Relevant bibliographies by topics / Industria culturale

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  1. Journal articles
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  3. Books
  4. Book chapters
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  6. Reports

Academic literature on the topic 'Industria culturale'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 March 2023

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Journal articles on the topic "Industria culturale"

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de Carvalho, Jorge Jose. "Tradizioni folkloriche o industria culturale?" La Ricerca Folklorica, no. 28 (October 1993): 9. http://dx.doi.org/10.2307/1480128.

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Marino, Stefano. "Critica della cultura e industria culturale." SOCIETÀ DEGLI INDIVIDUI (LA), no. 67 (June 2020): 58–71. http://dx.doi.org/10.3280/las2020-067005.

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Mangani, Giorgio. "Un analfabetismo competitivo. L'editoria marchigiana tra industria culturale e industria creativa." PRISMA Economia - Società - Lavoro, no. 1 (March 2013): 44–55. http://dx.doi.org/10.3280/pri2012-001006.

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Donaggio, Enrico. "Industria culturale oggi. Steve Jobs: un esercizio di teoria critica." COSTRUZIONI PSICOANALITICHE, no. 23 (May 2012): 77–85. http://dx.doi.org/10.3280/cost2012-023006.

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L'interpretazione di uno dei fenomeni piů significativi dell'industria culturale contemporanea - la vita, la morte e i miracoli del "grande" Steve Jobs - obbliga la teoria critica a rinnovarsi, prendendo distanza dalla diagnosi epocale del presente oggi piů in voga: il capitalismo come trionfo degli "ultimi uomini" e della loro piccola felicitŕ.
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Capozzi (book author), Rocco, and Massimo Verdicchio (review author). "Scrittori, critici e industria culturale dagli anni '60 ad oggi." Quaderni d'italianistica 13, no. 2 (October 1, 1992): 325–28. http://dx.doi.org/10.33137/q.i..v13i2.10141.

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Miceli-Jeffries, Giovanna, and Rocco Capozzi. "Scrittori, critici e industria culturale dagli anni '60 ad oggi." Italica 70, no. 2 (1993): 223. http://dx.doi.org/10.2307/479887.

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Bertetti, Paolo. "Fadom e industria culturale: la nascita del fandom di fantascienza negli Stati Uniti." Palabra Clave - Revista de Comunicación 20, no. 4 (October 1, 2017): 1142–60. http://dx.doi.org/10.5294/pacla.2017.20.4.11.

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Scala, Barbara. "Irredentismo e processi di trasformazione urbana. Il caso di Riva del Garda (1853-1905)." STORIA URBANA, no. 132 (February 2012): 367–97. http://dx.doi.org/10.3280/su2011-132013.

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L'annessione del Trentino all'Italia avvenne soltanto nel 1918. Questa lunga attesa di oltre cinquant'anni accrebbe in quella popolazione, per tradizione italiana ma politicamente ancora sotto il governo austriaco, un forte sentimento "italiano", che defině un clima politico e culturale molto vivace. Si sviluppň, soprattutto a Riva del Garda, un movimento politico e intellettuale, l'irredentismo, col quale una élite culturale rivendicava l'appartenenza della regione all'Italia. Da un lato si diffondevano le idee di patria, nazione, libertŕ, dall'altro, come reazione al conservatorismo austriaco, si diffondeva un'attenzione al progresso, all'innovazione tecnologica, all'inventiva. Lo spirito libero di Riva, luogo d'incontro tra due aree geografiche, (l'impero austriaco e il regno d'Italia), evitň alla cittŕ di divenire una terra periferica dell'immenso impero asburgico, grazie alla nascente «industria del forestiere» che la elesse capitale del turismo mitteleuropeo. Riva si adattň, cosě, alle esigenze di un turismo sempre piů decisivo per le sorti economiche, senza perň venir meno alla sua anima italiana. Il saggio delinea il significativo rinnovamento, politico, economico e urbanistico che, dagli anni cinquanta dell'800, un vivace mileu locale condusse per la promozione della klimathoterapie locale (cioč di una terapia sanitaria favorita da particolari condizioni climatiche del luogo), segnando il tessuto edilizio con singoli interventi o con operazioni di piů ampio respiro volte.
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Dávalos Orozco, Federico. "De las industrias culturales a la economía política de la industria cinematográfica." Revista Panamericana de Comunicación 4, no. 1 (May 30, 2022): 131–54. http://dx.doi.org/10.21555/rpc.v4i1.2558.

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Se propone una reflexión sobre el concepto de cultura en el ámbito de las ciencias sociales, que nos permita comprender la relevancia que, en la producción y reproducción de los sistemas simbólicos de las sociedades contemporáneas, tienen las industrias culturales. La comprensión del sentido del concepto de cultura nos permite comprender la preeminencia que la producción habitual de los medios de comunicación de masas tiene en la formación y socialización de los individuos en las sociedades contemporáneas. Con los condicionantes sociohistóricos y la naturaleza económica e industrial de las diversas industrias culturales que permiten, tanto relacionar fructíferamente los medios de comunicación social entre sí y con otras formas de entretenimiento masivo, como establecer las especificidades de cada una. Todos ellos se caracterizan por la producción industrial y estandarizada de mensajes; son industrias culturales. Siguiendo algunas pistas que nos proporcionan Albert Breton, Augustin Girard, Armand Matellart y Enrique Bustamante se intentará comprender cómo funcionan y cómo se organizan las industrias culturales; y cuáles son los diversos modos de producción de los bienes culturales. Explicaremos la organización y funcionamiento de las industrias culturales y sus diversas facetas: sociopolítica, cultural y económica. A partir de la última faceta, nos aproximaremos al estudio de los tres sectores de la industria cinematográfica –producción, distribución y exhibición-, la forma específica en que se organiza la cinematografía. Al final, todos estos elementos nos permitirán plantear un modelo para el estudio de los sistemas de producción, distribución y exhibición en la industria cinematográfica mexicana.
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Panarari, Massimiliano. "Momenti di contaminazione e figure della spettacolarizzazione della disabilità, tra immaginario pop e industria culturale. Il Circo Barnum, Joker e gli X-Men." SALUTE E SOCIETÀ, no. 2 (March 2020): 30–43. http://dx.doi.org/10.3280/ses2020-002003.

