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Dubbed a ‘fusion pioneer’, Asha Puthli straddled multiple cultural mediums and created an alternative niche for herself as a global performer. By charting her trajectory as a musician, the genres that influenced her, the rise and proliferation of her music in relation to the cultural landscape of India during that period, this paper, which is structured around an interview with her, tries to understand what made her different from her contemporaries. How did her Indian roots supplement her in navigating the global music arena? Did she, as a female performer singing Western music challenge entrenched notions of femininity in India? By situating her as a performer who blurred boundaries and opened avenues of alternative resistance to set cultural patrimonies, her global presence and its impact on the Indian music scene are discussed, contextualising her work in the cultural ecosystem of India as it embraced modernity, inscribing Puthli as a hidden pop icon of the 70s. [ABSTRACT FROM AUTHOR]

Relationships between documentary-makers and their subjects are a core concern of the scholarship, typically analysed in relation to issues of power and exploitation. This article instead considers documentary relationships as a form of work, examining what it means when a job entails the production of intimate connections, which are also subject to commercial pressures and imperatives. Relationship-building is an intrinsic part of the filmmaker's job, but takes place around its margins: often unpaid and unacknowledged by the media industries. A consequence of this lack of status and recognition is that an appropriate professional framework has yet to be developed, with worrying implications for training, regulation and duty of care. Drawing upon in-depth interviews conducted over a period of 4 years, this article conceptualises the work of documentary relationships as a practice of creative labour, by considering how they function interpersonally, procedurally and organisationally. Through a discussion of emotional labour, I will explore how the permeability between work life and intimacy impacts both filmmakers and contributors alike, considering the various ways their experiences take shape within the structural context of contemporary media production. [ABSTRACT FROM AUTHOR]

This article engages with research on UK Television (UKTV) and the wider cultural and creative industries by interrogating the role of academic research in industrial and social change. We argue that a 'reformist tendency' implicitly structures much creative industries research. This reformist tendency takes a critical approach to the problem of inequality, identifying it and making it visible, and at times developing strategies which attempt to enhance and promote greater equality, diversity and inclusion (EDI). Academic research seeking to reform the media and creative industries increasingly works in collaboration with – often relatively powerful – social actors within these industries. However, the creative industries in general and UKTV in particular, have shown a remarkable resistance to reform and remain characterised by persistent inequalities in terms of class, race, gender and disability. This article explores this problem aiming to provoke debate into the role of academic-industry collaboration in the failure of creative industries EDI. It argues that academics should adopt a more reflexive and selective approach to collaboration. [ABSTRACT FROM AUTHOR]

Carnival, Royal Caribbean, and Norwegian—the largest cruise lines today—emerged in the late 1960s and early 1970s, advertising their packaged vacations to a growing audience of middle-class Americans interested in encountering cultural difference. This article argues that, beginning in the late 1970s and continuing into the following decade, the cultural representations that these mass-market companies leveraged drew on Eurocentric understandings of Caribbean societies, homogenizing those countries despite attempts to showcase difference. These companies also reimagined global cultures Eurocentrically in onboard themed experiences. As both a product and agent of globalization, the mass-market cruise industry selectively deployed referents in ways that increased the appeal of cruising as escapism while reducing the likelihood of cultural confusion and reassuring passengers of their comfort. Through these processes, companies produced cruise ships as metaspaces while simultaneously expanding the construction of metaspaces to ports as they gained economic and political power in the Caribbean. This process resulted in the erasure of cultural difference. [ABSTRACT FROM AUTHOR]

At the height of the COVID-19 pandemic, cultural policymaking frequently came to the fore in media debates about the impact of the crisis and measures to alleviate it. In this article, we present evidence of how newspaper coverage of the cultural and creative industries (CCIs) identified and framed competing perceptions of the relative utility of policymaking in this context, while also problematising familiar assumptions about the CCIs among policymakers, journalists and (arguably) the public. Specifically, we analysed British news and editorial items (n.4,162) published from 1 January 2020 to 31 December 2020. It offers a novel investigation into the ways in which media and policy rhetoric overlap, interact and influence each other. In doing so, this article contributes a unique perspective to the study and practice of cultural policy, bringing to light the typically underexplored role of the news media in shaping the narratives driving cultural policy deliberation and action. [ABSTRACT FROM AUTHOR]

