Translation
BibTex RIS Cite

Culture Industries in a Postindustrial Age: Entertainment, Leisure, Creativity, Design

Year 2020, Volume: 3 Issue: 5, 281 - 293, 30.11.2020

Abstract

This article reviews the evolution of the concept of culture industries, when neither
industry nor culture themselves are today what they were at the time when the term
was coined. It attempts to explain the dilution of the term into more nebulous terms
(“leisure industries,” “entertainment industries” or “creative industries”) and suggests
new challenges for the research on culture industries. What is at stake is no longer an
application of a Fordist production to culture, a one-directional mass communication
and a mediation by experts, but rather: (1) a cultural experience which is no longer
clearly separated from other activities (leisure in general, consumption and even work);
(2) the communicative explosion of all industrial production in a media environment,
where industrialized symbolic products are mixed with culturalized industrial
products; and (3) the empowerment of the recipient, which on one hand ignores the
traditional experts and on the other leads to post-productive (recreational and even
creative) cultural practices.

References

  • Adorno, Th. W. (1990 [1941]). “On Popular Music”, In S. Frith & A. Goodwin (Eds.), On Record (pp. 301–314). London: Routledge.
  • Adorno, Th. W. (1991). The Culture Industry. Selected Essays on Mass Culture (J. Bernstein, Ed.). London: Routledge.
  • Adorno, Th. W. (2002). Essays on Music. Berkeley: University of California Press.
  • Adorno, Th. W., & Horkheimer, M. (1979 [1947]). “The Culture Industry: Enlightenment As Mass Deception”, In Dialectic Of Enlightenment (pp. 120–167). London: Verso.
  • Becker, H. (1984). Art Worlds. Berkeley: University of California Press.
  • Bilton, C. (2007). Management and Creativity: From Creative Industries to Creative Management. Oxford: Blackwell.
  • Blythe, M. (2001). “The Work of Art the Age of Digital Reproduction: The Significance of Creative Industries”, International Journal of Art & Design Education, 20(2), 144–150. doi:10.1111/ 1468-5949.00261
  • Bourdieu, P. (1993). The Field of Cultural Production. Oxford: Polity
  • Bourdieu, P. (1996). The Rules of Art: Genesis and Structure of the Literary Field. Standford: Standford U.P.
  • Bourriaud, N. (2005). Postproduction. Culture as Screenplay: How Art Reprograms the World. New York, NY: Lukas & Sternberg.
  • Bratich, J. (2011). “User Generated Discontent: Convergence, Polemology and Dissent”, Cultural Studies, 25, 621–640. doi:10.1080/09502386.2011.600552
  • Braun, E., & Lavanga, L. (2007). An International Comparative Quick Scan of National Policies for Creative Industries. EURICUR. Erasmus University: Rotterdam.
  • Bruns, A. (2008). Blogs, Wikipedia, Second Life: From Production to Produsage. New York, NY: Peter Lang.
  • Castells, M. (2009). Communication Power. Oxford: Oxford University Press.
  • Caves, R. (2000). Creative Industries. Contracts Between Art and Commerce. Cambridge, MA: Harvard University Press.
  • Caves, R. (2006). “Organization of Arts and Entertainment Industries”, In V. Ginsburgh & D. Throsby (Eds.), Handbook of Economics of Art and Culture, Vol. I (pp. 533–566). Amsterdam: Elsevier.
  • Curran, J. (1990). “The New Revisionism in Mass Communication Research: A Reappraisal”, European Journal of Communication, 5, 135–164. doi:10.1177/0267323190005002002
  • de Certeau, M. (1984). The Practice of Everyday Life. Berkeley: University of California Press.
  • Eco, U. (1986). “Towards a Semiological Guerrilla Warfare”, In Faith in Fakes (pp. 135–144). London: Secker & Warburg.
  • European Union [EU]. (2010). Green Paper: Unlocking the Full Potential of Europe’s Cultural and Creative Industries. COM (2010)183 final (Brussels, 27-4-2010). Retrieved from http://ec.europa.eu/culture/our-policy-development/doc/GreenPaper_creative_industries_en. pdf
  • Fiske, J. (2001). Understanding Popular Culture. London: Routledge.
  • Galloway, S., & Dunlop, S. (2007). “A Critique of Definitions of Cultural and Creative Industries in Public Policy”, International Journal of Cultural Policy, 13, 17–31. doi:10.1080/1028663 0701201657
  • Garnham, N. (2005). “From Cultural to Creative Industries: An Analysis of the Implications of the ‘Creative Industries’ Approach to Arts and Media Policy Making in the United Kingdom”, International Journal of Culture Policy, 11, 15–30. doi:10.1080/10286630500067606