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Dissertations / Theses on the topic "Industria culturale"

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

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2010 - 2011
Il presente studio ha per oggetto il trattamento destinato alle opere culturali dei media nel quadro delle regole e dei principi che informano il diritto degli scambi commerciali in ambito internazionale ed europeo. I timori da molti manifestati circa le ripercussioni del processo di globalizzazione sociale, giuridica ed economica in atto sulle specificità e le tradizioni culturali locali, si amplificano e giungono al culmine quando si affrontano le politiche sul mercato dei media: in questo contesto, le trattative sul commercio e sugli investimenti si sono arenate sulla questione di una «eccezione culturale» che consentirebbe di rivolgere ai prodotti e ai servizi culturalmente rilevanti un trattamento differenziato rispetto alle altre categorie di beni o servizi, in virtù della convinzione che, per svilupparsi, la produzione culturale necessiti di un certo sostegno pubblico. Se, in diritto internazionale, la questione si è posta con tutta la sua problematicità al termine dell’Uruguay Round del 1994, con l’inserimento, tra le regole commerciali, di una clausola che escludeva il cinema e gli altri prodotti audiovisivi dalle norme adottate durante il negoziato, nel processo di integrazione europea l’esigenza di garantire la diversità culturale è destinata a scontrarsi con la spinta verso la realizzazione del mercato unico, che da sempre rappresenta una sua tematica propulsiva. Sul diverso versante della cooperazione in materia culturale, la Dichiarazione sulla diversità culturale promossa nel 2001 dall’UNESCO ha gettato le basi per una serie di iniziative internazionali le quali – volte ad incoraggiare la creazione di standard per la tutela della cultura nelle sue molteplici manifestazioni – sono culminate nel 2005, con la conclusione della Convenzione sulla protezione e la promozione della diversità delle espressioni culturali, primo strumento vincolante volto a garantire la diversità culturale. Nel tentativo di fornire una ricognizione generale sulle correlazioni che la produzione artistico-culturale dei media vive con il regime degli scambi commerciali, il lavoro sarà anzitutto orientato a comprendere, in via preliminare, quale sia il ruolo rivestito da tali opere nel più ampio contesto del patrimonio culturale. In tal senso, nel primo capitolo si osserverà come la nozione di cultural heritage si sia evoluta nel corso degli anni subendo un processo di progressivo ampliamento rispetto ai canoni classici, in cui i media vengono in considerazione in una prospettiva nuova e del tutto particolare, così come crescente è il rilievo assunto dalle imprese culturali (cultural industries) dei media, le quali si trovano oggi ad operare in un mercato globalizzato, cui fanno capo quote sostanziose di diritti di proprietà intellettuale e di cui non è agevole fornire una definizione valevole in ambito internazionale, anzitutto in virtù delle differenze sociali e normative esistenti tra gli Stati nel modo di concepire la produzione artistica. Nel corso del secondo capitolo sarà approfondita l’analisi dei rapporti tra mercato e cultura nell’ordinamento giuridico internazionale. In particolare, dopo aver analizzato in dettaglio la Convenzione sulla protezione e la promozione delle diversità delle espressioni culturali, si volgerà lo sguardo al regime degli scambi internazionali negoziato nell’ambito dell’OMC, valutando se l’articolato della Convenzione UNESCO del 2005 risulti idoneo, conformemente alle aspettative, a rappresentare un valido compromesso, per la produzione artistica dei media, tra esigenze commerciali e valori culturali. Il terzo capitolo sarà infine volto ad esaminare le relazioni intercorrenti tra mercato e cultura nel diritto dell’Unione Europea, dove le soluzioni raggiunte sono più interessanti grazie al maggior grado di integrazione tra gli Stati membri. In tale ambito, sono ancora diverse le deroghe concesse agli Stati membri dell’Unione in virtù di valori sovraordinati che possono dar luogo, tra le altre, alle restrizioni di cui all’art. 36 TFUE o alla compatibilità degli aiuti di Stato contemplati dall’art. 107 (3) TFUE. In entrambe le norme considerate, ricorrono le ipotesi di protezione e promozione della cultura tali da non incidere in misura eccessiva sullo sviluppo del libero scambio e della concorrenza tra imprese. Prescindendo dalla salvaguardia del patrimonio culturale stricto sensu, il lavoro intende complessivamente osservare – alla luce della normativa di riferimento e della giurisprudenza più significativa sul tema – entro quali limiti le imprese nazionali operanti nel settore dei media (editori librari e musicali, emittenti radiotelevisive, produttori cinematografici) possano legittimamente essere destinatarie di trattamenti privilegiati in ragione del loro status di «imprese culturali» e quando, viceversa, tali agevolazioni risultino contrastanti con i monolitici principi posti a tutela del libero mercato nell’attuale scenario globale. [a cura dell'autore]
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Gatto, Francesco <1994&gt. "Dall’agro-industria all’industria culturale. Il ciclo di vita dello zuccherificio Eridania di Parma (1899-2001)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20961.

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La tesi ricostruisce la storia dello zuccherificio Eridania di Parma dalla sua fondazione, nel 1899, alla sua “rinascita” come auditorium musicale realizzato dall’architetto Renzo Piano, nel 2001. Nel primo capitolo si ripercorrono la storia del settore saccarifero italiano e i primi decenni di vita dello stabilimento parmigiano. Nel secondo si analizza la fase postbellica, quando la creazione del mercato unico europeo pose dei forti limiti allo sviluppo del settore agro-industriale, che subì forti trasformazioni al fine di competere con i produttori europei. Di fronte alla volontà della proprietà di chiudere lo stabilimento, tra il 1967 e il 1969 i lavoratori e i sindacati di categoria reagirono con una forte mobilitazione che ottenne grande solidarietà da parte del movimento studentesco, delle istituzioni e dei partiti locali e che fece leva sulla solidarietà tra produttori bieticoli e operai zuccherieri. Ciò non bastò a impedire la chiusura e la delocalizzazione della produzione in un comune poco distante. Lo zuccherificio, dunque, visse un trentennio di abbandono e degrado durante il quale vennero avanzate alcune proposte di recupero, ma solamente all’inizio del XXI secolo venne convertito in auditorium musicale e inserito all’interno di un progetto di riqualificazione urbana. La ricerca, basata su un’ampia ricognizione di fonti negli archivi locali, tenta di coniugare storia economica, storia sindacale e heritage studies per indagare il ciclo di vita di una fabbrica italiana tra industrializzazione, deindustrializzazione e rigenerazione a nuovi usi.
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Paolillo, Costanza. "Ferrania. Un’impresa, una rivista : industria fotografica e lavoro culturale dagli albori della società dello spettacolo italiana." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85764.