The South African Copyright Amendment Bill (CAB) was passed by parliament on 29 February 2024. From the formal commencement of the legislative process for the enactment of the CAB, by way of its introduction to parliament in 2017 to its eventual passage and afterwards, there has been very serious debate about whether or not the CAB will live up to the objectives it is formulated to achieve. The debate has mainly been centred around the limitations and exceptions the CAB seeks to introduce into the copyright regime in South Africa. This debate has the effect of blurring other key proposals in the CAB that are geared towards ensuring and promoting fair remuneration for creators and performers in South Africa's creative industries. Building on previous work and based on desk research, this report undertakes an in-depth analysis of key clauses in the CAB relating to equitable remuneration and fair royalty, reversionary right, licensing of orphan works, artist resale royalty and regulation of collective management organisations (CMOs) in order to illuminate and ignite debate on the CAB's proposals aimed at ensuring fair remuneration for South African creators and performers. [ABSTRACT FROM AUTHOR]

This study explores co‐creative gift systems within digital platforms. We define co‐creative gift systems as systems where consumers actively engage in content creation and co‐creation, disseminating original artistic digital gifts (i.e., content such as novels, videos, music) on digital platforms and engaging in collaborative exchanges that shape the work in progress. Using a qualitative methodology, including netnography and guided introspections, we analyze 3 years of netnographic data on Wattpad, a platform for developing and publishing written fiction. Our findings reveal the building of varying relational ties within the gift system, from casual interactions to deep connections that foster communities of practice and fandoms, and fluid role transitions between givers and recipients. These interactions and transitions impact the development of the digital gift through editorial support, narrative co‐creation, and independent reviews. This study contributes to the literature on gift giving by emphasizing the role of co‐creative gift systems in enhancing digital community interactions and content co‐creation. Future research directions are suggested to further explore co‐creative gift systems across various digital platforms and their implications for consumer research and digital content production. [ABSTRACT FROM AUTHOR]

Products from certain areas are assumed to share qualities by virtue of where they are made. This article considers the economic significance of such place brands in the wider market for symbolic goods. It forwards a theory of these as judgement devices, whereby place reputation serves to lower search costs in symbolic goods markets with excess supply. This theory is investigated through a study of an online music platform where a weak form of place branding is available to producers. Results suggest that branding is associated with musical success at the individual level and that place brands may act as strategic resources for producers from creative clusters. Branding effects do not necessarily depend on the content of the place brand signal (i.e., country acts branded from Nashville are not especially privileged) and may be based in simpler heuristic mechanisms where a listed origin is a stamp of quality or an aid in recognition. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao 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 abstract 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 abstract. (Copyright applies to all Abstracts.)

This scoping review paper explores skills gaps for graduates in creative industries as identified and discussed in global industrial and education contexts. Adopting the Preferred Reporting Items for Systematic Reviews and Meta-Analyses extension for scoping reviews (PRISMA-ScR) system, our review presents findings from 63 texts published from 2007 to 2023 that were located via five databases. These findings suggest that the top-ranked hard skills gaps for graduates are digital or related skills, such as those related to marketing and data analysis. The top-ranked soft skills are communication and collaboration, both of which are cited more frequently than any hard skill gap and appear key for graduate employability. Factors identified as contributing to these skills gaps include higher education offerings, industry needs and cultural policy. These contributing factors are correlated to the rise of creative industries, shifting values in cultural sectors, change in governments in western influenced cultures and digital transformation. [ABSTRACT FROM AUTHOR]

In this interview, Angela McRobbie reflects on her intellectual and professional trajectory from the mid-1980s to the early 2000s, amid her associations with Stuart Hall and the emerging cultural economy agenda at the Open University. The interview expands on, and incorporates elements from, her contribution to a 2020 workshop marking two decades since Paul du Gay and Michael Pryke convened a 'Workshop on Cultural Economy' at the OU in Milton Keynes. The interview forms part of a special issue, titled What Was Cultural Economy? [ABSTRACT FROM AUTHOR]

Revenue-sharing agreements are very common in the live entertainment industry. Such agreements typically include a minimum revenue guarantee for the benefit of the entertainer, combined with a formula to split the revenue, in case the revenue exceeds the minimum guarantee. In essence, these are derivative contracts between the event organizer (O) and the entertainer (E). This study introduces several closed-form expressions to evaluate the risks associated with these contracts for both parties (O and E). These expressions enable the estimation of revenue for each party based on the type of agreement and the valuation of the embedded option. Notably, the expressions do not require an assumption of symmetrical information—O and E can have access to different sets of information. Additionally, the expressions are valid regardless of the risk profiles of O and E, which could be different. Finally, the usefulness of the approach is demonstrated with an example that includes a scenario analysis, that is, exploring how variations in the two key parameters defining the revenue agreement affect the revenues of both O and E. [ABSTRACT FROM AUTHOR]

