mentor performs a series of roles that change according to the needs of those being mentored (Ambrosetti and Dekkers). If the mentor has a series of roles to perform, then it is logical that the mentee also will also have a number of roles to play, however these are lnot well documented in the literature. The roles that both mentors and mentees play during a relationship can be identified and underpinned through the three dimensions of mentoring: the relationship itself, the developmental needs of the participants and the integration of the context in which the mentoring is situated (Ambrosetti, Knight and Dekkers). The interactions that a mentor engages in with a mentee span over a number of dimensions and are often reactive in nature. The three dimensions of mentoring can assist in describing a mentor and the roles they play. The relational dimension includes such roles as supporter, protector, friend and counselor. The roles of guide, teacher/trainer, collaborator, facilitator and reflector can be classified as developmental whereas being a role model can be both a developmental role and contextual role (230). There are a number of characteristics that are common to a mentor. Johnson and Ridley summarize them to include the following traits: exuding warmth, listening actively, showing unconditional regard, tolerating idealization, embracing humor, not expecting perfection, being trustworthy, having interpersonal competence, respecting another’s values and not being jealous of the mentee (43-62). The above list of traits are personal and often linked to personality, thus can be connected explicitly to the relational dimension of mentoring. The possession (or non-possession) of such traits can impact on the interactions that occur within mentorship. Accordingly it can be assumed that the characteristics, in conjunction with the roles that mentors play, that not everyone is suited to the role of mentor. Most people have experienced schooling at some stage in their life and is therefore familiar with the role of a teacher. Teaching is one most well known professions and can be described as a “creative act in which teachers continually shape and reshape lessons, events and the experiences of their students”(Parkay 45). The role of a teacher is to teach both knowledge and skills to their learners in order to prepare them as citizens for the future. More specifically, the role of the teacher is to design and deliver learning experiences that cater for and challenge the learners, that develop skills and knowledge both inside and outside of the classroom, and help them become confident, creative and responsible citizens. Despite this important role, the image of teachers is split between two types: one that is bitter, spiteful and egocentric, and the other being caring, accepting and reflective (Connell). We remember teachers according to such categories. The types of characteristics that teachers hold are extensive, however the following encompasses those that are key within the literature. Teachers generally have compassion, empathy and a caring nature. They can be flexible, creative, personable, humorous, positive, knowledgeable, motivational and dependable. Teachers are often well organised people, fair minded and resourceful (Howell). When examining the characteristics of teachers and the traits of mentors, similarities can be seen indicating that a particular type of person may be more suited to being a teacher and/or mentor. Teachers as Mentors in Film Teachers seem to be a popular subject of feature films. Films such as Goodbye Mr Chips (1939), Blackboard Jungle (1955) and To Sir with Love (1967) provide us with insight into the way teachers are portrayed in society and the role they play. Film however, has the specific ability to shape the cultural understanding we develop and allows us to make comparisons to our own experiences and those that are played out in fictional circumstances (Delamarter). While there are some films that provide a negative portrayal of teachers, generally they provide a view that teachers are positive influences on the students in their care.A search of the World Wide Web about the teacher as mentor brings up a treasure trove of film titles that span from the 1930s to the present day. Despite such a choice of titles, the following films have been selected to examine in this paper: Dead Poets Society (1989), Dangerous Minds (1995), Freedom Writers (2007) and the Harry Potter series of films (2001-2011). Selection of these films was based on the following two criteria: 1) they occurred within in a school setting and 2) are embedded within a contemporary theme of struggle where rebellion and/or other teenage angst are highlighted. Reader-response theory will underpin the analysis of the teachers in each of the films selected, so that an answer to the earlier posed question can be illuminated. Broadly speaking, reader-response theory is concerned with how readers, or in this case viewers, “make meaning from their experience with the text” (Beach 1). There are many perspectives on reader-response theory and how one might focus upon when responding to a text. In this instance the author will highlight the transaction that occurs between the reader, the text and the context. The transactions will include the social, cultural, experiential, psychological and textual viewpoints (Beach 8). Firstly, each film will be briefly described. This will be followed by an analysis of the