Cultural industries

Towse, Ruth

doi:10.4337/9781781008003.00026

Cited by 14 publications

(28 citation statements)

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“…Interactions between museums and CCIs can occur at different stages of the CCI value chain: generation of original creative content, publication, and delivery or distribution of goods and services (KEA 2019b). They can also be discussed from the point of view of the role of museums as aesthetic gatekeepers (Hartley et al 2013) or gatekeepers in general (Towse 2003), and considering that museums are often public institutions or are heavily subsidised by governments, as a channel through which public policy impacts the CCIs (Hartley et al 2013).…”

Section: Definitions and Museums As A CCImentioning

confidence: 99%

Do museums foster innovation through engagement with the cultural and creative industries?

Nogare

Murzyn‐Kupisz

2021

J Cult Econ

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The recent narrative on museums as catalysts of innovation and growth considers their relations with other cultural and creative industries (CCIs) to be very important. We argue that most relations museums establish with CCI firms and institutions are unlikely to produce strong positive externalities that make the latter more innovative. To prove this claim, we propose a conceptual framework qualifying project-based and supply chain relations between museums and CCIs as either strong, moderate, or weak links, according to their potential in terms of knowledge spillovers from museums to CCIs. We apply this taxonomy to data collected from 261 Polish museums. Our findings indicate that strong links are outnumbered by moderate and weak ones. We then suggest that the traditional missions of museums, in particular education and conservation, need to be more thoroughly assessed in terms of their direct and indirect contributions in order to fully capture the impact of museums on innovation in the wider economy.

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Section: Definitions and Museums As A CCImentioning

confidence: 99%

Do museums foster innovation through engagement with the cultural and creative industries?

Nogare

Murzyn‐Kupisz

2021

J Cult Econ

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“…Many authors use these terms interchangeably (Peterson and Anand ; Thompson et al . ; Towse ). In the present review, studies using cultural or creative industries conceptualizations are included because they do not form independent populations.…”

Section: Cultural Industries Definitionsmentioning

confidence: 99%

“…; Throsby ). Many authors include advertising, architecture, design, new media, heritage and crafts, fashion, video games and photography (Hesmondhalgh ; Scott ; Towse ). Some also include festivals, jewellery, furniture, tourism, toys and perfume (DeFillippi et al .…”

Section: Cultural Industries Definitionsmentioning

confidence: 99%

“…Despite copyright law securing publishers' income rather than artists', most artists comply with the law because copyright gives them other benefits, such as status and prestige (Towse ). Most importantly, the copyright legislation plays a role in ensuring the continuing dominance of major corporations in cultural industries, which may affect the degree of creativity allowed in the market (Towse ; Tschmuck ).…”

Section: Management Challengesmentioning

confidence: 99%

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Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Peltoniemi

2014

Int J Management Reviews

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During the last decade cultural industries have grown in economic importance, and research interest in them has increased. Despite prolific research, there is a lack of a comprehensive view on the subject. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. This is achieved through a review of 314 cultural industries studies, whereby a classification system of three main and six sub-categories is constructed. On the basis of the review, a framework for future research is presented. Most importantly, future research should examine selection criteria and selection performance, and explore the relationships between tastes, sales, diversity and quality. In this way, researchers might be able to create some order in the extreme uncertainty that cultural industries managers face. 2 INTRODUCTIONResearch on cultural industries has become increasingly popular. This has been motivated by the growth of the economic importance of such sectors (see e.g. United Nations 2010), by the introduction of cultural and creative industries policies (e.g. DCMS 2008), and perhaps also by researchers' passion for and interest in sectors like film, music and video games.Despite increasing popularity, we lack a comprehensive view of the subject. Some cultural industries researchers emphasize the selection system cultural goods need to pass through to reach audiences (e.g. Hirsch 1972), while others highlight the inherent uncertainty concerning the success potential of any cultural good when they do so (e.g. De Vany 2004). For yet others cultural goods are defined by their non-utilitarian value (e.g. , while many have expressed interest in the conflicts between artistically-motivated creatives and financiallymotivated managers (e.g. Eikhof and Haunschild 2007). Despite a vast and varied body of work, it remains unclear what characteristics make industries cultural, which industries belong under the cultural umbrella, and what phenomena are specific to them. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. Based on this, a framework for future research is presented.Based on a review of 314 cultural industries studies we propose the following definition: Cultural industries are those that produce experience goods with considerable creative elements and aim these at the consumer market via mass distribution. The creative elements consist of stories and styles, and they serve the purposes of entertainment, identity-building and social display. Mass distribution refers to storage and delivery where economies of scale play an important role. On the basis of this definition, the activities belonging under the cultural 3 industries concept include film, music, book and magazine publishing, TV and radio, fashion and video games.There are two features that are specific to cultural...

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“…An interesting feature of cultural economics is that, in contrast to the often heated debates in cultural studies and related fields about whether one should refer to cultural or creative industries, writers in this field are quite relaxed about the label used for these industries (Towse, 2003). The more critical question is how to define what are cultural activities, and hence the nature of markets for cultural goods and services.…”

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confidence: 99%

The Cultural Economy Moment?

Flew

2009

Cultural Science Journal

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This paper explores the rise of cultural economy as a key organising concept over the 2000s. While it has intellectual precursors in political economy, sociology and postmodernism, it has been work undertaken in the fields of cultural economic geography, creative industries, the culture of service industries and cultural policy where it has come to the forefront, particularly around whether we are now in a 'creative economy'. While work undertaken in cultural studies has contributed to these developments, the development of neo-liberalism as a meta-concept in critical theory constitutes a substantive barrier to more sustained engagement between cultural studies and economics, as it rests upon a caricature of economic discourse. The paper draws upon Michel Foucault's lectures on neo-liberalism to indicate that there are significant problems with the neo-Marxist account hat became hegemonic over the 2000s. The paper concludes by identifying areas such as the value of information, the value of networks, motivations for participation in online social networks, and the impact of business cycles on cultural sectors as areas of potentially fruitful inter-disciplinary engagement around the nature of cultural economy.

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Cultural industries

Cited by 14 publications

References 0 publications

Do museums foster innovation through engagement with the cultural and creative industries?

Do museums foster innovation through engagement with the cultural and creative industries?

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

The Cultural Economy Moment?

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