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Культурные и креативные индустрии

Статус: Маго-лего
Кто читает: Институт медиа
Когда читается: 3, 4 модуль
Язык: английский
Кредиты: 3
Контактные часы: 44

Course Syllabus


Main objective of this course is to trace the development of the Cultural and Creative Industries as an idea and as concept and to identify the key points of changes within it in relations with contemporary digital connected world. Another important task of this course is to provide the deep understanding of the difference between cultural and symbolic meaning products (such as films, recorded music, book and periodicals, online media content etc) and other kind of goods.
Learning Objectives

Learning Objectives

  • Identify main peculiarities of cultural and symbolic goods in their difference with other branches of economy in terms of production chain, risks, relationship between different stages of production.
Expected Learning Outcomes

Expected Learning Outcomes

  • Is familiar with main theoretical works in field of cultural industry theories
  • Able to trace the change in theories due to the changing media landscape
  • Able explain the principle of uncertain value of cultural and artistic work
  • Distinguish core models of curbing risks in field of cultural industries
  • Distinguish core models of functioning of media and cultural products and able to apply them for particular media and cultural products and businesses
  • Establish the periodicity of reproducible mediums
  • Expressing main features of immaterial distribution of cultural forms and shift of it in digital age
  • Express the financial dynamics of the concentration in field of culture
  • Distinguish vertical, horizontal and corporate concentration in field of cultural industries
  • Make the distinction between the concept of cultural industries and creative industries
  • Analyzes the creative industries as policy and as ideology
  • Distinguish different approaches to the regulation of culture
  • Able to express why culture is the public good
Course Contents

Course Contents

  • The Origins of “Cultural Industries ” Theory
    Cultural industries and related fields (communication industries, symbolic industries etc). Main theoretical origins of Cultural industries. Critical theory and Political economy of communication. Cultural industry in Adorno's work. The notion of reproducibility.
  • Core principles of cultural industries
    The diversity of cultural merchandise as grounded in differential relations to industrial production. Typology of cultural products. The unpredictable (or uncertain) character of cultural (or informational) use values generated by industrialised cultural products. Main strategies to curb risks in cultural industries. Two fundamental generic models the editorial model and the flow model.
  • History of reproducibility in cultural industries
    What is reproducibility in media and its relation with industrialization. Printed book as first reproducible media. Difference between written book market and printed book market. Copyright and authors right and its functions in industrial book logics. Industrialization of periodicals and double conversion model. Movie sector and recorded music as recorded media industries. Recorded music: between phonograph and gramophone. Mass consumption of music as model of service (juke box). From model of service towards model of mass sold good. Early film entertainment models (personal vs collective consumption). Movie as experimental production. Industrial organization of first movie studios. Hollywood classic period industrial model. Blockbuster (post TV) industrial model of film industry Television, radio and interactive digital networks as immaterial goods and services. Radio: from equipment logics to content logics. Advertising model in radio. Radio networks as commercial model. Television as industry. Diversification of the audiovisual production related to television development. Audiovisual media and alternative way of distribution. Digital platforms as universal reproducibility
  • Concentration in field of cultural industries
    Symbolic goods as hybrid goods. Concentration as a threat to diversity of opinions. Economic science critic of the media concentration. Political economy critic of the media concentration. Critic of the international concentration.Early mass-media concentration Horizontal and vertical concentration in field of cultural industries and media. Media conglomerates of the mid-century XX. Diagonal concentration and diversification of cultural industries outside. Large diversified concentration in media, telecom, IT and cultural industries of the end of XX century. Re-specialization and narrowing conglomerate corporate perimeter of the XXI century. Financial logics of the concentration
  • Creative industries and its relationship to cultural industries
    Different kind of creativity. Individual creativity and true creativity. Creative class as concept. Economic, technological and cultural creativity. Creativity as particular product or creativity as particular form of activity.- Creative industries and creative economy as political idea Different approaches to define creative industries. Creative industries as technology driven project. Creativity and social development. Creative economy as continuation of information economy concept. - Model of convergence between CI and CreaI. Model of concentric circles Main features of CI not working for CreaI. Problem of the nature of product (what is symbolic good). Problem of the type of production (collective vs individual). Problem of reproducibility
  • Policy in field of cultural industries and creativity
    Origins of cultural policy. Media and culture between private goods and public goods. Neo-liberal approach to culture and media. Cultural exception approach to cultural policy. Cultural identity protection argument. Audiovisual spectrum regulation policy and its origins as example. Public media regulation policy as example. Cultural identity protection policies. Industrial development policies. Pluralism protection policies. Policies in field of creative clusters. Education, cultural and media policies
Assessment Elements

Assessment Elements

  • non-blocking Attendance
  • non-blocking Working during seminars
  • non-blocking Final essay
Interim Assessment

Interim Assessment

  • Interim assessment (4 module)
    0.1 * Attendance + 0.5 * Final essay + 0.4 * Working during seminars


Recommended Core Bibliography

  • Beck, A. (2003). Cultural Work : Understanding the Cultural Industries. London: Routledge. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=137678
  • Eisenstein, E. L. (2012). The Printing Revolution in Early Modern Europe (Vol. Second edition, Canto classics edition). Cambridge: Cambridge University Press. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=644556
  • Fitzgerald, S. W. (2012). Corporations and Cultural Industries : Time Warner, Bertelsmann, and News Corporation. Lanham, Md: Lexington Books. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=433577
  • Jenkins, H. (2006). Convergence Culture : Where Old and New Media Collide. New York: NYU Press. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=1020918
  • Kerr, A. (2006). The Business and Culture of Digital Games : Gamework and Gameplay. London: SAGE Publications Ltd. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=251513
  • Mayer, V., Banks, M. J., & Caldwell, J. T. (2009). Production Studies : Cultural Studies of Media Industries. New York: Routledge. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=289618
  • McRobbie, A. (2015). Be Creative : Making a Living in the New Culture Industries. Chicester: Polity. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=1158829
  • Power, D., & Scott, A. J. (2004). Cultural Industries and the Production of Culture. London: Routledge. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsebk&AN=115439

Recommended Additional Bibliography

  • Benhamou, F., & Ginsburgh, V. (2006). Copies of Artworks: The Case of Paintings and Prints. Handbook of the Economics of Art and Culture, 253. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsrep&AN=edsrep.h.eee.artchp.1.08
  • Bernard Miège. (1997). Les industriels de la culture et de l’information à l’ère des nouveaux médias et des réseaux de diffusion. Sociologie de La Communication, (1), 73. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsper&AN=edsper.reso.004357302.1997.mon.1.1.3833
  • Françoise Benhamou. (2011). Artists’ Labour Markets. Chapters. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsrep&AN=edsrep.h.elg.eechap.13789.7
  • McAlpine, A. (2015). Chapter 04 - Printing as a Catalyst for Social Revolution. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsbas&AN=edsbas.AFB3F905
  • McRobbie, A. (2016). Towards a Sociology of Fashion Micro-enterprises: Methods for Creative Economy Research. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=edsbas&AN=edsbas.DE1E782D