Creative Industries after the First Decade of Debate

Profissionais Criativos Em Ciências E Artes Na Cidade De Porto Alegre

“…Esse debate ganhou ímpeto em torno do que se tem chamado de economia criativa. Sem entrar em detalhes sobre a construção, origens e críticas ao conceito, 3 vale mencionar, sucintamente, algumas das principais contribuições ao mesmo, sublinhando a sua íntima relação com a nova economia e suas diferenças em relação ao mundo industrial de massa (Flew & Cunningham, 2010;Pine & Gilmore, 1998 (Amabile, 1998;Ramella, 2013).…”

Political Arts Urbanization: A Malaysian Case Study

“…The accompanying discourse emphasizes the value of creative workers and the economic benefits accruing from having an ICT-oriented labour force capable of competing in a globalized economy (Kong, 2009). Put another way, these clusters are focused almost exclusively on leveraging ICTs to generate products for the marketplace, and are directed ever more to generating a creative class in post-industrial cities à la Richard Florida"s urban renewal stratagem (Garnham, 2005;Bagwell, 2008;Evans, 2009;Flew and Cunningham, 2010). In line with Florida (2002; academic literature principally targets metropolises as clustering would presumably take advantage of a large city"s economies of scale, including its extensive infrastructure and facilities, its concentration of firms and companies, as well as the sheer number of people living, producing, and consuming in one geographical locale.…”

No funny business: Precarious work and emotional labour in stand-up comedy

“…The creative industries, which encompasses the performing arts as well as media work, design and other creative services (Flew and Cunningham, 2010), are characterized by individual strategies for finding work and coping with uncertain, often informal, labour markets (Kalleberg, 2009). For example, word-of-mouth -rather than formal application processes -tends to dominate the search for jobs in areas such as film and TV (Grugulis and Stoyanova, 2009), video game design (Thompson et al, 2016) and live music (Umney and Kretsos, 2014).…”