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"The book reflects on the role of the creative economies in a range of African countries (namely Ghana, Nigeria, South Africa and Kenya). Chapters explore how creative economies emerge and can be supported in African countries. The contributors focus on two key dimensions: the role of higher education and the role of policy. Firstly, they consider the role of higher education and alternative forms of specialised education to reflect on how the creative aspiration of students (and future creative workers) of these countries are met and developed. Secondly, they explore the role of policy in supporting the agendas of the creative economy, taking also into consideration the potential historical dimension of policy interventions and the impact of a lack of policy frameworks. The book concludes by reflecting on how these two pillars of creative economy development, which are usually taken for granted in studying creative economies in the global north, need to be understood with their own specificity in the context of our selected case studies in Africa. This book will be of interest to students, scholars and professionals researching the creative economies in Africa across the humanities and social sciences"--
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During most of the 20th century, the production of America's consumer culture was centralized in New York to an extent unparalleled in the history of the modern United States. Within a few square miles were the headquarters of broadcast networks like NBC and CBS, the editorial offices of book and magazine publishers, major newspapers, and advertising and design agencies. Every day tens of thousands of writers, editors, artists, performers, technicians, secretaries, and other white-collar workers made advertisements, produced media content, and enhanced the appearance of goods in order to boost sales. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labour. This text examines these workers and New York's culture industries throughout the 20th century.
Labor unions --- Cultural industries --- History
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Ces dernières années, le développement des technologies numériques a donné un nouvel essor à la figure de l'amateur, notamment dans le domaine de la culture. Face à cette nouvelle donne, plusieurs institutions ont lancé des plateformes contributives culturelles, pour permettre à des amateurs, ou plus généralement à des citoyens, de participer à la construction de savoirs liés à leurs objets culturels en interaction avec l'institution. Les rapports entre institutions et amateurs qui s'instaurent à travers ces dispositifs ne sont pas linéaires et transparents. Si l'institution voit le besoin d'interagir avec ces figures clés, en même temps elle a du mal à leur donner une place qui en préserverait la liberté d'expression. Similairement, les amateurs qui commencent leur activité en autonomie sont souvent attirés par le cadre institutionnel qui peut donner de la reconnaissance ou de la visibilité à leur action. Cependant, dans ce cadre institutionnel, ils ne sont pas toujours à l'aise. En interrogeant les modèles épistémiques et politiques de ces plateformes, entre sciences participatives et pratiques amateurs, cet ouvrage a l'ambition de proposer une nouvelle approche à l'étude des plateformes contributives en tant que dispositifs multi-espace de dialogue entre les institutions et les citoyens.
User-generated content --- Cultural industries --- Amateurism
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"Bringing together the experience of academics and practitioners, this book discusses creative economies in Africa, focusing on changing dynamics related to working, co-working and clustering. The contributors in this volume examine how strategies and opportunities such as co-working spaces, clustering and hubs facilitate the emergence of creative industries in a range of African countries including Kenya, Uganda, South Sudan, Nigeria, Tanzania and South Africa. They also consider the importance of creative intermediaries in providing opportunities and platforms for the development of creative economies in Africa. The chapters present a range of case studies and practices that engage with how creative and cultural producers embrace some of the limits and challenges of their local context to creatively deliver opportunities for economic as well as social and cultural development in their cities and regions. This book will be of interest to students, scholars and professionals researching the creative economies in Africa across the humanities and social sciences"--
Cultural industries --- Government policy. --- Africa --- Cultural policy.
