LECTURE 1
weekly summaries on the film production industry —
list of key concepts for each lecture. Explain how this concepts can be applicable to
a film industry. 1-2 sentences, your own words. DUE TO 6 PM ON THE DAY OF
THE LECTURE. MANDATORY.
poster presentation—
group project. Look for empirical case, cover 5 themes, submit the notes before the
presentation.
Sociology- the study of society, human system, meaning-making and social
inequality.
—> in Culture: symbolic system, shared by a particular group, incl. arts and creative
products.
—> Production distribution and consumption of arts is context specific—>
organization of CCI depend on wider social structures.
Cultural Economics:
->The study of the relationship between culture and the economy
->Application of economic analysis to arts & culture;
How to define Cultural and Creative ?
- Department of Culture, Media and Sports (DCMS) UK: for policy development. to
rise awareness
- Cultural Studies model, social theory : industries as purveyors of symbolic text
- World IP organization (WIPO) copyright-based mode- mostly focusing on
commercial outcome of created property
- UNESCO’s institute for Statistics : international consistency in statistical collections
1) The UK CCI
Definition:
- creative industries mapping document, DCMS
- CCI-those industries which have their origin in individual creativity, skill and talent
and have a potential for wealth and job creation through the generation and
exploitation of IP .
- High level of «creative intensity» — high proportions of creative occupations
—> Creative occupation: matter of professional judgement, no clear definition.
Creative economy vs creative industries:
Creative economy- contribution of those who are in creative occupations outside the
creative industries as well as all those employed in CCI
Creative industries- a subset of creative economy which includes only those working
in the Creative industries themselves and who may either be in creative occupations
or in other roles
Creative Industries sectors:
1. Advertising and marketing
2. Architecture
3.Crafts
,4. Design and designer fashion
5. Film, TV, video, radio an photography
6. IT, software and computer services
7. Publishing
8.Museums, Galleries and Libraries
9. Music, performing and visual arts
2) UNESCO
«Understanding the creative industries»
Cultural Industries: industries, which combine the creation, production and
commercialization of creative contents which are intangible and cultural in nature.
The contents are typically protected by a copyright and the can take the form of a
good and service
e.g.: books, magazines
Cultural Services: activities aimed at satisfying cultural interests or needs; typically
consist of overall set of measures and supporting facilities for cultural practices made
available to a community
Creative Industries: Broader range of activities, which include the cultural industries
plus all other cultural or artistic production. The creative industries are those on
which the product or service contains a substantial element of artistic or creative
endeavor
e.g.: architecture, advertising
Cultural Domaines - one more concept, dynamic models, you can add more and
more domains
3) Concentric Circles Model; Throsby
Relative and empirically tested model (tested on Canada, Australia, USA, New
Zealand, UK)
Assumption: distinct commodity class economic+cultural value
Position in the model: degree of artistic creativity (cultural content) in relation to
commercial value of a good/service
⁃ Creative input (labor) as a proxy for creative output (content)
-> Percentage of creative occupations in an industry
Important!- empirically tested and dynamic model !!
Cultural and Creative.
Comes from:
1) Sociology
«Cultural industry» (Adorno)
- Frankfurt school: marxist critique of mass culture
- Industrialization and commodification of the process of symbolic production
- Destruction of the relative autonomy of the superstructure and od the emancipatory
possibilities of arts.
«Cultural Industry system» (Hirsch, 1972, посмотри чтение на 1 неделю)
Cultural economics and policy:
More recent concept (UK,DCMS)
,“Creative economy” (Howkins 2001)
Value based on innovative imaginative qualities, rather than land, labor, capital
Creativity throughout the economy
“Creative class” (Florida 2002)
Immaterial production & knowledge based workers
Key driving force for economic development of post-industrial cities
Why is it important to have the tools to study the CCIs?
1.Take larger place in economies and societies
2.Different from other industries
The Role of CCI in Economics and Society:
1.Youth: CCI sectors typically employ more people aged 15-29 than other economic
sectors
2.High productivity: CCI sectors tend to create more added value per worker than
other sectors
3.Independence and entrepreneurship: CCI workers are more likely to work in
small businesses or as independent operators
4.High level of education: CCI workers are typically higher educated than the
average worker in a country
R. Caves (2000) Basic Economic Properties of Creative Activities
1.Nobody knows: Demand is uncertain;
2.Art for art’s sake: Creative workers care about their product;
3.Motley Crew.Many creative outputs require diverse skilled and specialized
workers;
4.Infinite variety. Creative products are differentiated vertically and horizontally;
5.A list / B list. Artists’ skills are vertically differentiated based on quality, in large
part, because money is at stake;
6.Time Flies.Time is of the essence. Once a project is underway it can be expensive
to stop;
7.Ars Longa. Intellectual property is durable.
