This chapter addresses one of the fundamental ‘disjunctions’ in creative industries research, that between regimes of cultural and economic value. While both social sciences (cultural economics) and the critical humanities (cultural studies) have sought to comprehend creative industries from within disciplinary assumptions, both have come up against limitations. In the case of cultural economics, the issue has been conservatism about its object of study, and a reluctance to engage with commercial popular culture and the digital. In the case of cultural studies, the association of quantitative methods with neoliberalism and an ‘objectification’ of culture has rendered it opaque to policy-makers, as the measurement of culture appears as an inherently problematic exercise. Advances in the field will require a degree of replicability of methods as well as an openness to interdisciplinarity that must go beyond the current disciplinary stand-off.
Edited by Stuart Cunningham and Terry Flew
Stuart Cunningham and Terry Flew
This introduction outlines how contributors to the edited collection – industry and policy leaders as well as scholars – broadly and non-dogmatically share a view of the creative industries idea as a productive and innovative intervention in public policy that has generated a robust research agenda that is worth reflecting and building on. The introduction focuses on asking three key strategic questions that are critical to shaping a research agenda for creative industries. How much should a research agenda for creative industries be shaped by a policy and industry orientation? Is it important to differentiate economic, cultural and social rationales for and outcomes from creative industries, or should they be converged around the so-called ‘triple bottom line’? What research agendas can be developed from studying the embedding of creative industries approaches and concepts into education: curriculum, pedagogy, promotion and alumni tracking?
Terry Flew, Xiang Ren and Yi Wang
This chapter on China’s history of policy development around the creative industries shows that China now takes a sophisticated and strongly contemporised view of the potential of both cultural heritage and convergent digital ‘createch’. The chapter is clear about the significance of the adoption, in China’s 13th Five Year Plan (1996–2020), of the digital creative industries as one of the five ‘strategic emerging industries’.