English Abstracts
Arts and Creative Industries:A Report to Australia Council for the Arts
■Justin O’Connor
Creative Industries FacultyQueensland University of Technology
Abstract
This article deals with popular culture in the 1960s and 1970s. It outlines the many challenges popular culture presented to the unitary national cultural policy and to certain elitist tendencies in the realm of arts. The article also describes the emergence of‘creativity’and the‘creative industries’in the1990s. Then the article relates in detail how the arts and creative industries have been defined by scholarsconsultants and policy makers. The article concludes by examining the policy implications of a creative ecosystem applicable to all sectors of the societyand by discussing how these implications both confirm and alter the scope of policy influence from of arts organization such as Australia Council for the Arts.
Key Words
ArtsPopular CultureCreative IndustryCreativity
Advance Marxist Aesthetics in Light of the Reality—An interview with Professor Justin O'Connor
■Wang JieSong Chunyan
Shanghai Jiao Tong UniversityShanghai200240
Abstract
Dr. Justin O’Connor is Professor at the School of Creative IndustriesQueensland University of TechnologyAustralia. Until September 2008 he had been Professor of Cultural Industries at the School of Performance and Cultural IndustriesUniversity of Leeds. Between 1995 and 2006Prof. O’Connor was Director of Manchester Institute of Popular Culture at Manchester Metropolitan University. His main areas of interest are contemporary urban culturecultural and creative industriescultural policy and urban regeneration. His main books are Arts and Creative Industries2010and Creative CitiesCreative EconomyAsian European Perspectives2009. Prof. O’Connor was employed as a visiting chairprofessor by the School of HumanityShanghai Jiao Tong University. This is an interview with him by Prof. Wang Jie on the relationship between Creative Industries and Marxist Aestheticsthe advancement of Marxist Aesthetics in modern times.
Key Words
Culture IndustriesCreative IndustriesMarxist AestheticsArts
Creative CitiesTensions within and between Social Cultural and Economic Development —A Critical Reading of the UK Experience
■Andy C. Pratt
Department of CultureMedia and Creative IndustriesKing’s College London
Abstract
This article offers a situated and pragmatic analysis of the state of the art of creative cities policy thinking regarding the governance of the relationship between the cultural and creative economy and urbanization. It argues for the need to pay attention to the contexthistory and regulatory forms of creative cities and to be very cautious in our desire to draw wider lessons based upon policy transfer. The paper examines the UK case as illustrative of the organic and fractured nature of policy initiativesandadvises against a single policy model. There are many instrumental uses to which creative city polices can be putand criticallythere are a number of intrinsic uses as well. This paperand the literature more generallysupports the view that the balance of attention has been toward instrumental uses of culture and creativity. It is argued that we need to rebalance policy and academic concern to the intrinsic value of the cultural and creative field.
Key Words
CityCreative IndustriesCultural IndustriesCreative CityRegenerationSocial Inclusion
Life Is a Pitch”Managing the Self in New Media Work
■Rosalind Gill
tudes franèaisesCollège GlendonUniversitéYorkToronto
Abstract
In the context of highlydeveloped capitalismpeopleespecially the new media workersare experiencing rapid transformations of workwhich has given rise to the feeling of living in a state of constant flux and uncertainty. New media work is characterized by precariousnessextensificationfast changesuncertainty and new inequalities. Under this circumstancesnew media workers have to train and retrainupdate skills and knowledgeselfemployetc. In briefworking in new media involves multiple practices of managing the self.
Key Words
New Media WorkPrecariousnessWorkerSelfSelfManagementSelfEmployment
The Aesthetic Dimension of Creative Industires
■Zhu Liyuan Lu Cheng
Department of ChineseFudan UniversityShanghai200433China
Abstract
From the aesthetic perspectivethis article tries to clarify the aesthetic dimension involved in Creative Industries. Emotional thinkingimagination and inventiveness are essential parts of creativity. To some extentthe transcendence and freedom of aesthetic activities free the workers in creative industries of the repetitive and boring work. Howeverthe relationship between aesthetic autonomy and the economic goal of creative industries is a dynamic one. They sometimes cooperate or otherwise go against each other. The former one is vulnerable to the oppression of the latterand in that casethe development of creative industries is jeopardized. Consumers should avoid losing their subjectivity in the course of fervent consumerismmeanwhilethe producers should also prevent themselves from being alienated bycreativity”under the pressure of economic purpose.
Key Words
Creative IndustriesAesthetic DimensionAesthetic ActivitiesAesthetic FreedomEconomic Purpose
On The Articulation Paradigm of Cultural Studies
■Lu Yang
Department of ChineseFudan UniversityShanghai 200433
Abstracts
Articulation theory is a neoGramscian or postMarxist paradigm of cultural studies following culturalismstructuralismand hegemony. From the Marxist perspectiveit refers to the connection of different productive modes. It means culture is always plural with its strategies articulating various ideological elements into a vast complex net of meaning. It is of great necessity to examine the hidden connections between culture and politics. Hence a probe into the articulation mechanism in connection to advertisements and art may display thatignoring politics or history and neglecting mass cultureany condescending and hasty conclusions would be empty elitist talk. In factart’s articulation with languagereligion and folklore has always been present.
Key Words
ArticulationPostMarxistAdvertisementArt
Marxism and the Question of Cultural Production—A Response to Justin O’Connor
■Zeng Jun
School of LiteratureShanghai Jiao Tong UniversityShanghai200444China
Abstract
In ArtIndustry and ModernityJustin O’Connor confirms the hostile relationship between artcultureand industryproductionwhich was originated from Marxismbut he treats it with Pierre Bourdieu’s theory. Butif we reflect on O’Connor’s analysis of cultural and creative industries by applying Marxism of cultural productionwe can recognize that on the one handJustin inherits Marxism to some extent since O’Connor’s discussion starts with the relation between culture and productionbut that on the other handhe breaks away from the Marxist methodology since O’Connor emphasizes Bourdieu’s cultural reproduction characterized by power and distinction. Marxist theory of cultural production is never unitaryinsteadit involves varied strategies of exploration and different types of problem consciousnesseven antithetical theoretical attitudes. Justin’s views bear more connections with postMarxism sincein his study of cultural productionO’Connor examines classical MarxistsFrankfurt SchoolpostMarxistsand Birmingham Schoolextending from the paradigm of cultural production to that of cultural reproduction.
Key Words
Cultural ProductionJustin O’ConnorMarxism