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Fenati, Francesca. "Outsider - collettivo giovani creativi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.

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Ousider - Collettivo giovani creativi è il servizio che abilita e facilita la fruizione dei servizi regionali esistenti nei settori delle Industrie Culturali e Creative, rendendoli finalmente protagonisti attivi dell'intero ecosistema. Gli obiettivi perseguiti sono due: - rendere più consapevole l'istituzione regionale in merito all'importanza del ruolo dei giovani creativi quale motore di innovazione spontanea generativo di valore aggiunto al territorio; - abilitare le giovani generazioni - già formate nell'ambito della creatività e della cultura - a concretizzare le proprie idee e progetti per generare nuove opportunità di lavoro e realizzarsi come professionisti. Attraverso la piattaforma dedicata, realizzata in collaborazione diretta con gli enti regionali operativi nell'ambito culturale e creativo, vengono forniti tre diversi strumenti in grado di governare e facilitare questo processo. I giovani creativi possono infatti: - ottenere una panoramica gerarchizzata e personalizzata dei servizi regionali disponibili con accesso facilitato e diretto alle risorse dei singoli enti erogatori; - incontrarsi virtualmente e fisicamente tra loro, per collaborare e sviluppare insieme i propri progetti; - accedere agli spazi e fruire dei servizi già disponibili e sottoutilizzati dell'ecosistema regionale; - raccontare i propri progetti e i propri successi in occasione delle manifestazioni culturali regionali già presenti in Emilia Romagna.
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Díaz, Munizaga Paz Loreto. "Industrias culturales e industrias creativas, evolución histórica y conceptual, confluencias y divergencias : El caso de Santiago creativo, plataforma para la exportación de la industria creativa." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115940.

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Licenciada en artes con mención en teoría e historia del arte
El concepto de Industria Creativa es relativamente reciente y su origen, ciertamente, se debe a la necesidad de establecer e implementar nuevas áreas de producción y creación de bienes culturales en la sociedad posmoderna. Comprender qué se entiende por bien cultural y cómo este actúa en una doble dimensión; por una parte como bien social al servicio de las condiciones de identidad y ciudadanía, y por otra como bien de consumo o mercancía, busca abrir nuevas perspectivas de análisis. Se revela así, una nueva forma de entender la relación entre cultura, economía y creatividad, poniendo en tensión el concepto más tradicional de Industria Cultural. En consecuencia, los conceptos y categorías existentes deben ser analizados críticamente para dar cuenta de estas transformaciones. Por este motivo, se pretende revisar la evolución conceptual de las Industrias Culturales y su desplazamiento hacia las Industrias Creativas, a partir de una revisión teórica que inicia en las primeras décadas del siglo pasado con Walter Benjamin y llega hasta nuestros días a través de George Yúdice, desde los primeros debates hasta llegar a los actuales, se busca replantearlos críticamente con el fin de iluminar los problemas teóricos y sus alcances prácticos.
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CANALE, Alessandra. "Dinamiche di popolamento e processi di trasmissione culturale nel comprensorio madonita attraverso la ricostruzione della viabilità antica." Doctoral thesis, Università degli Studi di Palermo, 2020. http://hdl.handle.net/10447/444789.

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La ricerca sulle Madonie nasce con l’intenzione di approfondire l’evoluzione storica del popolamento sulla regione montana della Sicilia nord-occidentale. Il territorio, che solo in anni recenti è divenuto oggetto di più approfondite ricerche storico-archeologiche, si presenta estremamente ricco di risorse naturali e caratterizzato da un sostrato culturale variegato che abbraccia territori d’alta montagna, dediti ad una economia silvo-pastorale prettamente conservativa, e insediamenti costieri fortemente proiettati allo scambio e al commercio. A fine di comprendere lo sviluppo delle dinamiche d’insediamento di un’area molto estesa, si è proceduto anzitutto con la restituzione ipotetica dei principali assi viari antichi, fondata su documenti storici e cartografici di epoca medievale e moderna, seguita dalla verifica di eventuali resti di questi sul campo. Sono stati presi in esame dati noti da scavi, da indagini di superficie nonché da rinvenimenti fortuiti e occasionali. Si è proceduto quindi alla ricerca di insediamenti antichi sul territorio con un approccio metodologico basato sulla ricognizione estensiva di aree campione. Queste ultime sono state selezionate osservando una serie di parametri prestabiliti che tengono conto dell’aspetto geomorfologico e del rapporto dell’area in esame con le risorse naturali ad essa circostanti. La relazione topografica diretta con la maglia stradale antica, ipotizzata in precedenza, è un termine di preferenza costante nella scelta dei luoghi. Lo studio concede una panoramica storica aggiornata su un territorio ancora poco noto e sul rapporto uomo-ambiente nel corso del tempo, mettendo in luce l’importanza della viabilità antica come elemento dinamico del paesaggio antropico e veicolo di analisi dello stesso. L’elaborato, suddiviso in cinque capitoli, comprende: l’analisi del paesaggio naturale, il vaglio della documentazione storica, la descrizione della metodologia di ricerca sul campo, la redazione di una carta archeologica dei siti rinvenuti, la ricostruzione della maglia stradale antica basata sull’incrocio di dati noti con tutti i dati raccolti e si chiude con alcune note conclusive attraverso le quali si tenta una definizione delle dinamiche storiche di popolamento sulle Madonie.
The research on the Madonie mountains was born to investigate the historical evolution of settlement in the mountainous region of northwestern Sicily. The territory, which only in recent years has become the subject of more in-depth historical-archaeological research, is extremely rich in natural resources. It is also characterized by a varied cultural background that embraces high-mountain areas, dedicated to a naturally conservative agropastoral economy, and the settlements coastal areas heavily focused on trade and cultural exchanges. Having to understand the development of the settlement dynamics of a very large area, first of all, we have proceeded to the hypothetical restitution of the main ancient roads system using historical and cartographic documents of the medieval and modern times, followed by the verification of any remains of pavement and ancient infrastructures in place. After examining data from excavations and surface surveys, as well as accidental discoveries, the search has then carried on by a methodological approach based on the selection of samples areas. That latter was chosen by observing a series of pre-established parameters that take into account the geomorphological aspect and the relationship of the area in question with the surrounding natural resources. The direct topographical relationship with the ancient viability, previously hypothesized, is a term of constant preference in the choice of places to investigate. Overall, the study provides an updated historical overview of a still little known territory and of the relationship between man and environment over time, highlighting the importance of ancient roads as a dynamic element of the anthropic landscape and at the same time vehicle of its analysis. The paper, divided into five chapters, includes the analysis of the natural landscape, the sifting of historical documentation, the description of the field research methodology, the drafting of an archaeological map of the sites found, the reconstruction of the ancient road system based on the crossing of the known data and all the data collected and ends with some concluding notes with which a definition of the historical dynamics of the population on the Madonie is attempted.
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Agnoletti, Giacomo. "The Italian Dream. L’Italia e la (para)letteratura contemporanea per il mercato angloamericano." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/263716.

