Cultural and Creative Industries David Hesmondhalgh
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Concluding comments Ross and McRobbie’s work represent important openings, because they join theoretical sophistication with empirical sociological analysis of the specific discourses of creativity and self-realisation in particular industries. There is room, in my view, to combine their approaches with historical analysis of changing discourses of creative labour, and with the sensitivity of the cultural industries approach to the specific conditions of cultural capitalism. Such a synthesis would allow for a critique of arguments for the expansion of creative industries, at the local, national and international levels. This is not the only possible route of critique. It might be allied, for example, to criticisms of prevailing notions of intellectual property at work in the cultural industries (and there has been no space here to explore such potential links). A coherent and empirically-informed critique of cultural work under contemporary capitalism might help to prevent the danger in recent policy developments - that the original visions of reform that motivated the cultural industries idea might be permanently distorted and even inverted. While creative industries policy and theory shares with cultural industries versions an emphasis on the specific dynamics of making profit from the production and dissemination of primarily symbolic goods, it tends to work with loose and sometimes dubiously broad definitions of ‘creativity’. And, as I have explained in this chapter, policy and theory using the term ‘creative industries’ tends to be based on arguments which all too often come close to endorsing inequality and exploitation associated with contemporary neoliberalisms. 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Wang, Jing (2004) ‘The global reach of a new discourse: how far can “creative industries” travel?’ International Journal of Cultural Studies 7,1: 9-19. 1 Because this is intended as an overview of the idea of the cultural industries, this chapter inevitably draws upon material published in the two editions of my book The Cultural Industries (Hesmondhalgh, 2002 and 2007). However, the argument has been substantially developed from that material. 2 This of course raises the wider question of how to measure the changing role of culture, or of the cultural industries, in modern economies (see Hesmondhalgh, 2007: Chapter 6). 3 By far the best-known formulation of this idea is The New International Division of Labour (Fröbel, Heinrichs and Kreye, 1980). Download 95.29 Kb. Share with your friends:
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