The ability to play a diverse range of roles is an important determinant of actors’ status achievement because it signals their talent. When certain roles stick to actors, however, they face obstacles to this end. In this study, we measure role diversity scores of actors in Turkish TV serials and uncover the sociological factors behind differential diversity levels by using an OLS regression model. Our statistical analysis demonstrates that gender is an important determinant of role stickiness, with women having lower levels of role diversification than their male counterparts. We also present qualitative evidence from 21 semi-structured interviews with decision-makers and actors in the sector about how gender-based differences in the field are perceived, experienced, and legitimated by different field participants. Our mixed-method research shows how role stickiness produces and legitimizes gender-based inequalities in the multimillion-dollar Turkish TV serial industry. [ABSTRACT FROM AUTHOR]

This article explores the meaning of two acts of cultural production: the writing of novels and the acid house and dance music scenes as represented in Alan Warner’s 1995 novel Morvern Callar. Reading the novel against its 2002 adaptation by Lynne Ramsay, it historicizes the representation of working-class pleasure in relation to the developing discourses of the creative industries propounded by Tony Blair’s New Labour. Drawing a link between the concept of the creative industries and the well-established conversation linking “cultural independence” and devolution in Scotland, it argues that Warner’s novel represents acid house as a moment in which working-class pleasure and cultural production was a significant threat to establishment cultural values. By contrast, Ramsay’s film presents Morvern’s desire to party as indicative of a traumatized subjectivity which can be healed by the rejection of her working-class background and the embracing of a middle-class lifestyle informed by literature and travel. In this respect, Ramsay’s film is unable to metabolize the transcendent potential of partying and pleasure, instead mobilizing well-worn tropes of acid house’s meaningless hedonism to represent Morvern as an exceptional individual whose inborn distinction allows her to escape her background. [ABSTRACT FROM AUTHOR]

The use of social media has grown exponentially in recent years up to become a reflection of human social attitudes and to represent today the main channel for conducting discussions and sharing opinions. For this reason, the vast amount of information generated is often used for predicting outcomes of real-world events in different fields, including business, politics, and health, as well as in the entertainment industry. In this paper, we focus on how data from Twitter can be used to predict ratings of a large set of TV shows regardless of their specific genre. Given a show, the idea is to exploit features concerning the pre-release hype on Twitter for rating predictions. We propose a novel machine learning-based approach to the genre-independent TV show popularity prediction problem. We compared the performance of several well-known predictive methods, and as a result, we discovered that LSTM and Random Forest can predict the ratings in the USA entertainment market, with a low mean squared error of 0.058. Furthermore, we tested our model by using data of "never seen" shows, by deriving interesting results in terms of error rates. Finally, we compared performance against relevant solutions available in the literature, with discussions about challenges arousing from the analysis of shows in different languages. [ABSTRACT FROM AUTHOR]

We investigate how craft entrepreneurs navigate the precarious conditions widespread in Ghana’s creative industries. Drawing on data from in-depth interviews with weavers of Kente cloth and smocks in the Northern, Savannah and Ashanti regions, we focus on the role of spirituality as a significant resource for coping with the extreme challenges and uncertainties faced by craftspeople in this context. Our empirical findings reveal how deploying spiritual narratives, including everyday invocations of God and divine spirits, helped our interviewees attain a sense of purpose and empowerment while further strengthening their communal ties, including care and mutual support for a shared way of weaving life. As our data further reveal, however, these important benefits of spirituality in creative work came with constraining effects, trapping weavers in dismal working conditions and reinforcing gender boundaries and exclusion by tabooing women’s engagement in craft entrepreneurship. [ABSTRACT FROM AUTHOR]

This study conceptualizes the multiple and dynamic landscape of the Korean girl industries as a sexuality-assemblage. This assemblage comprises seemingly anachronistic elements: a long-standing patriarchal and misogynistic social structure; a youth-driven popular culture; a rapid global expansion of the entertainment and media industries; highly advanced digital media technology; and girls’ aspirations, desires, and frustrations. Through this lens, the analysis proposed three territories of girl industries: luminosity, precarity, and risk. These territories are all processual constructions of the interrelated forces of territorialization (neoliberal capitalism, digital media and financial technologies, cultural and entertainment industries, and patriarchy and misogyny) and deterritorialization (girls’ desires, aspirations, capabilities, and vulnerabilities). Considering Korea’s significant situation of gender inequality, the luminosity territory’s dazzling illusion stands in stark contrast to the muted reality of the middle precarity territory, while the risk territory exposes a brutal truth hidden from view. It is also crucial to acknowledge the potential for girls’ agency and solidarity built up across the multiple territories of the girl industries. [ABSTRACT FROM AUTHOR]

