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Between economic regulation and European cultural policy

This book explains how and why the European Union has started to intervene in the cultural policy sector—understood here as the public policies aimed at supporting and regulating the arts and cultural industries. It is a comprehensive account of the Communitarisation process of the cultural policy sector. Before 1992, no legal basis for EU intervention in the field of culture appeared in the Treaties. Member states were, in any case, reluctant to share their competences in a policy sector considered to be an area of national sovereignty. In such circumstances, how was the Communitarisation of the policy sector ever possible? Who were the policy actors that played a role in this process? What were their motives? And why were certain actors more influential than others?

Constituting the cultural economy
Fran Tonkiss

seriously within the study of economic organisation – not simply in terms of seeing culture as a kind of ‘padding’ for economic activity, but as a sector of production, distribution and consumption involving distinctive organisational forms, market relations and competitive logics. Secondly, within the cultural field market actors, market segments and market commodities are constituted in innovative and often unstable ways. Thirdly, contemporary cultural industries are subject to a highly variable mix of markets, firms and networks as means of shaping economic processes

in Market relations and the competitive process
Piracy and symbiosis in the cultural industries
Maurice Roche

3 The digital age, media sport and mega-events: piracy and symbiosis in the cultural industries What are the implications of the digital age and new media for media sport and the mediation of sport mega-events like the Olympics? We began to address this question in the preceding chapter and in this one we explore it further. Whereas the previous chapter focused more on the internet’s positive implications, in this one we are more concerned with the threat and realities of the internet’s negative implications. However we return to consider the more positive

in Mega-events and social change
Abstract only
Developing lifelong learning for community dance practitioners
Victoria Hunter

Performance and Cultural Industries at the University of Leeds, a research-led university in the north of England. As suggested by its title, the school prioritises the study of the arts in relation to their application within the wider fields of the cultural industries. As opposed to studying the performing arts disciplines in isolation, the school’s remit is to combine discipline-specific study with entrepreneurialism, innovative arts practice, applied practice and industry/community-related study. The University of Leeds is committed to a wide range of what it calls

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Annabelle Littoz-Monnet

entitled to implement. Cultural policy is indeed a rather ‘unsettled universe’ that encompasses such varied issues as patronage, national heritage, artists’ rights and intellectual property, the cultural industries, public education, pornography and censorship, entertainment markets, and cultural tourism. What pertains to the field of ‘cultural policy’ often reflects political choices made by national – or supranational, as will be seen here – governments. To take only one example, copyright issues are dealt with by the national ministries of culture in Spain, France

in The European Union and culture
Open Access (free)
Stan Metcalfe and Alan Warde

in dialogue with Callon, permits Slater to issue an incisive challenge to several of the most widely employed distinctions in understanding contemporary economic life. He argues that conventional sharp distinctions between material and non-material goods, between the physical and symbolic aspects of commodities, between goods and services, and ultimately between the economic and the cultural, are fundamentally misleading. Fran Tonkiss, reflecting in chapter 6 on an empirical study of cultural industries in East London, addresses a related and currently topical

in Market relations and the competitive process
Spectacle, legacy and public culture
Author: Maurice Roche

The spectacle of major cultural and sporting events can preoccupy modern societies. This book is concerned with contemporary mega-events, like the Olympics and Expos. Contemporary twenty-first-century macro-social changes are different from these first-phase modernisation processes, and thus they pose different problems of interpretation in relation to the mega-events they contextualise. The contemporary changes include the digital revolution, the global ecological crisis and qualitatively new and more complex forms of globalisation. Media related aspects of contemporary mega-events, particularly sports mega-events, in the context of the wider social impacts of the digital revolution are discussed in the first part of the book. The second part talks about urban and environmental aspects of mega-events, in a period of rapid urbanisation in many parts of the world and also of ecological crisis. It outlines how mega-events can be understood as being material as well as performative spectacles which are physically 'embedded' in cities as legacies Looking into mega-events' simultaneous record of creating new public spaces in modern cities. The second part also highlights the association of contemporary mega-events with urban impacts and legacies which are both green and space-making. The final part reflects on the contemporary global shift in mega-event locations and the wider context of this in complex globalisation and the changing geopolitical relations between the West and non-Western world regions. The focus is on main non-Western region of East Asia, and specifically on its core, the People's Republic of China.

The promotion of British and French colonial heroes, 1870–1939
Author: Berny Sèbe

Imperial heroes embodied the symbolic implementation of the colonial project and performed a highly mythologized meeting between conquerors and conquered. They were a crucial element of the 'European encounter with Africa' that took place as part of the Scramble for Africa. The book explores systematically the multiple outlets through which heroes of the British and French empires were celebrated, how their reputations were made over several decades and who sustained them. It looks at the general socio-cultural and political trends prevalent in Britain and France, and considers micro-economic tendencies and technological developments in the cultural industry that the development of legends revolving around imperial heroes. The book allows the reader to grasp the variety of print and audiovisual media, genres and formats through which meanings were conveyed, allowing imperial heroes to reach a 'public presence'. Two major aspects invested imperial heroes with a role in society. First is the use of their image as political argument or their own political roles. The other is the values that they embodied through their own personal dedication above and beyond the call of duty. The book presents the micro-histories of the making of the legends surrounding the figures of Major Jean-Baptiste Marchand and the Sirdar Kitchener. It details how a war correspondent George Warrington Steevens, and a publisher, Blackwood and Sons, converted the fall of Khartoum to market 'With Kitchener to Khartoum' as patriotic writing.

What can culture, and its manifestations in artistic and creative forms, ‘do’? Creativity and resistance draws on original collaborative research that brings together a range of stories and perspectives on the role of creativity and resistance in a hostile environment. In times of racial nationalism across the world, it seeks to connect, in a grounded way, how creative acts have agitated for social change. The book suggests that creative actions themselves, and acting together creatively, can at the same time offer vital sources of hope.

Drawing on a series of case studies, Creativity and resistance focuses on the past and emergent grassroots arts work that has responded to migration, racism and social exclusion across several contexts and locations, including England, Northern Ireland and India. The book makes a timely intervention, foregrounding the value of creativity for those who are commonly marginalised from centres of power, including from the mainstream cultural industries. Bringing together academic research with individual and group experiences, the authors also consider the possibilities and limitations of collaborative research projects.

Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.