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

Yıl 2020, Cilt: 3 Sayı: 5, 281 - 293, 30.11.2020

Raúl Rodríguez Ferrándiz Çevirmen: Süleyman Fidan

Öz

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.

Anahtar Kelimeler

culture indutries,, creative industries, entartaintment industries

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

Öz

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.

Anahtar Kelimeler

kültür endüstrileri,, boş zaman endüstrileri,, yaratıcı endüstriler, eğlence endüstrileri, endüstri sonrası toplum

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