Precarity has long been a defining feature of the creative industries. Recently, the concept of a (universal) basic income (UBI) has received increased academic and policy interest as a way to mitigate the cultural and creative labour market’s precarious conditions. However, little is known about how artists experience receiving a basic income, and how this affects their work practices. Therefore, we explored such self-perceived effects of a basic income on artists’ professional and personal lives. We interviewed the recipients and the organisers of No Strings Attached – a 6-month experiment offering seven creative workers a basic income – at the beginning, middle, and end of this initiative (n = 22). Contrary to expectations of decreased productivity, our findings reveal three main ways in which respondents allocated their basic income: (1) “buying” time to improve their quality of work, (2) “buying” time to improve their quality of life, and (3) direct career investments. [ABSTRACT FROM AUTHOR]

Performance anxiety is a significant professional problem among musicians. A psychoanalytically oriented qualitative research design was employed to explore the psychological realities of six professional musicians from various genres, including classical, folk, jazz, and crossover music. Each participant took part in three unstructured hour‐long interviews. Analysis focused on the integration of conscious and unconscious elements in order to provide some insight into participants' internal worlds. Three interrelated themes emerged from the data: 1. ‘The masquerade’, conveying the idea of a covering up of the visible signs of anxiety, and a simulation of confidence on stage; 2. ‘The lair of the beast’, describing the backdrop of the music industry, experienced as a threatening underworld; and 3. ‘The ghost’, reflecting a sense of the overhang of anxiety from earlier generations. Emergent themes were linked to psychoanalytic concepts, including Winnicott's concept of a false self and Freud's discussion of the uncanny. The multifaceted nature of performance anxiety, as evidenced in the material brought by participants in this study, is explored within the discussion. Directions for further research and clinical implications in relation to the culture of the music industry and working with performance anxiety in a psychotherapeutic context, are also outlined. [ABSTRACT FROM AUTHOR]

This article uses the musings sparked by an archaeologist's exploration of the Zigong dinosaur site in Sichuan as a narrative framework to introduce the basic principles of the U-Pb dating method. It covers sample collection, post-processing analytical methods, and data interpretation, providing a comprehensive overview of U-Pb dating. Additionally, the article highlights the dinosaur culture and industry in the Zigong region, showcasing the allure of this dinosaur capital. [ABSTRACT FROM AUTHOR]

This article examines film and television workers' experience of mothering in Ireland and argues that not only are mothers constructed as a 'problem' in these Creative Industries workplaces because of their care work duties, but the 'problem' of work's incompatibility with motherhood is presented as one to be 'solved' by mothers themselves. Drawing from the scholarship on motherhood in film and television work and 12 interviews with workers in the film and television Creative Industries sectors who are mothers, we undertake a thematic analysis to uncover common experiences and insights that are reflective of but depart in some ways from the literature. We identify four themes that suggest that motherhood remains Othered in film and television work and that balancing care work and motherhood remains a form of additional labour that mothers (almost exclusively) must undertake: managing pregnancy at work; maternity leave and the return to work; care for children while working; and mothers' finding solutions. [ABSTRACT FROM AUTHOR]

This article examines how dance artists with extensive experience with The Cultural Schoolbag (TCS), a national programme for bringing the arts into schools, convey their rationale for working in TCS. Previous research has found that the artists' rationale for doing TCS-art is far from established and agreeing on what TCS-art should be or become is inherently difficult. The goal that TCS-art should contribute to the school's curriculum, potentially challenging the artists' freedom, continues to pose a challenge to TCS that has so far remained unresolved. Interviews with nine professional dancers show, that they to a little degree have been challenged to contribute to the school's curriculum and have had few problems establishing a rationale for doing TCS-art in line with being or becoming a professional dancer. Even if this rationale has been adapted to the socio-material conditions of performing TCS-art, it is seemingly within what can be accepted in the art world of dance in Norway. [ABSTRACT FROM AUTHOR]

