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Creative Industries Journal最新文献

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Career reconstruction: mid-career transformations in the Australian music industries 职业重建:澳大利亚音乐行业职业中期转型
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-15 DOI: 10.1080/17510694.2023.2223400
Fabian Cannizzo, C. Strong, S. Brunt
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引用次数: 0
The failing promise of the audio-visual industries for national development: the history of seventy years of film policy in Jamaica, 1948–2018 视听产业对国家发展的失败承诺:1948-2018年牙买加七十年电影政策的历史
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-15 DOI: 10.1080/17510694.2023.2223379
E. Martens
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引用次数: 0
Achieving a shared understanding in the creative industries: freelancers’ use of boundary objects in collaborative innovation projects 在创意产业中达成共识:自由职业者在协作创新项目中对边界对象的使用
0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-09 DOI: 10.1080/17510694.2023.2218656
Alberto Gonzalez-Cristiano, Nicolas Le Grand
This paper examines how freelancers in the field of the creative industries capture and distil their clients’ needs and wants in collaborative innovation projects. Our empirical data from sixteen collaborative product-development processes led by freelancers in Finland and Spain allowed us to identify that boundary objects were critical for the achievement of a shared understanding at the beginning of the development process. In the later stages, the use of these objects decreased drastically and dialogue became the focus. The existence of a project match – whether the project was relevant and interesting for the freelancer – and a personal match – perceived similarity with the client in terms of thought and sense-making processes – were crucial to ensure engagement. From a managerial perspective, this paper stresses the importance of finding a personal and project match, highlights the role of boundary objects to create a shared understanding and reinforces the importance of dialogue in development processes and collaborative innovation.
本文考察了创意产业领域的自由职业者如何在合作创新项目中捕捉和提炼客户的需求和愿望。我们从芬兰和西班牙的自由职业者领导的16个协作产品开发过程中获得的经验数据使我们能够确定边界对象对于在开发过程开始时实现共享理解至关重要。在后期,这些物品的使用急剧减少,对话成为焦点。项目匹配的存在——项目对自由职业者来说是否相关和有趣——以及个人匹配——在思想和意义构建过程方面与客户的感知相似性——是确保参与的关键。从管理的角度来看,本文强调了找到个人和项目匹配的重要性,强调了边界对象在创造共同理解方面的作用,并强调了在开发过程和协作创新中对话的重要性。
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引用次数: 0
Cultural and innovation intermediation in the cultural-creative industries 文化创意产业中的文化和创新中介
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-05 DOI: 10.1080/17510694.2023.2218635
Sam Stockley-Patel, J. Swords
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引用次数: 0
The new digital music marketing ecosystem: artist direct 新的数字音乐营销生态系统:艺术家直销
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-05-22 DOI: 10.1080/17510694.2023.2214492
Shane Murphy, Margee Hume
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引用次数: 0
The diverse economies of the SWCTN? Understanding how value, power and expertise circulates in (creative) knowledge exchange programmes SWCTN的多样化经济?了解价值、权力和专业知识如何在(创造性)知识交流计划中流通
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-05-12 DOI: 10.1080/17510694.2023.2210706
Liz Roberts
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引用次数: 0
Analysis of the education and training of haute cuisine chefs: is there a common pattern? 高级厨师教育培训分析:是否有共同模式?