Throsby(2008a) Distinctiveness of cultural goods and services
1.Experience goods, the taste grows as they are consumed in greater quantities
2.Public good properties (benefits even for those who do not consume them
directly)
3.Result from production processes in which human creativity is an important
input (cannot be easily mechanized)
4.Vehicles for symbolic messages to those that consume them
5.Intellectual property that is attributable to the individual or group producing the
good
6.Multipleforms of value that are not fully expressible in monetary terms
(throsby) Valuation of culture:
Use Value: direct valuation of a cultural asset by those who consume the experience
, BUT: cultural goods have value even for those who don’t experience them directly
Non Use Value: indirect valuation by those who do not consume the experience but
benefit from it nonetheless
1.Existence value
2.Option value
3.Bequest value
Throsby: Cultural goods don’t just create economic value, they also create “cultural
value”
1.Aesthetic value: beauty, harmony, form;
2.Spiritual value: understanding & enlightenment;
3.Social value: connection to others, identity & place;
4.Historical value: illuminates present by providing continuity with past;
5.Symbolic value: repositories and conveyers of meaning
6.Authenticity value: original
SO:
⁃ Definitions and classification of CCI depend on the purpose and context
⁃ “Cultural” have their origin in social thought, “Creative” -in economic and
policy considerations
⁃ CCI show unprecedented growth and contribute significantly to global
economy, and therefore deserves attention
⁃ Cultural goods/services and creative work differ from other sectors, and
therefore require specific “tools” to study them
LECTURE 2
an organization - social structures created by individuals to support the collaborative
pursuit of specified goals
a formal organization- (in contrast to informal organization, such as family) operate to
accomplish complex jobs rather than to meet personal needs.
1)Diversity of Organizational structure
1) Business (for profit) firm
NL
• Without juridical personality (full liability)
⁃ Sole proprietorship (ип)
⁃ Unicorporated Business/Sole proprietorship (USA)-> individual and business
are the same so individual assumes personal risk
⁃ General Partnership (gallery, cafe, etc)
⁃ Ordinary partnership (company of architects/ designers etc)
NL
• With juridical personality (limited liability)
⁃ Private Limited Company
⁃ Public Limited Company
weekly summaries on the film production industry —
list of key concepts for each lecture. Explain how this concepts can be applicable to
a film industry. 1-2 sentences, your own words. DUE TO 6 PM ON THE DAY OF
THE LECTURE. MANDATORY.
poster presentation—
group project. Look for empirical case, cover 5 themes, submit the notes before the
presentation.
Sociology- the study of society, human system, meaning-making and social
inequality.
—> in Culture: symbolic system, shared by a particular group, incl. arts and creative
products.
—> Production distribution and consumption of arts is context specific—>
organization of CCI depend on wider social structures.
Cultural Economics:
->The study of the relationship between culture and the economy
->Application of economic analysis to arts & culture;
How to define Cultural and Creative ?
- Department of Culture, Media and Sports (DCMS) UK: for policy development. to
rise awareness
- Cultural Studies model, social theory : industries as purveyors of symbolic text
- World IP organization (WIPO) copyright-based mode- mostly focusing on
commercial outcome of created property
- UNESCO’s institute for Statistics : international consistency in statistical collections
1) The UK CCI
Definition:
- creative industries mapping document, DCMS
- CCI-those industries which have their origin in individual creativity, skill and talent
and have a potential for wealth and job creation through the generation and
exploitation of IP .
- High level of «creative intensity» — high proportions of creative occupations
—> Creative occupation: matter of professional judgement, no clear definition.
Creative economy vs creative industries:
Creative economy- contribution of those who are in creative occupations outside the
creative industries as well as all those employed in CCI
Creative industries- a subset of creative economy which includes only those working
in the Creative industries themselves and who may either be in creative occupations
or in other roles
Creative Industries sectors:
1. Advertising and marketing
2. Architecture
3.Crafts
,4. Design and designer fashion
5. Film, TV, video, radio an photography
6. IT, software and computer services
7. Publishing
8.Museums, Galleries and Libraries
9. Music, performing and visual arts
2) UNESCO
«Understanding the creative industries»
Cultural Industries: industries, which combine the creation, production and
commercialization of creative contents which are intangible and cultural in nature.