  • Gendron, B. (1986). “Theodor Adorno Beets the Cadillacs”. In T. Modleski. (Ed.), Studies in Entertainment (pp. 18–36). Bloomington: Indiana University Press.
  • Hall, S. (1981). “Encoding and Decoding in TV Discourse”, In D. Hobson, A. Lowe & P. Willis (Eds.), Culture, Media, Language (pp. 128–138). London: Hutchinson.
  • Hay, J., & Couldry, N. (2011). “Rethinking Convergence/Culture”, Cultural Studies, 25, 473–486. doi:10.1080/09502386.2011.600527
  • Hesmondhalgh, D. (2007a). The Cultural Industries. London: Sage.
  • Hesmondhalgh, D. (2007b, April). “Towards a Critique of Creative Industries Policy and Theory”, Seminar 9, ESRC/AHRC Cultural Industries Seminar Network, April 2007. Retrieved from http://www.lse.ac.uk/collections/geographyAndEnvironment/research/Currentresearchprojects/CI%20 Presentation%20Dr.%20Hesmondhalgh.doc
  • Hirsch, P. M. (1972). “Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industries System”, American Journal of Sociology, 77 (4), 639–659. doi:10.1086/225192
  • Jeffcutt, P., & Pratt, A. C. (2002). “Managing Creativity in the Cultural Industries”, Creativity and Innovation Management, 11, 225–233. doi:10.1111/1467-8691.00254
  • Jenkins, H. (2006). Convergence Culture. Where New and Old Media Collide. New York: New York University Press.
  • KEA. (2006). The Economy of Culture in Europe. Report prepared for the European Commission, Directorate-General for Education and Culture, Brussels. Retrieved from http://www.keanet. eu/ecoculture/executive_summary_en.pdf
  • KEA. (2009). The Impact of Culture on Creativity. Report prepared for the European Commission, Directorate-General for Education and Culture, Brussels. Retrieved from http://www.keanet. eu/docs/impactculturecreativityfull.pdf
  • Lacroix, J.-G., & Tremblay, G. (1997). “The ‘Information Society’ and Cultural Industries Theory”, Special Issue of Current Sociology 45 (4): 1–162.
  • Larrabee, E., & Meyersohn, R. (Eds.). (1958). Mass Leisure. Glencoe, IL: Free Press.
  • Lash, S., & Lury, C. (2007). Global Culture Industry: The Mediation of Things. Cambridge: Polity Press.
  • Lash, S., & Urry, J. (1994). Economies of Sign and Space. London: Sage
  • Lehu, J.-M. (2007). Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business. London: Kogan Page.
  • Manovich, L. (2005). Remixability. Retrieved from http://www.manovich.net/DOCS/Remix_modular.doc
  • Miller, D. (1987). Material Culture and Mass Consumption. Oxford: Blackwell.
  • Miller, D. (Ed.). (1995). Acknowledging Consumption. London: Routledge.
  • Morley, D. (1980). The “Nationwide” Audience. London: British Film Institute.
  • Negus, K. (2006). “Rethinking Creative Production Away from Cultural Industries”, In J. Curran & D. Morley (Eds.), Media and Cultural Theory (pp. 197–208). London: Routledge.
  • Negus, K., & Pickering, M. (2004). Creativity, Communication and Cultural Value. London: Sage.
  • O’Connor, J. (2007). “The Cultural and Creative Industries: A Review of the Literature”, Creative Partnership. Retrieved from http://robertoigarza.files.wordpress.com/2008/11/rep-the-culturaland-creative-industries-a-review-of-the-literature-artscouncilengland-2007.pdf
  • Peterson, R. A. (Ed.). (1976). The Production of Culture. Beverly Hills, CA: Sage.
  • Roberts, K. (2004). The Leisure Industries. Basingstoke: Palgrave Macmillan.
  • Rodríguez-Ferrándiz, R. (2012). “Benjamin, Bit Torrent, Bootlegs: Auratic Piracy Cultures?”, International Journal of Communication, 6, 396–412. Retrieved from http://ijoc.org/ojs/index.php/ ijoc/article/view/1187/711
  • Rosenberg, B., & White, D. M. (Eds.). (1957). Mass Culture. The Popular Arts in America. Glencoe: Free Press.
  • Schlesinger, P. (2007). “Creativity: From Discourse to Doctrine?”, Screen, 48, 377–387. doi:10.1093/ screen/hjm037
  • Shifman, L. (2007). “Humor in the Age of Digital Reproduction: Continuity and Change in Internetbased Comic Texts”, International Journal of Communication, 1, 187–209.
  • Storey, J. (1999). Cultural Consumption and Everyday Life. London: Arnold.
  • Toffler, A. (1980). The Third Wave. New York, NY: Morrow.
  • Virno, P. (2004). A Grammar of the Multitude. Los Angeles, CA: Semiotext(e).
  • Vogel, H.L. (2004). Entertainment Industry Economics. Cambridge: Cambridge University Press
  • Wernick, A. (1991). Promotional Culture. London: Sage.