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The overall success of the products related to Italy in the economy of the food sector and the one concerning “luxury” is well renowned, but I believe that, as years go by, even in the economy of the culture (or culture industry) there has been an ongoing process, a phenomenon of similar characteristics, namely: • The global spread of Italianness (‘Italianicity’ in Barthes’ terms) in mass culture, meant not only as a geographical setting of the works, but also as the presence of characters related to Italy, or as a narrative element, both principal and secondary, or in general as a cultural reference; • The appropriation of these topics, fascinations, characters, by the global cultural industry, managed mainly by American companies. The purpose behind this research is to document the phenomenon of diffusion of the Italian dream in the global culture, and investigate the causes through an analysis of the recent paraliterature. The beginning of the eighties has been defined as the “Italian rebirth” period. In those years, overcoming the negative stereotypes, the Italians have been able to redefine the image of themselves and of their country, providing a new and definitely positive connotation to the artifacts of their own economy, now proudly defined as Made in Italy. But how and why has this shift occurred? Not only Italy had changed, but even the United States needed something different. If there has been a radical change in the perception of Italy and Italianness in the USA and more generally in the Western world since the end of the 1970s, we must turn our attention to the countries that began looking at Italy with “different eyes”. Which needs did American culture consumers had and why did these needs change in the second half of the 1970s? If these new visions have grown to a global extent, if Italy has become the country of the dolce vita for the whole world, it is due, in large part, to a change in the attitude of foreign countries, the United States and Northern Europe in the first place, which began to perceive Italy as a desirable “The Other”: because, in countries culturally and geographically distant from Italy, a new awareness of their own cultural identity was rising with a new need for otherness. Due to this new articulation in the perception of the Italian spirit this research considers above all, the literary works published starting from the second half of the seventies. The highly successful literary works concerning Italy, written by American authors during the sixties, are completely different from those of the following decades, and not only for stylistic reasons. The vision of Italy, still very traditional, was fundamentally anchored to two aspects: Italy as a country of the Great Culture, and Italy as a country linked to the Catholic Church. Irving Stone and Morris West were two successful authors who wrote about Italianness by adopting this type of perception, and consequently satisfying a certain type of social function. It is true that Puzo published The Godfather in 1969: but it was perhaps the ability to anticipate a great change in the social needs of the audience that earned its author an incredible commercial success. Part II analyzes the social function of Italian-themed literature. The basic question is: “Why is the American reader interested in the idea of Italy?” I started explaining why a certain degree of activism, power of choice and influence on the cultural industry is attributable to the consumer. In this first part two texts from the early sixties based on the vision of Italy as a country of the Great Tradition will be analyzed; later on (Chapter 10) the “dream of saving authenticity” will be explored, starting from two texts of the nineties, the period in which the Italian dream began to spread globally. In the paragraph dedicated to the 2000s, we will observe that the fascination aroused by the Italian dream has now become so pervasive as to have originated a sort of pattern, a consolidated one in the mass literature. Following, a paragraph dedicated to three mainstream works, in order to highlight how much the Italian dream has globally spread even outside of the genre. Finally, in the last paragraph, I will deal with some of the recently published texts, to try to answer the question: Is the Italian dream still fashionable among consumers of global culture? Part III Before addressing the representation of stereotypes through texts, I will remind five great thinkers who have dealt with the theme of ideology in relation to mass culture. With Michail M. Bachtin I linger on the social and ideological component of every word and every speech; Ferruccio Rossi-Landi provides a research program for the unmasking of ideologies in art; Pierre Bourdieu analyzes the internal functioning of social structures related to art; Stuart Hall invites us to consider popular culture in its dual essence of conditioning by the field of power and of resisting and assimilating; Finally, Edward Said invites us to set the research in counterpoint terms, to understand how stories and cultures develop together with their geographical opposites. Chapter 12 illustrates the most important stereotypes about Italy through the use made of it in successful literary works. Even positive visions, if standardized, are to be considered stereotypes. The Italian identity, according to my perspective, is built socially and is so supranational that the same identity problems in reaction to cultural representations are felt, even amplified, in the worldwide Italian communities. Last chapter and conclusions deal with transculturation and with “most visible Italy”, to show how, in many cases, even “Italy told by Italians” is related with the construction of the national character originating from the global media system.
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Agnoletti, Giacomo. "The Italian Dream. L’Italia e la (para)letteratura contemporanea per il mercato angloamericano." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/263716.