The contents are typically protected by a copyright and the can take the form of a
good and service
e.g.: books, magazines
Cultural Services: activities aimed at satisfying cultural interests or needs; typically
consist of overall set of measures and supporting facilities for cultural practices made
available to a community
Creative Industries: Broader range of activities, which include the cultural industries
plus all other cultural or artistic production. The creative industries are those on
which the product or service contains a substantial element of artistic or creative
endeavor
e.g.: architecture, advertising
Cultural Domaines - one more concept, dynamic models, you can add more and
more domains
3) Concentric Circles Model; Throsby
Relative and empirically tested model (tested on Canada, Australia, USA, New
Zealand, UK)
Assumption: distinct commodity class economic+cultural value
Position in the model: degree of artistic creativity (cultural content) in relation to
commercial value of a good/service
⁃ Creative input (labor) as a proxy for creative output (content)
-> Percentage of creative occupations in an industry
Important!- empirically tested and dynamic model !!
Cultural and Creative.
Comes from:
1) Sociology
«Cultural industry» (Adorno)
- Frankfurt school: marxist critique of mass culture
- Industrialization and commodification of the process of symbolic production
- Destruction of the relative autonomy of the superstructure and od the emancipatory
possibilities of arts.
«Cultural Industry system» (Hirsch, 1972, посмотри чтение на 1 неделю)
Cultural economics and policy:
More recent concept (UK,DCMS)
,“Creative economy” (Howkins 2001)
Value based on innovative imaginative qualities, rather than land, labor, capital
Creativity throughout the economy
“Creative class” (Florida 2002)
Immaterial production & knowledge based workers
Key driving force for economic development of post-industrial cities
Why is it important to have the tools to study the CCIs?
1.Take larger place in economies and societies
2.Different from other industries
The Role of CCI in Economics and Society:
1.Youth: CCI sectors typically employ more people aged 15-29 than other economic
sectors
2.High productivity: CCI sectors tend to create more added value per worker than
other sectors
3.Independence and entrepreneurship: CCI workers are more likely to work in
small businesses or as independent operators
4.High level of education: CCI workers are typically higher educated than the
average worker in a country
R. Caves (2000) Basic Economic Properties of Creative Activities
1.Nobody knows: Demand is uncertain;
2.Art for art’s sake: Creative workers care about their product;
3.Motley Crew.Many creative outputs require diverse skilled and specialized
workers;
4.Infinite variety. Creative products are differentiated vertically and horizontally;
5.A list / B list. Artists’ skills are vertically differentiated based on quality, in large
part, because money is at stake;
6.Time Flies.Time is of the essence. Once a project is underway it can be expensive
to stop;
7.Ars Longa. Intellectual property is durable.
Throsby(2008a) Distinctiveness of cultural goods and services
1.Experience goods, the taste grows as they are consumed in greater quantities
2.Public good properties (benefits even for those who do not consume them
directly)
3.Result from production processes in which human creativity is an important
input (cannot be easily mechanized)
4.Vehicles for symbolic messages to those that consume them
5.Intellectual property that is attributable to the individual or group producing the
good
6.Multipleforms of value that are not fully expressible in monetary terms
(throsby) Valuation of culture:
Use Value: direct valuation of a cultural asset by those who consume the experience
, BUT: cultural goods have value even for those who don’t experience them directly
Non Use Value: indirect valuation by those who do not consume the experience but
benefit from it nonetheless
1.Existence value
2.Option value
3.Bequest value
Throsby: Cultural goods don’t just create economic value, they also create “cultural
value”
1.Aesthetic value: beauty, harmony, form;
2.Spiritual value: understanding & enlightenment;
3.Social value: connection to others, identity & place;
4.Historical value: illuminates present by providing continuity with past;
5.Symbolic value: repositories and conveyers of meaning
6.Authenticity value: original
SO:
⁃ Definitions and classification of CCI depend on the purpose and context
⁃ “Cultural” have their origin in social thought, “Creative” -in economic and
policy considerations
⁃ CCI show unprecedented growth and contribute significantly to global
economy, and therefore deserves attention
⁃ Cultural goods/services and creative work differ from other sectors, and
therefore require specific “tools” to study them
LECTURE 2
an organization - social structures created by individuals to support the collaborative
pursuit of specified goals
a formal organization- (in contrast to informal organization, such as family) operate to
accomplish complex jobs rather than to meet personal needs.
1)Diversity of Organizational structure
1) Business (for profit) firm
NL
• Without juridical personality (full liability)
⁃ Sole proprietorship (ип)
⁃ Unicorporated Business/Sole proprietorship (USA)-> individual and business
are the same so individual assumes personal risk
⁃ General Partnership (gallery, cafe, etc)
⁃ Ordinary partnership (company of architects/ designers etc)
NL
• With juridical personality (limited liability)
⁃ Private Limited Company
⁃ Public Limited Company
