Pub Date : 2022-09-30DOI: 10.1080/09548963.2022.2126747
Åsne Dahl Haugsevje
{"title":"Justifying creative work: Norwegian business support and the conflicting narratives of creative industries","authors":"Åsne Dahl Haugsevje","doi":"10.1080/09548963.2022.2126747","DOIUrl":"https://doi.org/10.1080/09548963.2022.2126747","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44726633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-15DOI: 10.1080/09548963.2022.2122701
J. Kidd, Eva Nieto McAvoy, Ania Ostrowska
This article examines the impacts of COVID-19 on the digital work of museums and galleries in the UK, 2020 – 2021. Focusing on social media activity, we explore two questions: (1) How did approaches to, and institutional perceptions of, social media shift during the pandemic? and (2) Looking to the future, what practical and theoretical challenges do social media present for museums and galleries, and what are the related policy implications? The discussion draws on a mixed-methods study including an analysis of 9000 tweets, and re fl ective semi-structured interviews with 19 digital workers. Our fi ndings can help shape global digital heritage practices as we emerge from the pandemic, enabling more dynamic and meaningful forms of cultural participation, and underpinning more con fi dent and ethical social media trajectories. to
{"title":"Negotiating hybridity, inequality, and hyper-visibility: museums and galleries’ social media response to the COVID-19 pandemic","authors":"J. Kidd, Eva Nieto McAvoy, Ania Ostrowska","doi":"10.1080/09548963.2022.2122701","DOIUrl":"https://doi.org/10.1080/09548963.2022.2122701","url":null,"abstract":"This article examines the impacts of COVID-19 on the digital work of museums and galleries in the UK, 2020 – 2021. Focusing on social media activity, we explore two questions: (1) How did approaches to, and institutional perceptions of, social media shift during the pandemic? and (2) Looking to the future, what practical and theoretical challenges do social media present for museums and galleries, and what are the related policy implications? The discussion draws on a mixed-methods study including an analysis of 9000 tweets, and re fl ective semi-structured interviews with 19 digital workers. Our fi ndings can help shape global digital heritage practices as we emerge from the pandemic, enabling more dynamic and meaningful forms of cultural participation, and underpinning more con fi dent and ethical social media trajectories. to","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49173989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-12DOI: 10.1080/09548963.2022.2122700
Hao Liu
{"title":"Who owns history? a case study on the recovery of looted Chinese cultural relics from Japan","authors":"Hao Liu","doi":"10.1080/09548963.2022.2122700","DOIUrl":"https://doi.org/10.1080/09548963.2022.2122700","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43735581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-08DOI: 10.1080/09548963.2022.2120382
Susan E. Jones
This analysis of the plight of visual artists during Covid-19 illuminates the working conditions of a chronically under-examined sub-section of cultural labour. It demonstrates the severity of pandemic impacts on visual artists’ social and economic circumstances, including inappropriate criteria for accessing government and Arts Council England emergency measures. A central concern is a consideration of how arts policies might better acknowledge and account in future arts infrastructures for the distinctive, diverse social contributions of this workforce element. The commentary reveals a stark contrast between ambitions at national and local levels about what artists and the arts are for, and where and how arts policy should be made and implemented. It evidences an emerging grassroots appetite for a dramatic shift from current hierarchical patterns driven by national imperatives to nuanced, localized infrastructures that can ensure artists’ multiple talents and assets contribute fully to social and economic change for the better within communities. [ FROM AUTHOR] Copyright of Cultural Trends is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)
{"title":"Cracking up: the pandemic effect on visual artists’ livelihoods","authors":"Susan E. Jones","doi":"10.1080/09548963.2022.2120382","DOIUrl":"https://doi.org/10.1080/09548963.2022.2120382","url":null,"abstract":"This analysis of the plight of visual artists during Covid-19 illuminates the working conditions of a chronically under-examined sub-section of cultural labour. It demonstrates the severity of pandemic impacts on visual artists’ social and economic circumstances, including inappropriate criteria for accessing government and Arts Council England emergency measures. A central concern is a consideration of how arts policies might better acknowledge and account in future arts infrastructures for the distinctive, diverse social contributions of this workforce element. The commentary reveals a stark contrast between ambitions at national and local levels about what artists and the arts are for, and where and how arts policy should be made and implemented. It evidences an emerging grassroots appetite for a dramatic shift from current hierarchical patterns driven by national imperatives to nuanced, localized infrastructures that can ensure artists’ multiple talents and assets contribute fully to social and economic change for the better within communities. [ FROM AUTHOR] Copyright of Cultural Trends is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47389061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-24DOI: 10.1080/09548963.2022.2115338
