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Introducing the Creative Industries: From Theory to Practice

by Rosamund Davies and Gauti Sigthorsson SAGE Publications Ltd
Pub Date:
04/2013
ISBN:
9781849205733
Format:
Pbk 280 pages
Price:
AU$79.00 NZ$81.74

SAGE Student Price: AU$67.00

Product Status: In Stock Now
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Available as eBook
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With so much talk about the creative industries, do we really know what they are, what they produce, and who works in them?

This ground-breaking textbook takes the student through the history, trends, products and markets of the creative industries, showing how success depends on a mix of ideas, tactics and talent. When understanding social networks and cultural economy is just as important as hands-on skills or an entrepreneurial spirit, Introducing the Creative Industries shows students how to use theories, concepts and practical skills to get ahead in their course and professional life. Creatively imagined and beautifully written, this book:

• interweaves concepts and practices in an easy-to-read layout on every page

• uses cultural economy to teach the essential concepts and thinkers

• integrates case studies from fashion and gaming to journalism and music

• shows students strategies for navigating the links between skills, industries, creativity and markets.


This book will expand students' horizons in this fast-moving industry, showing them how to spot opportunities and use their knowledge and savvy to take advantage of them. It is an essential guidebook for students of creativity in media and communication, design, creative industries and business.

INTRODUCTION: HOW TO USE THIS BOOK
1. What are the Creative Industries?
Defining the Creative Industries
The Local and the Global
Symbolic Products and Services
Studying the Creative Industries - Three Approaches
Economic Data, Organizations and Occupations
Markets, Novelty and Uncertainty
Creative Labour, Working in the Creative Industries
Summary
Recommended Reading
2. Creativity and Commerce
Who pays? Who makes? Who buys?
Patronage: Wealth, Power and Religion in Italian Renaissance Painting
Painting in Renaissance culture
The Renaissance Painter
Production and financing structures
The Marketplace: English Theatre in the time of Shakespeare.
Patronage vs. the marketplace
Reproduction and mass-production: The Print Revolution
Gutenberg the Innovator
The impact of the printing press
The print revolution and the writer
Industrial Production
The industrial revolution and the designer
From Worker to Consumer
Romanticism: The divorce of ''aesthetic man'' and ''economic man''
Art as moral improvement
The emergence of the 'general public'
Industrialised media production: The Studio system
Summary
Recommended reading
PART 1. WORKING IN THE CREATIVE INDUSTRIES
3. Institutions, Ownership and Entrepreneurship
The Organisation of Production
Post-fordism
Whales and Plankton: The Ecology of the Creative Industries
The pros and cons of flexible labour
The role of trade unions
Getting past the gatekeepers
Workplaces
Work structures
Work Patterns
Finding Work
Career trajectories and portfolios
Portfolio careers
Entrepreneurship
National and International Perspectives
The national and the local
The international dimension
Summary
Recommended Reading:
4. The Business of Creativity,
Sole traders and micro businesses
Setting up business as a freelancer
Setting up business as a partnership or limited company
The 'Lifestyle Business' vs the 'Growth Business'
Financing a creative business
Starting up
Maintaining the business
Contracts and Rights
Business Models
PEST: Political, Economic, Social and Technological Factors
Clustering and the Sense of Creative Community
Summary
Recommended Reading
5. Work Routines and Work Cultures
Employees: Staffers, in-house workers
Cultures of the workplace
''Good Work'' and ''Bad Work''
Corporate Culture
Teamworking
Freelancers and Portfolio Workers
The Rhythms of Creative Work
Networking
The Compulsory Sociality of Freelancing
Building a profile
Networking Strategies
Internships, Work Experience, Unpaid Labour
Equality of Opportunity?
Internal Barriers?
Fitting in - how do you 'join the club'?
Status Issues
Summary
Recommended Reading / Resources
PART 2. PRODUCTION AND THE CIRCULATION OF PRODUCTS
6. Creative Producers and Products
Creative Goods and Services: Tangible and Intangible
Creative Originals Producers
Creating a Designer Fashion Collection
Creative Content Producers
Case Study: Vice and Monocle's Big Bets on Content
Creative Experience Providers
Disneyland, The Place That Was Also a TV Show
Creative Service Providers
Taking Music to Market
From Simple Creative Goods to Complex Creative Goods
Assembling a Complex Creative Good: Assistant Film Editor
Summary
Recommended Reading
References
7. Development and Production
Development
Case Study: The Creation of a Shoe - From Japan to the UK to Portugal and back again
Case Study: An International Documentary
Case Study: Solving a Dickensian Mystery - A UK-US Co-production
Case Study: The Local and the Global - Dance Music
Production
The Bedroom Studio
From Prototype to Product
Pre-production: planning and organising
Production: putting the plan into action
Post-production: putting it all together
Expecting the unexpected: Completing After the Apocalypse
Summary
Further Reading
8. Circulation: Marketing and Distribution of Creative Products
Circulation
The Mass Market Model
Channels of Distribution and Marketing
What is Marketing?
Case Study: DIY marketing
Selling Stuff: Retail and its Disruptions
Retail trouble: Disintermediation
After Disintermediation, Reintermediation
Competing with ''Free''
Case Study: Making Music in a Digital Market
Summary: The Work of Circulation
Recommended Reading
PART 3. THE CREATIVE ECONOMY
9. Institutional Commissioning and Financing Structures.
Business models in the television sector
Commissioning in Television
How do writers and producers get TV commissions?
Case Study: Drama Commissioning at the BBC
Brand identity
Finding a route in
New talent
Continuing and returning dramas
Independents need each other
The international dimension
New platforms for content
Commissioning and the Business of Magazine Publishing
Case Study: The Jobbing Writer. How does a freelancer get published, online and in print?
Summary
Recommended Reading
10. Clients, Funders and Going it Alone
Working to Brief: The Client-relationship.
Advertising and Marketing: Creative and Media Agencies
Pitching
The blurred distinction between creative and media agencies
Communications, campaigns, interactions: What agencies sell their clients
Delivering on a Brief
Public Funding.
Example: Celebratory Arts Company
Entrepreneurial Approaches.
Case Study: Film financing - Putting together a package.
Pre-sales
Public funding for film
Loans
Putting the Puzzle together
Self-funding
Case Study: Self-funded feature film
User-generated content / Web publishing
Crowdfunding
Case Study: Crowdfunding Independent Journalism
Summary
Recommended Reading
11. The Changing Economic Landscape
Creativity and Commerce: Novelty, Risk and Change
Changing Work Routines and Work Cultures
Changing Personal Circumstances
Changing Structures and Models
Case Study: Apps
Jobs That Don't Exist Yet
Recommended Reading
Glossary
References

With the rapid growth in opportunities to work in the creative industries, there is a need for books that clearly outline the key issues. With a book rich with case studies and definitional materials, Davies and Sigthorsson have admirably met this challenge.Professor Terry Flew
Queensland University of Technology




Full, fresh and fun, but also hard work - absorbing, detailed and ambitious. That's the creative industries, and also this book. It suits what it studies, showing how human creativity, meaningfulness and experience are organised at industrial scale. Aimed squarely at those who will be the workforce and wealth-creators of the future, this is the go-to guide for understanding a complex and varied market.John Hartley
Curtin University, Australia, and Cardiff University, Wales


Rosamund Davies  University of Greenwich   


Gauti Sigthorsson  University of Greenwich