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1. Artificial intelligence and intellectual property : hearing before the Subcommittee on Courts, Intellectual Property, and the Internet of the Committee on the Judiciary, House of Representatives, One Hundred Eighteenth Congress.

2. The Nostalgic Comforts of a Goth-Girl Autumn.

3. Comcast Corporation SWOT Analysis.

4. Human Subjectivity in Information Practice and AI Governance.

6. The Poet Laureate of Pop Culture.

7. Contextualizing the voice of a female pop artist: Western music and Indian modernity.

8. The work of documentary relationships.

9. Is television reformable? The 'reformist tendency' in inequality research in the cultural and creative industries.

10. Cultural globalization at sea: the rise of the modern Caribbean cruise industry.

11. Mediations of cultural policymaking during COVID-19: British newspaper reporting of the Culture Recovery Fund.

12. The Copyright Amendment Bill: A New Vista for Fair Remuneration for South African Creators and Performers?

13. Co‐creative gift systems within digital platforms.

14. Brand on the run: place brands as judgement devices and sources of local advantage in the music industry.

15. CRITICAL STUDY FROM THE ENLIGHTENMENT THOUGHT TO THE CULTURAL INDUSTRY: FROM ADORNO'S PERSPECTIVE.

16. Mind the gap: A scoping review of skills gaps for graduates in the creative industries.

17. From rag market to creative economy: interview with Angela McRobbie.

18. Revenue-sharing agreements in the live entertainment industry: a practical risk analysis framework.

19. “My Tears Have Dried from Crying, I Want to Laugh Now!”: Role Diversification Patterns and Gendered Accumulation of Status in the TV-Acting Field in Turkey.

20. “The Dance, the Music, the Rave”: Partying, Pleasure, and the Politics of Cultural Production in <italic>Morvern Callar</italic> 1995 and <italic>Morvern Callar</italic> 2002.

21. TV shows popularity prediction of genre-independent TV series through machine learning-based approaches.

22. Spirituality in creative work: how craft entrepreneurs in Ghana cope with precarity.

23. Girl industries as a sexuality-assemblage in South Korea.

24. Basic income, post-precarious outcome? How creative workers perceive participating in an experiment with basic income.

25. ‘Like a rabbit in the headlights’: A psychoanalytically oriented exploration of performance anxiety in professional musicians.

26. 恐龙时代之U-Pb定年.

27. Combining motherhood and work in the creative industries: Mothers have the problem.

28. What good is it anyway? Professional dance artists legitimising their work for the Cultural Schoolbag in Norwegian schools.

29. Anatomy of a film industry Redux: Notes on the West Australian case (1969–1993).

30. Language, Authenticity, and Hiplife Music in Accra.

31. El papel de los factores blandos en la concentración de industrias creativas en las regiones europeas.

32. BUILDING SUSTAINABILITY STRATEGIES IN THE CREATIVE CULINARY INDUSTRY SECTOR TO ENHANCE TOURIST DESTINATION ATTRACTION IN SEMARANG REGENCY.

33. Respecting, retaining, recreating: The successful renovation of the Beijing 751 D-Park.

34. Income adequacy among creative professionals—An interplay of identities and skills.

35. INDIVIDUAL TRAITS AND BUSINESS MODELS ON CREATIVE INDUSTRY BUSINESS PERFORMANCE IN INDONESIA: QUANTITATIVE STUDY.

36. IMPLEMENTATION OF CHSE CERTIFICATE FOR TOURISM OBJECT MANAGEMENT IN BANYUMAS (HALAL TOURISM PERSPECTIVE).

37. Pop ubiquity: cameo performance as star management.

38. Governmental Revenue Compensation during COVID-19: Did Firm Resources and Institutional Factors Explain Who Received It?

39. Indonesian critiques of the new musical system.

40. EXPLORING THE STRATEGIC ROLE OF KNOWLEDGE TRANSFER IN FOSTERING CONTINUOUS INNOVATION AND COMPETITIVE ADVANTAGE IN INDONESIA CREATIVE INDUSTRY 4.0.

41. Mapping the Trajectory of Popular Culture: From Rock Album Narratives to Video Game Transmediality.

42. Is there an Indian way of raving? Reading the cultural negotiations of Indian youth in the trans-local EDM scene.

43. On the distinction between creative and non-creative labour and on making comics in Guy Delisle's graphic memoirs. From "travelogues" to "laborlogs".

44. Supporting regional music production clusters in the post-pandemic era: placing business support at the heart of local cultural policy.

45. Not just Kangaroos and Koalas: evaluating the operation and outcomes of Australian local content regulation on pay-TV.

46. State–business–civic partnerships in children's film policy: the roles of the CFD/CEF Advisory Council in post-war Britain.

47. Breaking open the black box of narratives on European Capital of culture: social positioning, cultural participation, and success and failure stories (case of ECOC Wrocław 2016).

48. Cultural policy on the move: between the paradigmatic and the pragmatic.

49. Comedy's double killjoy: workers' DIY strategies to address harassment and precarity in the comedy industry.

50. The practices of artist‐entrepreneurs located outside Canada's creative hubs viewed through the lens of the pragmatic sociology of critique.

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