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The overall success of the products related to Italy in the economy of the food sector and the one concerning “luxury” is well renowned, but I believe that, as years go by, even in the economy of the culture (or culture industry) there has been an ongoing process, a phenomenon of similar characteristics, namely: • The global spread of Italianness (‘Italianicity’ in Barthes’ terms) in mass culture, meant not only as a geographical setting of the works, but also as the presence of characters related to Italy, or as a narrative element, both principal and secondary, or in general as a cultural reference; • The appropriation of these topics, fascinations, characters, by the global cultural industry, managed mainly by American companies. The purpose behind this research is to document the phenomenon of diffusion of the Italian dream in the global culture, and investigate the causes through an analysis of the recent paraliterature. The beginning of the eighties has been defined as the “Italian rebirth” period. In those years, overcoming the negative stereotypes, the Italians have been able to redefine the image of themselves and of their country, providing a new and definitely positive connotation to the artifacts of their own economy, now proudly defined as Made in Italy. But how and why has this shift occurred? Not only Italy had changed, but even the United States needed something different. If there has been a radical change in the perception of Italy and Italianness in the USA and more generally in the Western world since the end of the 1970s, we must turn our attention to the countries that began looking at Italy with “different eyes”. Which needs did American culture consumers had and why did these needs change in the second half of the 1970s? If these new visions have grown to a global extent, if Italy has become the country of the dolce vita for the whole world, it is due, in large part, to a change in the attitude of foreign countries, the United States and Northern Europe in the first place, which began to perceive Italy as a desirable “The Other”: because, in countries culturally and geographically distant from Italy, a new awareness of their own cultural identity was rising with a new need for otherness. Due to this new articulation in the perception of the Italian spirit this research considers above all, the literary works published starting from the second half of the seventies. The highly successful literary works concerning Italy, written by American authors during the sixties, are completely different from those of the following decades, and not only for stylistic reasons. The vision of Italy, still very traditional, was fundamentally anchored to two aspects: Italy as a country of the Great Culture, and Italy as a country linked to the Catholic Church. Irving Stone and Morris West were two successful authors who wrote about Italianness by adopting this type of perception, and consequently satisfying a certain type of social function. It is true that Puzo published The Godfather in 1969: but it was perhaps the ability to anticipate a great change in the social needs of the audience that earned its author an incredible commercial success. Part II analyzes the social function of Italian-themed literature. The basic question is: “Why is the American reader interested in the idea of Italy?” I started explaining why a certain degree of activism, power of choice and influence on the cultural industry is attributable to the consumer. In this first part two texts from the early sixties based on the vision of Italy as a country of the Great Tradition will be analyzed; later on (Chapter 10) the “dream of saving authenticity” will be explored, starting from two texts of the nineties, the period in which the Italian dream began to spread globally. In the paragraph dedicated to the 2000s, we will observe that the fascination aroused by the Italian dream has now become so pervasive as to have originated a sort of pattern, a consolidated one in the mass literature. Following, a paragraph dedicated to three mainstream works, in order to highlight how much the Italian dream has globally spread even outside of the genre. Finally, in the last paragraph, I will deal with some of the recently published texts, to try to answer the question: Is the Italian dream still fashionable among consumers of global culture? Part III Before addressing the representation of stereotypes through texts, I will remind five great thinkers who have dealt with the theme of ideology in relation to mass culture. With Michail M. Bachtin I linger on the social and ideological component of every word and every speech; Ferruccio Rossi-Landi provides a research program for the unmasking of ideologies in art; Pierre Bourdieu analyzes the internal functioning of social structures related to art; Stuart Hall invites us to consider popular culture in its dual essence of conditioning by the field of power and of resisting and assimilating; Finally, Edward Said invites us to set the research in counterpoint terms, to understand how stories and cultures develop together with their geographical opposites. Chapter 12 illustrates the most important stereotypes about Italy through the use made of it in successful literary works. Even positive visions, if standardized, are to be considered stereotypes. The Italian identity, according to my perspective, is built socially and is so supranational that the same identity problems in reaction to cultural representations are felt, even amplified, in the worldwide Italian communities. Last chapter and conclusions deal with transculturation and with “most visible Italy”, to show how, in many cases, even “Italy told by Italians” is related with the construction of the national character originating from the global media system.
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Almeida, Marcos Renato Holtz de [UNESP]. "As metamorfoses do diabo na modernidade: a secularização do mito e sua apropriação pela indústria cultural no século XX." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/106272.

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Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-05Bitstream added on 2014-06-13T18:46:53Z : No. of bitstreams: 1 almeida_mrh_dr_arafcl.pdf: 12847945 bytes, checksum: 260df86be21476149e06ed05e4dd25a6 (MD5)
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A tese aborda as diferentes faces e fases destinadas à representação da figura do Diabo pela arte mediante o devir sócio-histórico-cultural do ocidente desde a Idade Média até a modernidade. Assim, a produção artística de bens simbólicos sobre o Diabo adquiriu diversos contornos desde os séculos finais da Idade Média e, mediante o devir histórico, vivenciou sua transformação e reprodução em mercadoria no século XX. Tomando por base esse cenário, por meio da ação da Indústria Cultural, o imaginário existente sobre o Diabo passou a ser utilizado pela indústria do entretenimento e pela sociedade de consumo como mercadoria capaz de satisfazer os gostos das sociedades e das culturas contemporâneas. O símbolo mítico do mal perdeu sua função religiosa e tornou-se um instrumento a serviço da ideologia capitalista.
The thesis aboards the different faces and phases destined to the representation of the figure of the Devil by art through the social, historical and cultural transformation of western society in the modernity. Thus, the artistic production of symbolic goods about Devil acquired many contours since the final centuries of the Middle Ages and, through the historical process, lived his transformation and reproduction in commodity in the XXth century. Based on this scenario, through the action of the Industry of Culture, the imaginary existent about Devil started being utilized by the industry of entertainment and by the society of consumption as commodity able to satisfy the taste of the society and culture contemporary. The mythical symbol of evil lost its religious function and became an instrument at the service of the capitalist ideology.
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BUZZI, MAURO. "La canzone pop e il cinema italiano (1958-1963. Forme, gene ri, processi di trasformazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1531.