Using the Western Australian (WA) film industry as a case study, this article revisits the framework proposed by Susan Dermody and Elizabeth Jacka in their anatomy of a film industry project. Acknowledging the power of Dermody and Jacka’s work, the article highlights a lack of detail surrounding the WA case. Drawing on the idea of an ‘imaginary’ industry as a key construct, it argues that a modified version of the framework is needed to account for the WA case, especially at the organizational level. The article proposes that the period 1969/70 to the present can be analysed in terms of three distinct eras and focuses on the first two (1969–1983; 1983–1993). It discusses the organization of film industry policy according to a logic of industry development, and a persistent tension between constructions of industry as production and culture. It gathers the extant scholarly resources for an anatomy of the WA industry (including works by Brian Shoesmith, Tom O’Regan, Tim Fetherstonhaugh, Vincent O’Donnell and others). Drawing on this writing, this article represents a belated contribution to the anatomy of a film industry project and a call to action in relation to the analysis of contemporary industry discourse in WA. [ABSTRACT FROM AUTHOR]

This article examines how the indigenization of language in hiplife becomes a marker of authenticity and, at the same time, a project of transnational commodification to "sell our culture". Recently, language and global marketability have become a focus of debate in the Ghanaian entertainment industry. Here, indigenization becomes central to how some Ghanaian performers want their music and identity to circulate globally. I argue that the global music industry can be regarded as an authenticating mechanism legitimizing musics in a way that can define the horizons of musical possibility in local contexts. De article dey examine how the indigenization of language for hiplife dey become marker of authenticity, wey at de same time e be transnational commodification project to "sell our culture". Recently, language den global marketability come turn focus of debate for the Ghanaian entertainment industry. For here, indigenization dey become central to de way Ghanaian artists dey want make dema music then identity go international. I dey argue say de global music industry be some authenticating mechanism wey e dey legitimize local music by de way e dey determine what be musically possible. [ABSTRACT FROM AUTHOR]

Copyright of EURE is the property of Pontificia Universidad Catolica de Chile 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 abstract 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 abstract. (Copyright applies to all Abstracts.)

Backgroud: The creative culinary industry plays a vital role in enhancing tourist destination attraction, serving as a cultural and culinary gateway for travelers. With growing awareness of sustainability and environmental concerns, it becomes imperative to investigate the development of sustainability strategies in this sector. Purpose: This study focuses on Semarang Regency, a burgeoning tourist destination, to assess the impact of sustainability strategies on attracting and retaining visitors. Design/methodology/approach: This quantitative research study was conducted with a sample of 250 respondents, comprising owners and managers of the culinary industry. The data were analyzed using Structural Equation Modeling (SEM) with WarpPLS 7.0 software. Finding/Result: The research unveiled significant relationships between sustainability strategies and tourist attraction. Environmental values were identified as a key driver, significantly influencing both cognitive and affective images. Additionally, low-carbon knowledge played a crucial role in shaping these images, highlighting the importance of eco-friendly practices and awareness in enhancing the industry's image. Cognitive and affective images were found to significantly contribute to the overall image of the sector, emphasizing their importance in shaping perceptions of sustainability efforts. Conclusion: These findings provide valuable insights for stakeholders in the creative culinary industry who are seeking to develop and implement sustainability strategies that enhance the attractiveness of tourist destinations in Semarang Regency. Original/value (State of the art): This study contributes to the understanding of how sustainability strategies can be effectively integrated into the creative culinary industry to boost tourist destination appeal. [ABSTRACT FROM AUTHOR]

Post-industrial sites in Chinese cities are being redeveloped as catalysts for urban regeneration and economic development. Calling the shift from 'Made in China' to 'Created in China', the Chinese government is encouraging the development of the creative industry to transform post-industrial sites. Successful examples of city renewal projects provide examples of this strategy, tuning into the creative cultures and industrial heritage of these cities and offering platforms for creative enterprises to flourish. This paper describes a recently funded renovation project, Beijing 751 D-Park, which has been undertaken to analyse these opportunities, and offers the initial findings of a case study. It unlocks the development process of the renovation project in terms of its philosophy, design method and planning strategy. [ABSTRACT FROM AUTHOR]

The financially challenging work of creative professionals is a widely recognized concern, and uncovering the root causes of such challenges requires more explorations into the impact of personal factors on income generation. Accordingly, we investigated the significance of 400 creative professionals' entrepreneurial or artistic identities and business skills in their income adequacy on the basis of role identity theory. Our findings show that business skills support the likelihood of income adequacy but that artistic identity reduces it. The combination of entrepreneurial identity with business skills increases income adequacy, whereas entrepreneurial identity alone has no influence. These results point to the complexity of individuals' income formation and the need to study the outcomes of different work identities and their interplay with various skills. They imply that assuming an artistic identity can be an economic liability. Hence, our study implies that enabling creative and innovative work to prosper necessitates that creative professionals develop an adaptive, artistic–entrepreneurial meta‐identity, in addition to enhancing their business skills, so that they can adjust between possible selves in different situations and work environments. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal 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 abstract 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 abstract. (Copyright applies to all Abstracts.)