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-05-10 DOI: 10.1080/17510694.2023.2210702
Raúl Escalante, M. Bernardo, Anna Arbussà
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引用次数: 0
Streaming USA 美国流媒体
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-05-04 DOI: 10.1080/17510694.2023.2221554
G. Harper
on March 15, 2023, the U.S. National Endowment for the arts (NEa) and the U.S. Bureau of Economic analysis (BEa) released data on the 2021 contribution of the arts and cultural sector to the U.S. economy. For the first time in history, web publishing and streaming services were announced as the largest arts and cultural industrial sub-sector in america. the reasons for this are obvious, with clear growth in this particular Ci sub-sector during the primary years of the CoVid-19 global pandemic (2019–2023), when access to venues where live performances take place was substantially reduced, and purchasing Ci products in general was pushed online and into the home. according to the report, even by the end of 2021, ‘22 of the 35’ US creative industries sub-sectors had already returned to or exceeded pre-pandemic levels of economic activity. those that lagged or (and here’s the crux of the report worthy of consideration) remained behind the economic level they had been at before the pandemic included ‘performing arts organizations (e.g. theatre, dance, and opera companies, music groups; and circuses), and arts-related construction’. again, the logic of this, given the impact of pandemic restrictions on public gatherings is obvious. it is reported this March that the thirteen US Ci sub-sectors that had not returned to at least 2019 levels by the end of 2021 also included independent artists (of all kinds) in what is otherwise a NEa/BEH report highlighting economic growth. in fact, it is reported that ‘the overall (the US) arts economy in 2021 represented 4.4% of GdP, or just over $1.0 trillion—a new high-water mark’. With such a level of economic positivity in this report, connected conspicuously with the noteworthy growth in the web publishing and streaming services sub-sector, one question arises. Either a question for now, or one for the years to come. that is, if ‘only 18% of establishments in this industry [web publishing and streaming] are nonprofit’, does this rise in this sub-sector’s predominance also represent a long-term shift away from non-profit creative industries in the United States? in addition, if Ci production involving independent artists also experienced a lower rate of economic growth than prior to the pandemic is that a trend that will continue? the creative industries sector has for generations been powered by both individual arts practitioners and industrial entities. When assessing the sector, it has long been necessary to consider profit and non-profit organizations, individual professionals, hobbyists, the self-employed, non-profits groups (often community, education or health related), national corporations and global conglomerates, not least given the impact of cultural activities on individuals, communities, regions and nations – and indeed on how we all relate to each other beyond our cultural or national identities. Ci is, fundamentally, about human exchange and even with the advent of various forms of artificial intelli
2023年3月15日,美国国家艺术基金会(NEa)和美国经济分析局(BEa)发布了2021年艺术和文化部门对美国经济贡献的数据。网络出版和流媒体服务有史以来第一次被宣布为美国最大的艺术和文化产业子部门。原因是显而易见的,在新冠肺炎全球大流行的最初几年(2019年至2023年),这一特定的Ci子行业出现了明显的增长,当时现场演出场地的使用大幅减少,购买Ci产品通常被推到网上和家中。报告称,即使到2021年底,美国35个创意产业子行业中的22个已经恢复或超过疫情前的经济活动水平。那些落后于或(这是值得考虑的报告的关键)仍落后于疫情前的经济水平的组织包括“表演艺术组织(如剧院、舞蹈和歌剧公司、音乐团体和马戏团)以及与艺术相关的建筑”。同样,考虑到疫情限制对公众集会的影响,这其中的逻辑是显而易见的。据今年3月报道,截至2021年底尚未恢复到至少2019年水平的13个美国词细分行业也包括独立艺术家(各种类型),这在NEa/BEH报告中强调了经济增长。事实上,据报道,“2021年美国整体艺术经济占GdP的4.4%,略高于1.0万亿美元,创下新高”。本报告中的经济积极性如此之高,与网络出版和流媒体服务子行业的显著增长密切相关,由此产生了一个问题。要么是现在的问题,要么是未来几年的问题。也就是说,如果“这个行业(网络出版和流媒体)只有18%的机构是非营利的”,那么这个细分行业的主导地位的上升是否也代表着美国从非营利创意产业的长期转变?此外,如果独立艺术家参与的词创作也经历了比疫情前更低的经济增长率,这种趋势还会继续吗?几代人以来,创意产业一直由个体艺术从业者和产业实体共同推动。在评估该行业时,长期以来,有必要考虑营利和非营利组织、个人专业人员、业余爱好者、个体经营者、非营利团体(通常是社区、教育或健康相关团体)、国家公司和全球企业集团,尤其是考虑到文化活动对个人、社区、,地区和国家——事实上,在我们的文化或民族身份之外,我们是如何相互联系的。从根本上讲,词是关于人类交流的,即使随着各种形式的人工智能的出现,词仍然以人类如何与
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引用次数: 0
Characterizing the geography of artisanal production: case of handloom industry in Varanasi, India 手工生产的地理特征:以印度瓦拉纳西手摇织机工业为例
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-04-28 DOI: 10.1080/17510694.2023.2203371
Deepanjan Saha, J. Sen
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引用次数: 0
Attracting and retaining creative tourism entrepreneurs 吸引和留住有创意的旅游企业家
IF 1.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-04-26 DOI: 10.1080/17510694.2023.2203290
Á. Dias, M. González‐Rodríguez, L. Pereira, R. Costa
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引用次数: 0
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Creative Industries Journal
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