Sumi Kim
{"title":"The British Museum’s Korean gallery: a space embodying South Korean cultural diplomacy in the 1990s","authors":"Sumi Kim","doi":"10.1080/09548963.2022.2115338","DOIUrl":"https://doi.org/10.1080/09548963.2022.2115338","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43571986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/09548963.2022.2103646
Bas van Heur, Els Silvrants-Barclay, Menna Agha
{"title":"Collective cultural infrastructures: ownership, architecture, governance","authors":"Bas van Heur, Els Silvrants-Barclay, Menna Agha","doi":"10.1080/09548963.2022.2103646","DOIUrl":"https://doi.org/10.1080/09548963.2022.2103646","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44924438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-18DOI: 10.1080/09548963.2022.2082864
Jimmyn Parc, P. Messerlin
In recent years, there have been many voices in Korea arguing that a few commercially successful fi lms take up the opportunities for the exhibition of other fi lms and thus limit the selection of titles available for moviegoers, a trend dubbed the “ screen monopoly ” . In seeking a solution, a number of scholars have looked to the anti-screen monopoly “ regulations ” in France, but without providing rigorous or persuasive evidence. By comparing the appropriate variables of Korea and France, this paper argues that the Korean fi lm market is less monopolised than France despite the non-existence of these regulations. Furthermore, it demonstrates that Korea has more diversity than France. As a result, this paper concludes that introducing the French anti-screen monopoly regulations in Korea does not seem a bene fi cial option. The fi ndings in this paper suggest a strong need to re-examine the e ff ectiveness of government policies in the cultural industry.
{"title":"Screen monopoly and diversity: a comparative study between the Korean and French film industries","authors":"Jimmyn Parc, P. Messerlin","doi":"10.1080/09548963.2022.2082864","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082864","url":null,"abstract":"In recent years, there have been many voices in Korea arguing that a few commercially successful fi lms take up the opportunities for the exhibition of other fi lms and thus limit the selection of titles available for moviegoers, a trend dubbed the “ screen monopoly ” . In seeking a solution, a number of scholars have looked to the anti-screen monopoly “ regulations ” in France, but without providing rigorous or persuasive evidence. By comparing the appropriate variables of Korea and France, this paper argues that the Korean fi lm market is less monopolised than France despite the non-existence of these regulations. Furthermore, it demonstrates that Korea has more diversity than France. As a result, this paper concludes that introducing the French anti-screen monopoly regulations in Korea does not seem a bene fi cial option. The fi ndings in this paper suggest a strong need to re-examine the e ff ectiveness of government policies in the cultural industry.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47998197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-10DOI: 10.1080/09548963.2022.2083944
Johanna K. Taylor
ABSTRACT Artist in residence in government (AIRG) programs that embed artists within civic work are becoming increasingly popular across the United States. As governments are challenged to shift systems to be more equitable, repair infrastructure and prepare for future crises, cross-sectoral collaboration models offer new ways of working. Cross-sectoral collaboration that embeds artists in non-arts sectors spurs civic innovation and shifts contexts to inspire new ideas and opportunities. This article builds a guiding framework of the characteristics and considerations that shape AIRG programs in order to present possible pathways that can be followed in program development and implementation. Foundationally, each AIRG is unique and responsive to the specific underlying social, political, economic, environmental and cultural preconditions of place. The guiding framework details preconditions, program design and partners, and program structure, followed by an analysis of the challenges and opportunities. Research was conducted on AIRG programs operating in 2020 and 2021.