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal 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 abstract 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 abstract. (Copyright applies to all Abstracts.)

Since the early 1990s, proto-punk rock musician Iggy Pop has regularly appeared onscreen in supporting and cameo roles. While a rock star's presence across media is hardly novel, the brevity of Pop's screen performances rests its meaning and value upon a rejection of conventional stardom, persisting through the peripheries of moving image media rather than building a marquee status. This article explains the economic and cultural logic of such appearances via the work of Pop's manager, Art Collins, who focused on maintaining Pop's status through a combination of decisively brief screen appearances and song licencing that augmented his existing persona. Using archival and textual analysis of Pop's and Collins's endeavours, I argue that Pop's case lends insight into a managerial approach to stardom prevalent across entertainment media industries wherein stars are expected to maintain market presence across media contexts rather than pursue fame within a delimited cultural field. A growing managerial logic in entertainment media culture shifted the status of stars from workers contracted to autonomous industries to flexible labourers whose efforts are rendered in the service of self-branding. These developments made the cameo performance into an ideal labour strategy that maximises a star's flexibility. [ABSTRACT FROM AUTHOR]

During COVID-19, the Norwegian Government provided compensation to amend firms' decreased revenues, yet it should be neutral and tailored to losses only. However, firm resources or institutional factors may have influenced the compensation, which we study here. Survey data showed a high probability of compensation among large firms, although they were not hit particularly hard by COVID-19. Also, compensation was prevalent for firms in the hospitality, tourism, and culture industry, and a likely explanation is that they were hit hard. However, their probability of compensation was prevalent compared to firms in other industries, regardless of revenue losses. We assume that large firms' compensation was due to their resources to apply for funding successfully, while institutional factors explained the compensation for firms in the hospitality, tourism, and culture industry. [ABSTRACT FROM AUTHOR]

This article explores Indonesian indie musicians’ critiques of the new system for distributing and listening to music, which is comprised of music streaming platforms, aggregator services, music industry personnel, collecting societies and copyright law. It is set against a background of musicians’ critiques of this new system and debates about its fairness among scholars focussed on the European and North American contexts. Drawing on interviews with and media reports by and about indie music personnel, and a major UNESCO sponsored report on digital music and copyright, we show how in Indonesia, critiques have not exclusively focussed on the business model of platforms, but also on the shortcomings of other stakeholders determining royalty payment and visibility on music streaming platforms, including collecting societies, copyright law, and aggregators. By providing an account of these critiques, the article points to global variations in discourses of music streaming, and also highlights specific problems associated with the new system in the Indonesian context. [ABSTRACT FROM AUTHOR]

In Indonesia's Creative Industry 4.0, effective knowledge transfer is crucial for fostering continuous innovation. Despite the country's cultural richness, the transfer of knowledge within the creative sector remains suboptimal, hindering growth and innovation. Tacit knowledge predominantly resides within individuals, limiting dissemination within organizations and resulting in the loss of heritage and creative assets. However, amidst these challenges, significant opportunities exist, Indonesia's creative industry, with notable unicorns and a large workforce, has the potential for economic growth and development. Yet, the transition to Industry 4.0 demands enhanced knowledge transfer capabilities. While Industry 4.0 presents opportunities for Indonesia to compete globally, effective knowledge transfer remains limited. This study aims to address this gap by investigating the nature and consequences of knowledge transfer within Indonesia's creative industry, with a focus on fostering continuous innovation. By prioritizing knowledge transfer and leveraging ICT and HRM resources, firms can enhance their competitive advantage and performance in the dynamic landscape of Industry 4.0. Through this research, insights are provided to facilitate sustained growth and innovation in Indonesia's creative industry. [ABSTRACT FROM AUTHOR]

