The rise of creative industries requires new thinking in communication, media and cultural studies, media and cultural policy, and the arts and information sectors. The Creative Industries sets the agenda for these debates, providing a richer understanding of the dynamics of cultural markets, creative labor, finance and risk, and how culture is distributed, marketed and creatively reused through new media technologies. This book:

develops a global perspective on the creative industries and creative economy; draws insights from media and cultural studies, innovation economics, cultural policy studies, and economic and cultural geography; explores what it means for policy-makers when culture and creativity move from the margins to the center of economic dynamics; makes extensive use of case studies in ways that are relevant not only to researchers and policy-makers, but also to the generation of students who will increasingly be establishing a ‘portfolio career’ in the creative industries

International in coverage, The Creative Industries traces the historical and contemporary ideas that make the cultural economy more relevant that it has ever been. It is essential reading for students and academics in media, communication and cultural studies.

Creative Industries and Public Policy

Creative industries and public policy

An argument can be made that the historical origins of cultural policy lie with the French Revolution. One of the key acts of the French Revolution of 1789 was the transfer of the Royal art collections from the Palace of Versailles to the Louvre, alongside a program of collecting historically significant art works from the palaces of the nobility and moving them to the new public museums and galleries (Hobsbawm, 1990). The idea that art treasures and monuments were to become the property of the nation and the responsibility of the state – patrimoine culturel, or common cultural heritage – was consistent with both an opening up of the institutions of cultural display to the whole ...

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