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La tesi si occupa di indagare il campo della popular music italiana durante il periodo del boom, così come della situazione cinematografica nazionale del periodo. In seguito si analizzano le forme di utilizzo della prima all'interno del secondo, soprattutto nei confronti di due oggetti che nel rapporto prendono corpo: 1 - Il musicarello, che si configura come vero e proprio genere e di cui si vedranno caratteri principali e genesi 2 - L'insieme di film che fanno della canzone un uso significativo, ma non per questo si costituiscono come genere, o come corpo coeso. In comune hanno però una particolare configurazione di stile, che si costituisce appunto attorno al loro uso della canzone, e che si confronta con la questione della presenza di un "film medio" nazionale.
In Italy, between the end of the Fifties and the first half of the Sixties, a phenomenon of deep economic growth changes the nation in many ways. In the same period the first generation of young people starts to be known as such. With it followed the consideration of consumption as an opportunity for an aggregate and generational claim, pushing film, record, magazine and clothing producers to think of objects conforming to this desire, or even making it stronger. Medial consumption is one of the key practices that permitted to express a social and individual identity. The Thesis try to find out how an important medium like popular music, match himself with cinema, and what kind of new linguistic solution, and social practice they build together.
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Books on the topic "Industria culturale"

1

Colombo, Fausto. Media e industria culturale. Milano: Vita e pensiero, 1994.

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Rigola, Gabriele. Elio Petri, uomo di cinema: Impegno, spettacolo, industria culturale. Acireale: Bonanno editore, 2015.

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Adriana, Zappalà, and Confederazione generale dell'industria italiana, eds. Il matrimonio industria-cultura: Obiettivi e percorsi nell'iniziativa culturale dell'impresa. Roma: SIPI, 1988.

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Capozzi, Rocco. Scrittori, critici e industria culturale dagli anni '60 ad oggi. Lecce: Manni, 1991.

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Il mediaevo: Tv e industria culturale nell'Italia del XX secolo. Roma: Carocci, 2001.

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Polo, Claudia. Immaginari verdiani: Opera, media e industria culturale nell'Italia del XX secolo. [Roma]: Accademia nazionale di Santa Cecilia, 2004.

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Immaginari verdiani: Opera, media e industria culturale nell'Italia del XX secolo. [Roma]: Accademia nazionale di Santa Cecilia, 2004.

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La parola imprevista: Intellettuali, industria culturale e società all'avvento della televisione in Italia. Roma: Lavoro, 1999.

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Abruzzese, Alberto, Mario Morcellini, and Giovanni Ciofalo. Il mediaevo italiano: Industria culturale, TV e tecnologie tra XX e XXI secolo. Roma: Carocci, 2005.

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Colombo, Fausto. La cultura sottile: Media e industria culturale in Italia dall'Ottocento agli anni Novanta. Milano: Bompiani, 1999.

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Book chapters on the topic "Industria culturale"

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Banks, Mark. "‘Culture Industry’ and Cultural Work." In The Politics of Cultural Work, 16–40. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230288713_2.

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

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

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

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Byrne, David. "Class and Culture: The Dynamics of Cultural Change." In Class After Industry, 53–70. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02644-8_4.

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Papalini, Vanina. "Cultural Industry." In Encyclopedia of Latin American Religions, 1–5. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-08956-0_16-1.

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Papalini, Vanina. "Cultural Industry." In Encyclopedia of Latin American Religions, 384–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_16.

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Mishra, Y. D., and P. Kumar. "Lac Culture." In Industrial Entomology, 109–55. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3304-9_5.

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Francesconi, Alberto. "Industrial, Cultural and Advanced Cultural Districts." In Advanced Cultural Districts, 1–18. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137555359_1.

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Artico, Chiara Isadora, and Michele Tamma. "Culture-Based Products: Integrating Cultural and Commercial Strategies." In Entrepreneurship in Culture and Creative Industries, 11–23. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65506-2_2.

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Conference papers on the topic "Industria culturale"

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Santamaría, Jorge Luis, and Manuel Ramón Lecuona López. "El Diseño adaptado al entorno de la Industria Cultural y Creativa." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3331.

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Las Industrias Culturales y Creativas (ICC) para su desarrollo deben surgir en entornos fértiles, donde las políticas, los profesionales especializados, el acceso a la tecnología, la innovación, líneas de financiamiento y el mercado sean los adecuados; el paso a un camino positivo va de la mano de los integrantes del entorno de la industria y sus características. Los modelos tradicionales son limitados ante la realidad y posibilidades actuales donde las nuevas tecnologías y sus usos flexibilizan los procesos y los transforman, por lo que es necesario definir las características de una visión de mercado e industria que se proyecte a futuro, y donde el diseño desarrolle, coordine y gestiones los proyectos de diseño en emprendimientos de carácter cultural y creativo.DOI: http://dx.doi.org/10.4995/IFDP.2016.3331
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Naranjo Quezda, Amairani, Silvana Astudillo Durán, Ana Lucía Serrano, and David Toledo Pacheco. "Innovación cultural evidencia empírica en empresas ecuatorianas." In Congresso Internacional de Conhecimento e Inovação (ciKi). Congresso Internacional de Conhecimento e Inovação (ciKi), 2020. http://dx.doi.org/10.48090/ciki.v1i1.995.

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Las estrategias de innovación en las micro, pequeñas y medianas empresas (Mipymes) pertenecientes al sector cultural son primordiales para su competitividad. El objetivo de este estudio es analizar las actividades de innovación que realizan las Mipymes culturales en la ciudad de Cuenca-Ecuador en la tipología del producto, proceso, promoción y organización, así como los efectos que generan las innovaciones. Se utilizó un análisis descriptivo transversal a 80empresas culturales y los resultados evidencian que existe predominancia de innovaciones incrementales por sobre las innovaciones radicales, en especial con mejoras en lamercadotecnia de sus productos culturales. Los hallazgos sugieren impulsarla creación de valor y de procesos de cambio disruptivos en la digitalización de la industria cultural ecuatoriana.
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Xu, Wenyan. "Study on industrial chain integration model of Cultural Industry Area." In 2013 International Conference of Information Science and Management Engineering. Southampton, UK: WIT Press, 2013. http://dx.doi.org/10.2495/isme132232.

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Su, Meng. "Study of Industrial Cluster and Competitiveness Promotion of Cultural Industry." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.75.