Popular culture is not a coherent concept; it lacks an organic whole and is subject to change. It is neither fixed nor concrete, with its modus operandi rooted in everyday life. It does not possess a definitive meaning, as it is constantly being redefined and reevaluated, and the canon of pop culture works is continually expanding. During its heyday in the 1960s, pop culture evolved, shaping both its passive and active roles. The passive (mass) aspect reflects a tendency to act as a "mirror" of reality, as it is and as it should be, adding a certain degree of glamour within the entertainment industry, major Hollywood productions, and politically correct celebrities. The active aspect relies on the potential for social action within pop culture. Pop culture has become capable of supporting and leading significant cultural changes, such as in music, film, literature, and shifting social attitudes toward war and destruction, family, religion, and other critical issues since the 1960s. In the 21st century, the activity, vitality, and relevance of pop culture are based on technology, AI, and video gaming. Other narratives become allusive and outdated, yet they still define the modes of life of the era. This paper aims to first investigate and define the trajectory of popular culture and, consequently, to project the future directions and modalities we can expect, considering the increasing significance and impact of popular culture juxtaposed with elite culture. [ABSTRACT FROM AUTHOR]

In India, the past two decades have been crucial for the growing popularity of Electronic Dance Music (EDM). This is largely due to the burgeoning presence and significance of EDM festivals as a performative site of a contemporary Indian youth culture. A salient feature capturing the zeitgeist of twenty-first century, urban, modern Indian youth is EDM's gradual permeation into the cultural fabric of India through crucial collaborations with cultural industries like Bollywood. It is a truism that the legacy of Goa Trance remains a dominant point of reference in the global imagination of the Indian EDM scene. This article, however, argues that the contemporary mode of Indian Electronic Dance Music Culture (EDMC) has largely developed independently of this legacy. The main proponent of contemporary EDMC in urban India has been the multiple greenfield EDM festivals held annually all over the country. This article draws on fieldwork data collected between 2016-2018 at Indian EDM festival sites. Using this empirical data, the article examines the 'performance' of Indian EDMC and considers whether it is viable to speak in terms of an Indian way of raving, as a variation of other 'local' ways of performing EDMC that may exist elsewhere in the world. [ABSTRACT FROM AUTHOR]

Guy Delisle's comics have often been categorised among the subgenres of graphic journalism, travelogues, or travel autobiographies. Nonetheless, apart from the obvious detailed depictions of his travel impressions – an amply elaborated topic– there are some important, yet overlooked, recurring themes such as the aporia of creative labour, and the consequences of the changing nature and organisation of work from the beginning of the 1980s to the late 2010s on cultural industries and comics profession. Delisle's memoirs delineate different types of organisational structures, interpersonal relations, and working conditions from the time he was employed as a salaried labourer and animator, along with the setting in which he had to perform his job as a self-employed, freelance artist. His visual narrations constitute a canvas of anecdotes and events, revolving around his working environment and professional context, not only during his sojourn in various countries but also in his hometown, Quebec, Canada. The present article suggests that Delisle's 'travelogues' can be better understood as 'laborlogs'. That is a term coined here from the synthesis of the word labour, toil, and log, a record book, a list, employed in order to lay emphasis on the importance of work and labour in the artist's illustrations. [ABSTRACT FROM AUTHOR]

While the impacts of the COVID-19 pandemic on the live music industry have received much attention, little consideration has been given to regional music production clusters more broadly. Evaluating the impacts of the pandemic on the music economy of North West England, this paper identifies key areas of support required as music businesses transition into a digitally-orientated post-COVID period. Findings demonstrate the ways in which the pandemic encouraged or forced music businesses to innovate with new digital ways of showcasing, promoting and distributing music. Yet, while digitalisation offers many opportunities, these are often difficult for businesses to capitalise upon. The paper argues the need to place business support at the heart of local cultural policy. More specifically, the paper makes the case for a soft institutionalist approach whereby local policymakers, the market and civil society work together to generate and distribute crucial resources of human, financial and social capital. [ABSTRACT FROM AUTHOR]

The production and distribution of 'local' content around the world has been a major regulatory pressure point emerging from the global rise of video streaming platforms. To support greater evidence-based policy development as these regulations emerge, this article reflects on the outcomes of Australian local content regulation on pay-TV. In doing so, the article explores the cultural outcomes of Australian pay-TV local content regulations since the 1990s. This article demonstrates how prevailing Australian cultural policy frameworks facilitate particular types of content. The Australian case study highlights the fraught relationship between policy goals and outcomes that can occur with cultural frameworks that do little to regulate the type of culture produced and suggests a greater separation between cultural and industrial value of content is needed by regulators. The findings from this analysis of Australian cultural policy can be valuable to other interventionist markets as new regulations are considered. [ABSTRACT FROM AUTHOR]