POST-ENDÜSTRİYEL BİR ÇAĞDA KÜLTÜR ENDÜSTRİLERİ EĞLENCE, BOŞ ZAMAN, YARATICILIK, TASARIM

Year 2020, Volume: 3 Issue: 5, 281 - 293, 30.11.2020

Abstract

Bu makale ne sanayi ne de kültür terimlerinin üretildiği zamanki gibi olmadığı günümüzde kültür endüstrisi kavramının evrimini gözden geçirmektedir. Terimin daha belirsiz terimlerle ("boş vakit endüstrileri", "eğlence endüstrileri" veya "yaratıcı endüstriler") seyreltilmesini açıklamaya çalışmakta ve kültür endüstrisi araştırmaları için yeni tartışmalar önermektedir. Söz konusu olan artık bir Fordist üretimin kültüre uygulanması, tek yönlü bir kitle iletişimi ve uzmanların arabuluculuğu değil, daha ziyade: (1) artık diğer faaliyetlerden (genel olarak boş zaman, tüketim ve hatta iş) açıkça ayrılmayan kültürel bir deneyim; (2) endüstrileşmiş sembolik ürünlerin kültürel endüstri ürünleri ile karıştırıldığı bir medya ortamında tüm endüstriyel üretimin iletişimsel patlaması ve (3) bir yandan geleneksel uzmanları görmezden gelen ve diğer yandan da post-prodüktif (rekreasyonel ve hatta yaratıcı) kültürel uygulamalara yol açan alıcının yetkilendirilmesi.

