Who Needs Cultural Intermediaries Indeed?

Molloy, Maureen; Larner, Wendy

doi:10.1080/17530350.2010.506322

Cited by 33 publications

(15 citation statements)

References 26 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…As Smith Maguire and Matthews (2012) highlight, work since Bourdieu has tended to follow his lead, draw upon work from actor network theory and economic society, or in some cases work falls outside these established schools of thought entirely. This has led to 'confusion' (ibid) and a failure to appreciate the breadth of activities involved in cultural mediation (Molloy & Larner, 2010). The conceptual elasticity of the term has created an ever-growing list of roles within and outside the creative industries defined as cultural intermediaries (Featherstone, 1991;O'Connor, 2015) and, on the one hand, this has led academics to better delineate occupations which can be classified as cultural intermediaries (Lizé, 2016).…”

Section: Intermediariesmentioning

confidence: 99%

Interpenetration and intermediation of crowd-patronage platforms

Swords

2018

Information, Communication & Society

View full text Add to dashboard Cite

Jon's research focuses on the geographies of cultural and creative industries, and visual methodologies. Words: 8000 Interpenetration and intermediation of crowd-patronage platforms Web platforms are becoming part of everyday life for internet users. They come in many forms, offering a range of products and services for both producers and consumers as they (re)produce multi-sided markets. Platforms act as key intermediaries, bringing together third parties and shaping the provision of access to information, finance, content and networks. They operate within an ecosystem, connected through technical service provision and operational logics that promotes interpenetration between platforms. This article explores how interpenetration with and from two crowd-patronage platforms-Patreon and Subbable-is co-constitutive of their intermediary functions. Both sites connect(ed) artist-creators with patrons, offering an alternative means of income generation in the face of declining advertising revenues and digital piracy. Through this examination I propose the expansion of the interpenetration concept to include analysis of where in a platform's 'stack' interpenetration occurs, and how power asymmetries between platforms enables or constrains their adaptive capacity when faced with change. In so doing I argue interpenetration through shared operational logics transforms cultural work as it is enrolled into a calculus of web metrics that allow algorithmic curation which can change the appreciation of art.

show abstract

Section: Intermediariesmentioning

confidence: 99%

Interpenetration and intermediation of crowd-patronage platforms

Swords

2018

Information, Communication & Society

View full text Add to dashboard Cite

show abstract

“…First, with respect to scale, academic attention has focused primarily on the global firms, such as Burberry and Prada, which dominate the global fashion industry (Crewe, 2013a;Pike, 2015;Power and Hauge, 2008). As a result, much less is known about the dynamics and experiences of small, local and independent designers and brands which are becoming increasingly important in the contemporary fashion marketplace (Hracs et al, 2013;Molloy and Larner, 2010).…”

Section: Introductionmentioning

confidence: 99%

“…Second, existing studies have focused on fashion-related activities within global cities including the 'big four' fashion capitals of London, Paris, Milan and New York (Breward and Gilbert, 2006;Rantisi, 2004). However, as the industrial dynamics of these cities are the exception, not the rule (Larner, Molloy and Goodrum 2007), there is a need to consider how the specificities of other locations including 'tier two' or 'emerging' fashion markets, such as Auckland (Larner and Molloy, 2009;Molloy and Larner, 2010) and Stockholm (Hauge, Malmberg and Power, 2009), shape the educational pathways and working lives of creative workers (Vinodrai, 2006).…”

Section: Introductionmentioning

confidence: 99%

“…Finally, as the fashion industry is numerically dominated by women and based on a set of 'gendered skills and attributes,' it is imperative that new studies consider the highly gendered nature of this work (Molloy and Larner, 2010). Indeed, although male designers have historically, and continue to, dominate the highest positions in many of the most influential global fashion brands, women make up the majority of this labour force, fashion school student bodies, and entry-level creative positions in fashion brands (Business of Fashion, 2017).…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

What motivates millennials? How intersectionality shapes the working lives of female entrepreneurs in Canada’s fashion industry

Brydges

Hracs

2019

Gender, Place & Culture

View full text Add to dashboard Cite

The contemporary fashion industry is based on a set of 'gendered skills and attributes.' Women numerically dominate fashion schools and the labour force of fashion firms, and also start and run the majority of independent fashion brands. Angela McRobbie and others have highlighted the importance of considering the gendered dynamics of fashion-related work. Yet, as the industry continues to evolve in the wake of global integration, the digital transition and intensifying competition, there is an ongoing need for research. Using an intersectional approach, this paper provides a novel case study of young 'Millennial' female independent fashion designers who operate within the emerging and under-explored Canadian fashion industry. Drawing on 87 interviews and participant observation, the paper demonstrates how entrepreneurial motivations, pathways, practices and experiences are shaped by individual characteristics, such as gender, age, lifecycle and class. Particular attention is paid to the challenges and tensions associated with the D.I.Y. (do it yourself) model and how forms of work, including aesthetic labour, are performed and experienced in virtual spaces such as social media platforms. In so doing, the paper contributes to nascent research on Millennials and nuances our understanding of the gendered nature of creative labour. Crucially, the paper also moves beyond typical masculinist conceptualisations of entrepreneurship, which focus on high-growth and hightechnology businesses, to highlight the legitimacy, prevalence and importance of alternative motivations, networks, identities and business practices within contemporary markets and creative industries.

show abstract

“…Much contestation of the term 'cultural intermediaries' has largely centred on its terminological muddiness and need for more precise 'specification of the division of labour involved in mediating production and consumption in culture-making organizations' (Hesmondhalgh, 2006: 227;Molloy and Larner, 2010). Yet, a more serious critique relates to the conception of cultural intermediaries as self-interested economic actors, shaping use values and exchange values through the construction of markets (Negus, 2002).…”

Section: Contested Concepts Of 'Cultural' 'Intermediaries'?mentioning

confidence: 99%

Revealing and re-valuing cultural intermediaries in the ‘real’ creative city: Insights from a diary-keeping exercise

Perry

Smith

Warren

2015

European Journal of Cultural Studies

View full text Add to dashboard Cite

From critics and cultural commentators to professionals who mediate between production and consumption for economic gain, the term 'cultural intermediaries' has been variously interpreted over recent decades. Often framed as self-interested entrepreneurs seeking to maximise economic value the wider set of political, social and moral motivations of cultural workers have been often overlooked.Drawing on a diary-keeping exercise with 20 cultural workers in Greater Manchester and Birmingham in 2013, we suggest that a 'third' wave of studies of cultural intermediaries is needed, which emphasises socially engaged practices and noneconomic values. The study reveals a field of cultural work which mediates between professionalised and everyday cultural ecologies, one which is often invisible and undervalued. Combining methodological insights into diary-keeping as a reflexive exercise, the study suggests that we should reclaim and re-value the term 'cultural

show abstract

Who Needs Cultural Intermediaries Indeed?

Cited by 33 publications

References 26 publications

Interpenetration and intermediation of crowd-patronage platforms

Interpenetration and intermediation of crowd-patronage platforms

What motivates millennials? How intersectionality shapes the working lives of female entrepreneurs in Canada’s fashion industry

Revealing and re-valuing cultural intermediaries in the ‘real’ creative city: Insights from a diary-keeping exercise

Contact Info

Product

Resources

About