Established in 1951, the Children's Film Foundation (CFF) contributed to the growth of children's film culture in Britain. This paper aims to show how the CFF's active involvement of public authorities, film industry organisations and educationalists resulted in partnerships between them and in the growing production of children's films in Britain. Drawing on under-investigated archival materials, this paper argues that the Advisory Council of the Children's Film Department and Children's Entertainment Films, precursors of the CFF, offered significant platforms for mediation between public authorities, industry organisations and educationalists, and for shaping new beliefs about child audiences and children's cinema, which resulted in both the film industry's and educationalists' support for, and commitment to, producing films with entertaining and educational values. The case study demonstrates how the CFF overcame a commerce – culture dichotomy. It therefore offers a more nuanced understanding of state–market–civic relations in British cultural policy. [ABSTRACT FROM AUTHOR]

The study aims to clarify how social positioning and modes of cultural participation shape the meanings people attach to the European Capital of Culture Wrocław 2016 initiative. The authors analyse both quantitative and qualitative evidence for narratives on ECOC, drawing on data collected in a survey (N = 1000) in 2017 and qualitative group interviews (10 FGIs) in 2016 and 2017. A literature-based narrative on the ECOC legacy is first reconstructed as a point of reference. Local perspectives on ECOC 2016 are derived from a representative survey and in-depth qualitative analysis to reveal bottom-up perspectives on what ECOC 2016 was. The paper examines the relationship between ECOC's values and the socioeconomic and sociocultural characteristics of city residents who support and oppose it, to determine how ECOC's values are related to class dimensions of social positioning and modes of cultural participation. The paper concludes that ways of understanding and narrating ECOC are derived primarily from cultural practices. Socio-demographic variables are of secondary importance. Both affirmative narratives of ECOC's achievements in cultural policy and critical accounts can be viewed as informative markers of who and how perceives cultural policy successes and failures. [ABSTRACT FROM AUTHOR]

The extent to which Cultural and Creative Industries (CCIs), as policy concepts, are globalized, has been a matter of debate. This paper engages with the debate while seeking to move beyond the binary division of global and local scales of analysis. Empirically, it examines the emergence and politics of CCIs in Vietnam, with a focus on its connection with the implementation of the UNESCO 2005 Convention. The paper explores the complexity of the policy translation process, which shows the degrees to which neoliberal ideas can be translated in a post-socialist context. It also examines the role of UNESCO and questions the consistency of its position against the commodification of culture. Conceptually, it brings together different approaches to policy translation from language studies, Science and Technology Studies (STS), and postcolonial studies. The paper suggests that this interdisciplinary framework can further the understanding of both paradigmatic and pragmatic dimensions of policy travel. [ABSTRACT FROM AUTHOR]

Since 2017, the #MeToo movement has highlighted gender-based violence and harassment in the comedy industry, where those comedians affected have little to no workplace infrastructure to lean on. Because comedy clubs are described as venues rather than sites of work, comedy workers are not technically employees and are not protected by workplace safety laws nor supported by professional organizations or unions. We argue that the lack of a formal workplace and its related precarity exacerbates violence against women, queer, transgender, disabled, and/or workers in the Canadian and American comedy industries, pushing comedy workers to enact do-it-yourself workplace safety strategies to protect themselves and one another. We describe these protective, caring activities as akin to Brenda Parker's "double killjoy," and push our understanding of creative work into places of public resistance and life-making. [ABSTRACT FROM AUTHOR]

Artists‐entrepreneurs struggle with the tension between their artistic and entrepreneurial values. Previous research on this tension focuses on urban creative hubs and shows the presence of politicians to create, with the artists, a structure constituted of investment formulas to ease this tension. Based on Boltanski and Thévenot's On Justification theory, our research focuses on the case of artist‐entrepreneurs located outside Canada's creative hubs. The tension between artistic and entrepreneurial values is expressed as a tension between the inspired and market worlds, which is managed through the civic world in Canadian creative hubs. The results of 50 semi‐structured interviews with non‐urban Canadian artist‐entrepreneurs reveal that politicians are less implicated in these regional cultural industries. In order to manage the tension between artistic and entrepreneurial values, artists themselves are developing individual and collective investment formulas to create structure in the cultural industries that compensates for the low‐level of involvement by politicians. Thus, we identify that the tension between the inspired and market worlds is managed through the presence of the projective world in the case of Canada's non‐urban artist‐entrepreneurs. [ABSTRACT FROM AUTHOR]