{"title":"Artists, government and cross-sector collaboration: A guiding framework of US-based artists in residence in government programs","authors":"Johanna K. Taylor","doi":"10.1080/09548963.2022.2083944","DOIUrl":"https://doi.org/10.1080/09548963.2022.2083944","url":null,"abstract":"ABSTRACT Artist in residence in government (AIRG) programs that embed artists within civic work are becoming increasingly popular across the United States. As governments are challenged to shift systems to be more equitable, repair infrastructure and prepare for future crises, cross-sectoral collaboration models offer new ways of working. Cross-sectoral collaboration that embeds artists in non-arts sectors spurs civic innovation and shifts contexts to inspire new ideas and opportunities. This article builds a guiding framework of the characteristics and considerations that shape AIRG programs in order to present possible pathways that can be followed in program development and implementation. Foundationally, each AIRG is unique and responsive to the specific underlying social, political, economic, environmental and cultural preconditions of place. The guiding framework details preconditions, program design and partners, and program structure, followed by an analysis of the challenges and opportunities. Research was conducted on AIRG programs operating in 2020 and 2021.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43012347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-07DOI: 10.1080/09548963.2022.2082862
A. Fung, W. He, Shule Cao
ABSTRACT Studies of digital platforms have critically examined the exploitation and low paid condition of creative labour in cultural industries. This study aims to empirically explore the motivation behind why producers/consumers, key opinion leaders, or wanghong are still devoted to producing and posting videos on the short video platform Douyin, which is the Chinese version of Tik Tok, despite the precarious condition. Leveraging on Bourdieu’s concept of cultural capitals and the interchangeability of capitals, this paper argues that Douyin provides the possibility for different wanghong to pursue their own intended capitals, which are not just economic capital, but also social, symbolic, and cultural capital. Under a relatively close environment of China, the flexibility and interchangeability of capital gain have at least become an alternative for these wanghong to explore their creativity and fulfil their desires.
{"title":"Cultural capitals and creative labour of short video platforms: a study of wanghong on Douyin","authors":"A. Fung, W. He, Shule Cao","doi":"10.1080/09548963.2022.2082862","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082862","url":null,"abstract":"ABSTRACT Studies of digital platforms have critically examined the exploitation and low paid condition of creative labour in cultural industries. This study aims to empirically explore the motivation behind why producers/consumers, key opinion leaders, or wanghong are still devoted to producing and posting videos on the short video platform Douyin, which is the Chinese version of Tik Tok, despite the precarious condition. Leveraging on Bourdieu’s concept of cultural capitals and the interchangeability of capitals, this paper argues that Douyin provides the possibility for different wanghong to pursue their own intended capitals, which are not just economic capital, but also social, symbolic, and cultural capital. Under a relatively close environment of China, the flexibility and interchangeability of capital gain have at least become an alternative for these wanghong to explore their creativity and fulfil their desires.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48223313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-07DOI: 10.1080/09548963.2022.2082863
Wen Guo
ABSTRACT The National Endowment for the Arts (NEA) implements creative placemaking (CPM) policy by forging and coordinating a broad-based national policy network. This article visualizes and analyzes the national CPM policy network based on hyperlinks on the policy actors’ websites. By unpacking the roles, resources, and affected interests of policy actors and their relationships with each other in the policy network, this article finds that the NEA exercises institutional entrepreneurship through CPM policy with four governance strategies: (1) seek legitimacy by re-activating federal interagency relations; (2) reorient and expand arts constituencies through existing governance infrastructure and new brokers; (3) develop discursive strategy and advance policy implementation through consulting and research organizations, and (4) diversify financial support by reaching out to banks and foundations. In the entrepreneurial process, the NEA also develops a mutually reinforcing mechanism of public value, financial stability, and artistic vitality with the governance strategies.
{"title":"Institutional entrepreneurship through network governance: a social network analysis of NEA's creative placemaking national initiative","authors":"Wen Guo","doi":"10.1080/09548963.2022.2082863","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082863","url":null,"abstract":"ABSTRACT The National Endowment for the Arts (NEA) implements creative placemaking (CPM) policy by forging and coordinating a broad-based national policy network. This article visualizes and analyzes the national CPM policy network based on hyperlinks on the policy actors’ websites. By unpacking the roles, resources, and affected interests of policy actors and their relationships with each other in the policy network, this article finds that the NEA exercises institutional entrepreneurship through CPM policy with four governance strategies: (1) seek legitimacy by re-activating federal interagency relations; (2) reorient and expand arts constituencies through existing governance infrastructure and new brokers; (3) develop discursive strategy and advance policy implementation through consulting and research organizations, and (4) diversify financial support by reaching out to banks and foundations. In the entrepreneurial process, the NEA also develops a mutually reinforcing mechanism of public value, financial stability, and artistic vitality with the governance strategies.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":null,"pages":null},"PeriodicalIF":3.1,"publicationDate":"2022-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43536241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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