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Petit-Laurent Charpentier, Claudio Andrés. "Entre lo local y lo global: símbolos de la tradición cultural en los procesos de creación de objetos para el turismo." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5374.

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La siguiente comunicación aborda la investigación doctoral acerca de los procesos de creación de productos culturales artesanales que se fundan en la identidad cultural tradicional del Archipiélago de Chiloé y que se conciben para la industria del turismo. El Archipiélago de Chiloé (Chile) es un lugar que tiene la particularidad de mantener un marcado carácter tradicional en su cultura, y que se ve enfrentado en la actualidad al conflicto con la globalización, en la que el turismo ha jugado un rol muy importante. Por ello desarrollaremos en una primera parte los conceptos que estructuran el análisis: identidad cultural, tradición, turismo y posmodernidad (Freedman, Castells, Hall, Giddens, Bauman, Lipovetsky, McCannel, Urry) enfocándonos en proporcionar los antecedentes acerca de la realidad cultural de nuestro campo de estudio.Tras exponer esos antecedentes, se explicitará el marco metodológico que ha encauzado la investigación sobre la base de un modelo etnográfico que, a partir de la observación, el registro fotográfico y entrevistas, permitirá el análisis de los objetos artesanales y su carácter mediatizador de significados culturales tradicionales para el contexto del turismo. En una primera instancia nos abocaremos al diagnóstico del mercado de los productos de diseño artesanal que se ofrecen en Chiloé, analizándolos tanto desde una perspectiva semiótica, como desde el estructuralismo. De ello podremos evidenciar el choque o conflicto que se produce en el contexto del turismo y su impacto en los procesos de creación, generando productos ambiguos, híbridos, que se construyen desde la lógica del mercado intentando reivindicar una identidad cultural tradicional, a veces de manera inadecuada.Finalmente nos referiremos a un caso de producto de diseño de “modernidad apropiada”, concepto desarrollado por Sergio Mansilla, importante investigador sobre Chiloé, y que a modo de conclusión permitirá comprender el rol del diseño en el encuentro y diálogo entre lo local y lo global.http://dx.doi.org/10.4995/ANIAV.2017.5374
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Sheng, Lei. "New Thought on Traditional Chinese Industrial Art in Cultural Creative Industry." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.71.

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Silva, Mariana O., Clarisse Scofield, Gabriel P. Oliveira, Danilo B. Seufitelli, and Mirella M. Moro. "Exploring Brazilian Cultural Identity Through Reading Preferences." In Brazilian Workshop on Social Network Analysis and Mining. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/brasnam.2021.16130.

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In Brazil, each region has its own cultural identity regarding accent, gastronomy, customs, all of which may reflect in its literature. Specially, we believe that country's background and contextual features are directly related to what people read. Hence, we perform a cross-state comparison analysis based on Brazilian reading preferences through a multipartite network model. Also, we explore the effects of socioeconomic and demographic factors on favorite books and writing genres. Such cross-state analyses highlight how the country is culturally rich, where each region has its own distinctive culture. Our findings offer great opportunities for the Brazilian book industry by enhancing current knowledge on social indicators related to reading preferences.
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Omole, Helen, Guy Walker, and Gina Netto. "Extracting Cultural Factors from Helicopter Accident Reports Using Content Analysis." In Applied Human Factors and Ergonomics Conference. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe100603.

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Accident reports from the United Kingdom and Nigerian civilian helicopter industry were compared in order to explore the wider socio-cultural factors and their impact on human error. These two countries share many common features of helicopter operations, including a prominent offshore oil industry, but they differ in terms of the cultural context these operations take place within. Content analysis was carried out in order to explore the cultural variables influencing human error leading to accidents. Results show Nigeria accident reports revealed more of the high cultural contextual differences themes (cultural traits associated with Third World or traditional countries) with patches of low cultural differences (cultural traits associated with Western countries), while the United Kingdom accident reports revealed more of the low cultural contextual differences themes, but surprisingly higher patches of the high cultural differences. Analysis of these results enhances the understanding of the relationship between culture, human actions and various system parts contributing to unsafe acts leading to helicopter accidents. Cultural factors are prominent in the sampled accident reports, yet culture is currently not well represented in accident analysis methods. This is a significant omission. This paper demonstrates that culture plays a significant role in helicopter accidents, and that these factors can be extracted for real life scenarios.
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Lopez Zorrilla, Jhon Sebastián, Laura Daniela Iles Muñoz, María Camila Cruz Mendoza, and María José Lugo Pantoja. "El turismo como medio para la conexión ancestral." In Encuentros Diseño Social RAD 2020. Bogotá, Colombia: Red Académica de Diseño - RAD, 2021. http://dx.doi.org/10.53972/rad.etrads.2020.1.164.

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A lo largo de los años, la industria turística ha sido una de las actividades comerciales que, además de generar el desarrollo económico local y servicios relacionados, se ha convertido en un medio utilizado para el reconocimiento cultural de distintas comunidades y territorios. Por lo anterior, se permite al usuario establecer relaciones de intercambio cercano y de apreciación de la cultura local que se esté visitando. De acuerdo con nuestro contexto, decidimos resaltar el valor cultural y los conocimientos místicos que tienen las comunidades ancestrales de Colombia (Helmsing, 2005). Esto resulta de suma importancia, debido al conflicto interno que vive el país y la falta de identidad nacional. Para nosotros, la solución a esta gran crisis nacional reside en el volver a las raíces, a las culturas originarias y al contacto con la tierra, creemos que es la única manera de incentivar el desarrollo local. De esta manera, se reconocen a los pueblos indígenas que han sido olvidados por la historia y la necesaria participación de estos en la toma de decisiones a nivel político.
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Naranjo Quezda, Amairani, Silvana Astudillo Durán, David Toledo Pacheco, and Ana Lucía Serrano. "INNOVACIÓN CULTURAL." In Congresso Internacional de Conhecimento e Inovação (ciKi). Congresso Internacional de Conhecimento e Inovação (ciKi), 2020. http://dx.doi.org/10.48090/ciki.v1i1.976.