References

  • Adorno, Th. W. (1990 [1941]). “On Popular Music”, In S. Frith & A. Goodwin (Eds.), On Record (pp. 301–314). London: Routledge.
  • Adorno, Th. W. (1991). The Culture Industry. Selected Essays on Mass Culture (J. Bernstein, Ed.). London: Routledge.
  • Adorno, Th. W. (2002). Essays on Music. Berkeley: University of California Press.
  • Adorno, Th. W., & Horkheimer, M. (1979 [1947]). “The Culture Industry: Enlightenment As Mass Deception”, In Dialectic Of Enlightenment (pp. 120–167). London: Verso.
  • Becker, H. (1984). Art Worlds. Berkeley: University of California Press.
  • Bilton, C. (2007). Management and Creativity: From Creative Industries to Creative Management. Oxford: Blackwell.
  • Blythe, M. (2001). “The Work of Art the Age of Digital Reproduction: The Significance of Creative Industries”, International Journal of Art & Design Education, 20(2), 144–150. doi:10.1111/ 1468-5949.00261
  • Bourdieu, P. (1993). The Field of Cultural Production. Oxford: Polity
  • Bourdieu, P. (1996). The Rules of Art: Genesis and Structure of the Literary Field. Standford: Standford U.P.
  • Bourriaud, N. (2005). Postproduction. Culture as Screenplay: How Art Reprograms the World. New York, NY: Lukas & Sternberg.
  • Bratich, J. (2011). “User Generated Discontent: Convergence, Polemology and Dissent”, Cultural Studies, 25, 621–640. doi:10.1080/09502386.2011.600552
  • Braun, E., & Lavanga, L. (2007). An International Comparative Quick Scan of National Policies for Creative Industries. EURICUR. Erasmus University: Rotterdam.
  • Bruns, A. (2008). Blogs, Wikipedia, Second Life: From Production to Produsage. New York, NY: Peter Lang.
  • Castells, M. (2009). Communication Power. Oxford: Oxford University Press.
  • Caves, R. (2000). Creative Industries. Contracts Between Art and Commerce. Cambridge, MA: Harvard University Press.
  • Caves, R. (2006). “Organization of Arts and Entertainment Industries”, In V. Ginsburgh & D. Throsby (Eds.), Handbook of Economics of Art and Culture, Vol. I (pp. 533–566). Amsterdam: Elsevier.
  • Curran, J. (1990). “The New Revisionism in Mass Communication Research: A Reappraisal”, European Journal of Communication, 5, 135–164. doi:10.1177/0267323190005002002
  • de Certeau, M. (1984). The Practice of Everyday Life. Berkeley: University of California Press.
  • Eco, U. (1986). “Towards a Semiological Guerrilla Warfare”, In Faith in Fakes (pp. 135–144). London: Secker & Warburg.
  • European Union [EU]. (2010). Green Paper: Unlocking the Full Potential of Europe’s Cultural and Creative Industries. COM (2010)183 final (Brussels, 27-4-2010). Retrieved from http://ec.europa.eu/culture/our-policy-development/doc/GreenPaper_creative_industries_en. pdf
  • Fiske, J. (2001). Understanding Popular Culture. London: Routledge.
  • Galloway, S., & Dunlop, S. (2007). “A Critique of Definitions of Cultural and Creative Industries in Public Policy”, International Journal of Cultural Policy, 13, 17–31. doi:10.1080/1028663 0701201657
  • Garnham, N. (2005). “From Cultural to Creative Industries: An Analysis of the Implications of the ‘Creative Industries’ Approach to Arts and Media Policy Making in the United Kingdom”, International Journal of Culture Policy, 11, 15–30. doi:10.1080/10286630500067606
  • Gendron, B. (1986). “Theodor Adorno Beets the Cadillacs”. In T. Modleski. (Ed.), Studies in Entertainment (pp. 18–36). Bloomington: Indiana University Press.
  • Hall, S. (1981). “Encoding and Decoding in TV Discourse”, In D. Hobson, A. Lowe & P. Willis (Eds.), Culture, Media, Language (pp. 128–138). London: Hutchinson.
  • Hay, J., & Couldry, N. (2011). “Rethinking Convergence/Culture”, Cultural Studies, 25, 473–486. doi:10.1080/09502386.2011.600527
  • Hesmondhalgh, D. (2007a). The Cultural Industries. London: Sage.
  • Hesmondhalgh, D. (2007b, April). “Towards a Critique of Creative Industries Policy and Theory”, Seminar 9, ESRC/AHRC Cultural Industries Seminar Network, April 2007. Retrieved from http://www.lse.ac.uk/collections/geographyAndEnvironment/research/Currentresearchprojects/CI%20 Presentation%20Dr.%20Hesmondhalgh.doc