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Le discours venu du théâtre s'attache souvent à vanter la vertu d'un art qui s'excepterait de l'industrie de masse pour offrir un authentique rapport à ce que la culture compte de plus savant. Par ailleurs, ce même discours s'est beaucoup attardé ces dernières décennies à établir les palmarès du théâtre politique, puisqu'il semblait entendu que la politique elle-même avait atteint un point historique terminal.A la différence de ces deux grandes veines morales, S'adresser à tous entend penser le théâtre comme lieu d'une parole privilégiée et mettre au jour la profonde diversité des investissements historiques qui s'y sont succédé depuis la Révolution. Il analyse l'évolution des catégories qui l'ont déterminé, en lien constant avec les évolutions globales de l'industrie culturelle : comment la manière dont le théâtre organise son rapport aux notions de "politique" , de "peuple" , de "populaire" , de "public" définit sa réalité propre tout en enregistrant ce qui se joue dans le champ culturel en son ensemble.Car, si le théâtre après la Révolution française entretient une relation complexe à la notion d'art, il n'existe que directement branché sur le concept de culture qui lui confère sa respiration moderne. S'adresser à tous historicise les attentes qui le structurent, dégage les caractéristiques de sa séquence contemporaine et renouvelle de manière matérialiste l'approche théorique de cet art. Dans cet essai à l'écriture ramassée, dense, rythmée, Diane Scott reprend le flambeau de la Théorie critique en matière de culture.
Theater audiences. --- Performing arts --- Cultural industries --- Audiences --- Theater. --- Performing arts. --- Cultural industries. --- Theater
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"El entusiasmo es un libro generacional sobre quienes nacieron a finales del siglo XX y crecieron sin epica pero si con expectativas, hasta que la crisis sento las bases de un nuevo escenario que se ha hecho estructural; el escenario de la precariedad y la desilusion. Un libro, pues, con vocacion de epoca, un ensayo sobre el sujeto precario en los trabajos culturales, creativos y academicos contemporaneos en el marco de la agenda neoliberal y el mundo en red. Un ensayo que se pregunta como la vocacion y el entusiasmo son instrumentalizados hoy por un sistema que favorece la ansiedad, el conflicto y la dependencia en beneficio de la hiperproduccion y la velocidad competitivas."
Creative ability --- Cultural industries. --- Labor and globalization. --- Precarious employment --- Social aspects. --- Cultural industries --- Labor and globalization
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Music trade --- Music business --- Music industry --- Cultural industries
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"This book offers an in-depth academic discourse on the convergence of AI, digital platforms, and popular culture, in order to understand the ways in which the platform and cultural industries have reshaped and developed AI-driven algorithmic cultural production and consumption. At a time of fundamental change for the media and cultural industries, driven by the emergence of big data, algorithms, and AI, the book examines how media ecology and popular culture are evolving to serve the needs of both media and cultural industries and consumers. The analysis documents global governments' rapid development of AI-relevant policies and identifies key policy issues; examines the ways in which cultural industries firms utilize AI and algorithms to advance the new forms of cultural production and distribution; investigates change in cultural consumption by analyzing the ways in which AI, algorithms, and digital platforms reshape people's consumption habits; and examines whether governments and corporations have advanced reliable public and corporate policies and ethical codes to secure socio-economic equality. Offering a unique perspective on this timely and vital issue, this book will be of interest to scholars and students in media studies, communication studies, anthropology, globalization studies, sociology, cultural studies, Asian studies, and science and technology studies (STS)"--
Artificial intelligence. --- Digital media. --- Cultural industries --- Data processing.
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In the 1930s, British colonial officials introduced drama performances, broadcasting services, and publication bureaus into Africa under the rubric of colonial development. They used theater, radio, and mass-produced books to spread British values and the English language across the continent. This project proved remarkably resilient: well after the end of Britain's imperial rule, many of its cultural institutions remained in place. Through the 1960s and 1970s, African audiences continued to attend Shakespeare performances and listen to the BBC, while African governments adopted English-language textbooks produced by metropolitan publishing houses. Imperial Encore traces British drama, broadcasting, and publishing in Africa between the 1930s and the 1980s-the half century spanning the end of British colonial rule and the outset of African national rule. Caroline Ritter shows how three major cultural institutions-the British Council, the BBC, and Oxford University Press-integrated their work with British imperial aims, and continued this project well after the end of formal British rule. Tracing these institutions and the media they produced through the tumultuous period of decolonization and its aftermath, Ritter offers the first account of the global footprint of British cultural imperialism.
Cultural industries --- Social aspects --- Great Britain --- Colonies --- Social aspects
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