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Las estrategias de innovación en las micro, pequeñas y medianas empresas (Mipymes)pertenecientes al sector cultural son primordiales para su competitividad. El objetivo de esteestudio es analizar las actividades de innovación que realizan las Mipymes culturales en laciudad de Cuenca-Ecuador en la tipología del producto, proceso, promoción y organización,así como los efectos que generan las innovaciones. Se utilizó un análisis descriptivotransversal a 80 empresas culturales y los resultados evidencian que existe predominancia deinnovaciones incrementales por sobre las innovaciones radicales, en especial con mejoras enla mercadotecnia de sus productos culturales. Los hallazgos sugieren impulsar la creación devalor y de procesos de cambio disruptivos en la digitalización de la industria culturalecuatoriana.
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Reports on the topic "Industria culturale"

1

McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Triguboff, Matías, Juan Manuel Zanabria, Simone Sasso, Alison Cathles, Adriana Benzaquen, Maximiliano Bautista, Juan Nicolás Séligmann, Lara Decuzzi, Ana Mines Cuenya, and Alfonso Castellanos Ribot. Evaluación del impacto del COVID-19 en las industrias culturales y creativas. Inter-American Development Bank, December 2021. http://dx.doi.org/10.18235/0004015.

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En América Latina, la pandemia del Covid-19 ha tenido efectos dramáticos sobre las industrias culturales y creativas (ICC), tradicionalmente ligadas a trabajadores autónomos con escasa protección social y económica. Al mismo tiempo, estos sectores han experimentado una acelerada digitalización de sus bienes y servicios y la introducción de nuevos modelos de negocio, que les han permitido fortalecer su resiliencia. Con el propósito de lograr un mejor análisis de la situación de las ICC durante la pandemia, el BID, la UNESCO, la SEGIB, la OEI y el MERCOSUR Cultural aunaron recursos y esfuerzos y se embarcaron en una iniciativa conjunta de análisis del impacto del Covid-19 en estas industrias. Esta publicación presenta los resultados principales de este proyecto. Incluye una estimación macroeconómica y microeconómica del impacto de la pandemia en las empresas y los trabajadores culturales y creativos, así como un análisis de las políticas públicas desarrolladas por ministerios y organismos nacionales de Cultura ante la emergencia. Los hacedores de políticas, economistas, trabajadores culturales y creativos, emprendedores, inversores privados, así como investigadores encontrarán en este estudio datos confiables y un análisis en profundidad de las principales tendencias que han caracterizado estos sectores durante la pandemia. Este estudio proporciona una perspectiva regional, que es clave para identificar nuevas oportunidades y fortalecer la cooperación regional en los sectores culturales y creativos
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Wollongong. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206965.

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Wollongong’s geographic proximity to the southern sprawl of Sydney, accessible transport and cultural diversity have been an attractor for many inward bound creative migrants, helping it diversify away from its industrial past. Wollongong City Council, understanding the importance of the creative industries, has been very proactive in ensuring that the heart of the city has been well and truly activated by sectors of these industries, while the University of Wollongong and its Innovation Campus have also proved a boon to both specialist and embedded creatives. Wollongong maintains a balance between traditional creatives and newer tech-oriented operatives, most with local, national and international suppliers and clients.
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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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Azuara Herrera, Oliver, Kayla Grant, Matteo Grazzi, Diego Herrera, Alejandra Luzardo, Jesús Navarrete, Estrella Peinado-Vara, et al. Primer Diálogo Regional de Política de Industrias Culturales y Creativas con Enfoque Intersectorial: el rol de las industrias culturales y creativas en la reactivación económica de América Latina y el Caribe. Inter-American Development Bank, February 2022. http://dx.doi.org/10.18235/0004013.

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El presente documento recopila las memorias del “Primer diálogo regional de política” de industrias culturales y creativas con enfoque intersectorial, con el propósito de reunir las experiencias y las mejores prácticas disponibles del sector público y privado. Las discusiones giraron en torno a 4 ejes temáticos: Estrategias de desarrollo urbano y local a través de la cultura y la creatividad; Acciones para fortalecer la competitividad del sector creativo a través de la digitalización; Oportunidades para los trabajadores independientes de los sectores creativos; Mecanismos financieros para fomentar la economía creativa.
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Diamond, Alex, and Jhonatan Astudillo. Industrias creativas culturales en Panamá: Diagnóstico del sector y relevancia económica. Inter-American Development Bank, August 2017. http://dx.doi.org/10.18235/0000793.

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Murciano Martínez, M., and C. González Saavedra. Las industrias culturales y creativas en las comunidades autónomas españolas: El caso Cataluña. Revista Latina de Comunicación Social, January 2018. http://dx.doi.org/10.4185/rlcs-2018-1250.

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Cunningham, Stuart, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis - Innovation Precincts in Adelaide. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206903.

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There is a fraught history to the relationship between creative industries on the one hand and innovation and entrepreneurship policy and programs on the other. Such policy and program frameworks have rarely been inclusive of creative industries... This is, however, what we see happening in South Australia.
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Torres-Mancera, Rocio, Carlos de las Heras-Pedrosa, Carmen Jambrino-Maldonado, and Patricia P. Iglesias-Sanchez. Public Relations and the Fundraising professional in the Cultural Heritage Industry: a study of Spain and Mexico / Las relaciones públicas y el profesional de la captación de fondos en la industria del patrimonio cultural: un estudio de España y México. Revista Internacional de Relaciones Públicas, June 2021. http://dx.doi.org/10.5783/rirp-21-2021-03-27-48.

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The present research aims to understand the current situation of strategic communication and public relations applied in the professional field of fundraising in the cultural heritage environment. It observes the current patterns used in the sector to obtain and generate long-term sustainable funding, through the stimulation of investors and International Cooperation projects from the European Union in line with UNESCO. Two international case studies are compared: Spain and Mexico, through the selection of territorial samples in Malaga and San Luis Potosi. The methodology used is based on a combination of in-depth interviews with key informants and content analysis. In the first instance, the degree of application of communication and public relations tools for strategic purposes to directly attract economic resources to the management of cultural heritage (tangible and intangible) in the region is studied. In line with the results obtained, the current parameters and key indicators of the profile of the fundraising professional in public and private cultural management are presented.
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