  • Hirsch, P. M. (1972). “Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industries System”, American Journal of Sociology, 77 (4), 639–659. doi:10.1086/225192
  • Jeffcutt, P., & Pratt, A. C. (2002). “Managing Creativity in the Cultural Industries”, Creativity and Innovation Management, 11, 225–233. doi:10.1111/1467-8691.00254
  • Jenkins, H. (2006). Convergence Culture. Where New and Old Media Collide. New York: New York University Press.
  • KEA. (2006). The Economy of Culture in Europe. Report prepared for the European Commission, Directorate-General for Education and Culture, Brussels. Retrieved from http://www.keanet. eu/ecoculture/executive_summary_en.pdf
  • KEA. (2009). The Impact of Culture on Creativity. Report prepared for the European Commission, Directorate-General for Education and Culture, Brussels. Retrieved from http://www.keanet. eu/docs/impactculturecreativityfull.pdf
  • Lacroix, J.-G., & Tremblay, G. (1997). “The ‘Information Society’ and Cultural Industries Theory”, Special Issue of Current Sociology 45 (4): 1–162.
  • Larrabee, E., & Meyersohn, R. (Eds.). (1958). Mass Leisure. Glencoe, IL: Free Press.
  • Lash, S., & Lury, C. (2007). Global Culture Industry: The Mediation of Things. Cambridge: Polity Press.
  • Lash, S., & Urry, J. (1994). Economies of Sign and Space. London: Sage
  • Lehu, J.-M. (2007). Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business. London: Kogan Page.
  • Manovich, L. (2005). Remixability. Retrieved from http://www.manovich.net/DOCS/Remix_modular.doc
  • Miller, D. (1987). Material Culture and Mass Consumption. Oxford: Blackwell.
  • Miller, D. (Ed.). (1995). Acknowledging Consumption. London: Routledge.
  • Morley, D. (1980). The “Nationwide” Audience. London: British Film Institute.
  • Negus, K. (2006). “Rethinking Creative Production Away from Cultural Industries”, In J. Curran & D. Morley (Eds.), Media and Cultural Theory (pp. 197–208). London: Routledge.
  • Negus, K., & Pickering, M. (2004). Creativity, Communication and Cultural Value. London: Sage.
  • O’Connor, J. (2007). “The Cultural and Creative Industries: A Review of the Literature”, Creative Partnership. Retrieved from http://robertoigarza.files.wordpress.com/2008/11/rep-the-culturaland-creative-industries-a-review-of-the-literature-artscouncilengland-2007.pdf
  • Peterson, R. A. (Ed.). (1976). The Production of Culture. Beverly Hills, CA: Sage.
  • Roberts, K. (2004). The Leisure Industries. Basingstoke: Palgrave Macmillan.
  • Rodríguez-Ferrándiz, R. (2012). “Benjamin, Bit Torrent, Bootlegs: Auratic Piracy Cultures?”, International Journal of Communication, 6, 396–412. Retrieved from http://ijoc.org/ojs/index.php/ ijoc/article/view/1187/711
  • Rosenberg, B., & White, D. M. (Eds.). (1957). Mass Culture. The Popular Arts in America. Glencoe: Free Press.
  • Schlesinger, P. (2007). “Creativity: From Discourse to Doctrine?”, Screen, 48, 377–387. doi:10.1093/ screen/hjm037
  • Shifman, L. (2007). “Humor in the Age of Digital Reproduction: Continuity and Change in Internetbased Comic Texts”, International Journal of Communication, 1, 187–209.
  • Storey, J. (1999). Cultural Consumption and Everyday Life. London: Arnold.
  • Toffler, A. (1980). The Third Wave. New York, NY: Morrow.
  • Virno, P. (2004). A Grammar of the Multitude. Los Angeles, CA: Semiotext(e).
  • Vogel, H.L. (2004). Entertainment Industry Economics. Cambridge: Cambridge University Press
  • Wernick, A. (1991). Promotional Culture. London: Sage.
There are 56 citations in total.

Details

Primary Language Turkish
Subjects Cultural Studies
Journal Section Çeviri
Authors

Raúl Rodríguez Ferrándiz This is me

Translators

Süleyman Fidan

Publication Date November 30, 2020
Submission Date September 7, 2020
Published in Issue Year 2020 Volume: 3 Issue: 5

Cite

APA Ferrándiz, R. R. (2020). POST-ENDÜSTRİYEL BİR ÇAĞDA KÜLTÜR ENDÜSTRİLERİ EĞLENCE, BOŞ ZAMAN, YARATICILIK, TASARIM (S. Fidan, Trans.). Uluslararası Halkbilimi Araştırmaları Dergisi, 3(5), 281-293.