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Cultural industries

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Depuis plus de dix ans, Mainstream est devenu le livre de référence des études sur les industries culturelles, les médias et le numérique. Avec cet ouvrage, le terme « mainstream » (dominant, populaire) est entré dans la langue courante et le concept de « soft power » a été… Lire la suite révélé.À travers les blockbusters, les best-sellers, les hits ou les réseaux sociaux, une bataille mondiale pour l'influence culturelle et digitale est en cours. De Hollywood à Bollywood, de la Chine à l'Afrique subsaharienne, du Mexique au Japon, cette enquête sans précédent a été menée sur le terrain dans trente pays pendant cinq ans. Dans toutes les capitales de l'entertainment, Frédéric Martel analyse le jeu des acteurs, les logiques des groupes et suit la circulation des contenus sur les cinq continents. À l'âge numérique, tout s'accélère.Mainstream raconte cette nouvelle guerre globale de la culture et des médias. Best-seller inattendu, le livre a été traduit dans une trentaine de pays – il est lui-même devenu « mainstream ».

CULTURAL INDUSTRIES.

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The Nordic countries have unique traditions of cooperation and each Nordic country has several years of experience with developing the regulatory framework and policies for promoting the cultural and creative industries as well as growth and innovation in other parts of the business community. This is an English summary of the KreaNord report, "Store Forandringer - Store Muligheder. Analyse af policyudvikling til fremme af de kulturelle og kreative erhverv i Norden 2007-2012" (Big Changes - Big Opportunities. Analysis of developments in policy to promote cultural and creative industries in the Nordic Region, 2007-2012). The summary presents four overall themes that have proved to be of general relevance to policy development in the Nordic countries since 2007.

Cultural industries.

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Cultural industries

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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"--

Cultural industries