“This guide to the emerging language of creative industries field is a valuable resource for researchers and students alike. Concise, extensively referenced, and accessible, this this is an exceptionally useful reference work.” - Gauti Sigthorsson, Greenwich University “There could be no better guides to the conceptual map of the creative industries than John Hartley and his colleagues, pioneers in the field. This book is a clear, comprehensive and accessible tool-kit of ideas, concepts, questions and discussions which will be invaluable to students and practitioners alike. Key Concepts in Creative Industries is set to become the corner stone of an expanding and exciting field of study” - Chris Barker, University of Wollongong Creativity is an attribute of individual people, but also a feature of organizations like firms, cultural institutions and social networks. In the knowledge economy of today, creativity is of increasing value, for developing, emergent and advanced countries, and for competing cities. This book is the first to present an organized study of the key concepts that underlie and motivate the field of creative industries. Written by a world-leading team of experts, it presents readers with compact accounts of the history of terms, the debates and tensions associated with their usage, and examples of how they apply to the creative industries around the world. Crisp and relevant, this is an invaluable text for students of the creative industries across a range of disciplines, especially media, communication, economics, sociology, creative and performing arts and regional studies.

Public Culture

Public culture

The term public culture has two interconnected meanings: first, it describes areas of cultural and creative industries activity that are funded by the public purse; in the second sense it refers to cultural activity that is recognised by a particular public or community. The first sense is the most widespread understanding of public culture. Taxation provides resources for a range of cultural programmes, which can be categorised in three levels: publicly supported or publicly funded arts; public facilities (galleries, libraries and museums); and public service broadcasting (e.g. the British Broadcasting Corporation (BBC)). This raises questions of how to make optimal use of public resources and draws attention to long-running debates about the extent of government involvement with cultural production. Should they direct resources, ...

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