School of Culture and Communication - Research Publications
Permanent URI for this collection
Search Results
1 - 6 of 6
-
Item
-
ItemCinq Perspectives sur l’Économie Culturelle Mondiale(Presses Universitaires de Nancy - Editions Universitaires de Lorraine, 2018)Depuis le début des années 2000, les industries culturelles et créatives sont devenues les termes clés de l’imaginaire économique, aux niveaux macro et micro. Elles fournissent des discours permettant respectivement d’expliquer comment stimuler la croissance économique et comment organiser la production des expressions culturelles. Malgré l’insistance sur le fait qu’il s’agit d’outils analytiques plutôt que de recettes prescriptives, la seconde approche l’a emportée. Dans cet article, nous explorons cette tension en proposant cinq prismes idéologiques à travers lesquels le discours multipolaire sur l’économie culturelle est communément défini : laudatif, ambitieux, dissident, agnostique, réflexif. Il s’agit d’idéaux-types idéologiques, qui n’apparaissent que rarement en pratique, la plupart des gens et des documents mêlant au moins deux approches. Mais ils sont utiles pour comprendre pourquoi et comment le discours sur les industries culturelles et créatives a fini par prendre des significations si diverses pour différentes personnes ou dans différents contextes. Plutôt que de rester confiné dans ces « silos », nous pensons que les termes économie, culturelle et mondiale contribuent au développement d’une compréhension critique des options normatives que l’économie culturelle représente. C’est dans ces options normatives qu’une variété de trajectoires peuvent être imaginées et poursuivies. English translation: Since the early 2000s, cultural industries and creative are have become key terms of the economic imagination, at the macro and micro levels. They provide speeches allowing respectively explaining how to stimulate economic growth and how to organize the production of cultural expressions. Despite the insistence that these are analytical tools rather than prescriptive recipes, the second approach won out. In this article, we explore this tension by proposing five ideological prisms through which the multipolar discourse on the economy cultural is commonly defined: laudatory, ambitious, dissident, agnostic, reflexive. It's about ideological ideal types, which rarely appear in practice, most people and documents combining at least two approaches. But they are useful for understanding why and how the discourse on cultural and creative industries has taken on such diverse meanings for different people or in different contexts. Rather than remaining stuck in these “silos”, we believe that the terms economy,cultural and global contribute to the evelopment of a critical understanding of the options normative that the cultural economy represents. It is within these normative options that a variety of trajectories can be imagined and pursued.
-
Item
-
Item
-
ItemFriction in the Creative City(DE GRUYTER POLAND SP Z O O, 2021-06-02)The Indonesian city of Bandung presents itself as an “emerging creative city.” This raises the question of how an “emerging” creative city can attain realisation: when and where is the creative city accomplished? The formalisation of the creative city creates friction – to borrow the term from Tsing. This friction manifests in two ways. First, through its ontological opacity (what is the creative city?), Mould contrasts the “Creative City” (the mainstream understanding of the term) with the lowercase “creative city” (the more grounded, subversive understanding of the term). Second, through political contestation (how and for whom is the creative city?) which Peck and Theodore question through the notion of “fast policy,” in dialogue with the notion of “slow policy.” However, rather than being a dead end, this article argues that “friction” can repoliticise the creative city by challenging the depoliticisation that occurred through its formalisation.
-
ItemNo Preview AvailableMobilising African music: how mobile telecommunications and technology firms are transforming African music sectors(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2020-04-02)This paper explores the role of mobile telecommunication and technology firms (MTTs) in the distribution of recorded music in Ghana and Kenya. These countries both have vibrant music markets with weak formal distribution networks. Limited enforcement of copyright regimes and weak market regulation created new entrepreneurial business models. While ‘big tech’ dominates this space elsewhere, in African contexts the main players are mobile service providers (e.g. MTN, Vodafone, Tigo) and digital content firms (e.g. Liberty Afrika, MTech, Cellulant). These transnational players cater to fast-growing consumer markets that do not have easy access to major music distribution platforms such as iTunes and Spotify (which tend to provide very limited access to ‘local’ content, in any case). Despite their particular and increasingly significant roles, very little empirical attention has been paid to the activities of mobile telecommunication and technology firms (MTTs) in music sectors. This paper takes stock of why and how MTTs have entered into the business of recorded music distribution in Ghana and Kenya, and assesses the ramifications of their entry for the music sectors in these and other African countries as part of broader global shifts in the production, distribution and marketing of recorded music.