teachers portrayed in the films. Dead Poets Society (1989) is set at a conservative secondary boys academy in the late 1950s and focuses on a group of students completing their senior year. Mr Keating is a new English teacher who uses unconventional teaching methods in the classroom. He inspires his students to ‘seize the day’ and ‘make your lives extraordinary’ and does this through the teaching of poetry. He encourages them to stand on desks during his lessons and to throw out tradition. It is Keating’s messages to his students to question what they believe that permeates the film and inspires his students to pursue what they want to do and become. The film Dangerous Minds (1995) is set in a low socio-economic area, where un-privilege and protecting yourself is a way of life. The teacher in this film is new and young, but is an ex US Marine. The class the film centres on is a difficult one to teach. This teacher uses unorthodox methods to gain the attention and trust of her students. The film makes a point to show us that she makes particular effort to relate the curriculum to the students’ interests in order to engage them in learning. Emphasis is also on the fact that she takes an interest in the students and many become her ‘personal projects’ and helping them to realize who they can become. Freedom Writers (2007) is set in the years directly following the Los Angeles riots of 1992 whereby issues of racism, segregation and inequality along with the changing view of the world is the focus. The students in the classrooms of this film are from diverse backgrounds and un-trusting of the education system. Their teacher is new and young and her first attempts to earn their trust fail until she begins to get to know the students and make links between what is being taught to their own lives. She inspires her class to learn tolerance, apply themselves and pursue further education. In the Harry Potter (2001-2011) series of films, there are several teachers who make an impact upon the young wizards. Although set in a fantasy world, the audience is treated to both inspirational teachers looking to nurture, protect and develop their charges, and teachers who are painted as egocentric and suspicious. Inspirational teachers include Dumbledore and McGonagall who offer subtle life lessons, specific skills and knowledge and protect the young wizards from danger. Egocentric and somewhat suspicious teachers include Snape and Quirrell who look to thwart the wizard’s time at school, however they too offer subtle life lessons to their students. The theme of good versus evil is paramount throughout the film series and the teachers are aligned with this theme.Teachers as Mentors – An AnalysisAlthough only a brief description of each film has been offered, the teachers as mentors to their students is the focus. Mr Keating (Dead Poets Society) and LouAnne Johnson (Dangerous Minds) are both described as unorthodox as they each use teaching methods that are frowned upon by others. However their purposeful and different teaching methods draw their students into their lessons so that life learning can occur. In each film, the unorthodox teaching touches the students in ways unknown to them before and in both cases the students demonstrate intellectual and personal growth. The unorthodox methods provide an avenue for a different relationship that is far from the traditional. In some scenes friendship is hinted at where guiding and supporting the students towards their hopes and dreams is highlighted. Aspects of mentoring can be seen through relational, developmental and contextual domains as the students are supported, guided and provided explicit role modeling. The young teacher in Freedom Writers, Erin Gruwell, uses a teaching approach that includes taking time to get to know her students. This approach, like Keating and Johnson, provides the opportunity to tweak the curriculum to the interests of the students and thus engage them in academic learning. They teach skills and knowledge in ways which relate to the students’ lives and interests. They guide, support the students towards the unfamiliar and facilitate opportunities for success. They help them to set goals and make them realise that they have a future and can be successful in their lives. The transformations that occur due to the teaching approaches used by the teachers cause their students admire and want to be like them. In Harry Potter, teachers Dumbledore and McGonagall are wise in years and life experience. They offer wisdom, protection and guidance to the young wizards throughout the series. These teachers, like Keating, Johnson and Gruwell, are role models in that they represent what life can be like and how best to achieve that life. Snape and Quirell also take an interest in their students, but represent an alternative view of life and learning. The difference between the four Harry Potter teachers can be drilled down to the traits of effective teachers. Two of which emulate the traits and two whom do not readily display any of the traits. Dumbledore and McGonagall can be considered as teacher mentors whereas Snape and Quirell cannot. In each film the student can be seen as central to the teacher as mentor and this in turn influences the way in which they behave. The teachers in these films pass on life lessons through their teaching. Throughout the films the teachers are guiding, supporting, befriending, protecting and training their charges. Interactions that occur between the teachers and the students are followed by a reflective phase by the teachers, whereby solutions to problems are sought or self-realisation occurs. In many instances the films show the teacher learning from the student and thus learning their own life lessons through reflection. From a social and cultural perspective, what is portrayed within the storylines are often close to the reality of what is expected from teachers. In many instances these lead towards a stereotyping of who teachers are and how they behave. However, from an experiential point of view, our expectations of the actions that teachers undertake do not usually take such form. In reality, teachers are busy people with a complex job to do (Connell) and often do not have time to take personal interest in all of their students individually. The teachers within the films chosen seem to have one class to prepare for, whereas in reality, a school teacher will have many classes to consider. Psychologically, some teachers and the style they embrace appeal to a particular a type of student or group of students. In the case of Dead Poets Society, Dangerous Minds and Freedom Writers, the storyline painted the students as those needing a particular type of teacher, someone who would save them from their circumstance and visa versa. The textual perspective was well highlighted by the teachers in the Harry Potter films as the viewer expects to see teachers with rather unusual but interesting teaching styles. However the text (within all films) included insight into mentor characteristics such as warmth, humour, tolerance, respect and unconditional regards. Generally, the films examined highlight two different types of teachers, challenging the categories written about by Connell. The first type of teacher highlighted was one who was seen as being more contemporary. One who is individual, unorthodox, and maybe a little rebellious; this teacher highlights that you need to be ‘different’ to make a difference. The second type was one who aligns to the traditional form of teacher; one who uses their knowledge, wisdom and life experience to break through to their student. Each of the films were underpinned by the relationship, the developmental needs and the context in which the narrative was played out, however the relationship between the students and the teacher was highlighted as being central to the storyline. Thus films of this nature often portray teachers as those who help their students in the emotional sense rather than the intellectual sense (Delamarter). Conclusion Several understandings about the teacher as mentor have been brought to light through the examination of the teacher as mentor in film. Firstly, in revisiting the mentoring definitions offered within this paper, it can be said that the teachers highlighted in the discussed films were mentoring their students in a way unique to the relationship developed between teacher and student. In each instance the teacher worked with their students to identify teaching approaches that would be successful in the context in which they were situated. Each film demonstrated that the teachers were committed to creating a relationship that met the developmental needs of their students. Interestingly, it was observed that the relationships were mutually beneficial in that the teachers grew along with the students with many coming to realisations about themselves through reflection and self thought. Secondly, the teachers within the films were portrayed as playing several important roles within their students’ lives. The teachers were role models inside and outside of the classroom. Each film’s storyline positioned the teacher as an influential other, whether they be portrayed as rebellious and unorthodox, evil and suspicious or inspirational and wise. The teachers in these films can be considered as mentors as they were supporting, guiding, protecting and nurturing the students to become better versions of themselves. However, the question that this article sought to answer was: to what extent is the teacher as mentor portrayed in popular film a realistic image? In looking back at the image the teacher in society and the role that they play in developing citizens of the future, it can be said the image presented has slivers of realism. In the real world, teachers must conform to society’s expectations, educational policies and codes of professionalism. Professional relationships with students do not encompass them in behave a student as a ‘personal project’, although catering to their needs is encouraged within the curriculum. It would be thought that if teachers did not encourage their students to be the best they can be, then they would not be doing their job. Many figures throughout our cultural history have been viewed as a mentor due to the role they play and how these roles align to societal beliefs and values. Thus, the portrayal of mentors and mentorship through a popular culture lens provides insight into our understanding about what mentorship is and how this may develop in the future. Both in the past and present, teachers are seen as inspirational figures and pillars of society, and are often considered a mentor by default. Films portray teachers in a variety of fashions, however there are many films that subtly position the teacher as a mentor to their students and it is this that this article has focused on. 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