READING LIST

The following readings are electronically available via the library’s e-reserve.

http://www.mq.edu.au/about/campus-services-and-facilities/library​

This unit concerns the creative industries. Creativity lies at the core of the educational design for this unit, both in terms of the subject matter, and the way in which this unit is designed to manage your creativity.  

Ultimately I believe that students such as yourself should be educated in ways that will enable you to adapt to change and be creative in generating new ideas. To this end, the assessment tasks are designed to cultivate the immense diversity of undergraduate students’ talents and interests, and to dissolve the divisions between academic, peer-reviewed research, and project-based learning activities.

THEME A - Definitions

Topic A:

Defining the creative and cultural industries

Reading a:

Hesmondhalgh, D (2007) ‘Change, continuity, power and creativity’ in The Cultural Industries, 2nd edn, London: Sage.

Reading b:

Foord, J (2009) ‘Strategies for creative industries: An international review’, Creative Industries Journal, 1(2), pp.91-113.

Reading c:

Cunningham, S (2009) ‘Trojan horse or Rorschach blot? Creative industries discourse around the world’, International Journal of Cultural Policy, 15:4, pp. 375-386.

Reading d:

Potts, J and Cunningham, S (2008) ‘Four models of the creative industries’, International Journal of Cultural Policy, 14:3, pp. 233-247.

Reading e:

Hesmondhalgh, D and Pratt, A (2005) ‘Cultural industries and cultural policy.’ International Journal of Cultural Policy, 11 (1), pp. 1-14.

Reading f:

Lampel, J, Shamsie, J and Lant, T (2006) ‘ Towards a deeper understanding of cultural industries’, in J. Lampel, J. Shamsie and T. Lant (eds), The Business of Culture: Strategic Perspectives on Entertainment and Media , Mahwah, NJ: Lawrence Erlbaum, pp. 3 – 14.

Topic B:

Defining cultural production

Reading a:

Runco, M and Jaeger, G (2012) ‘The standard definition of creativity’, Creativity Research Journal, 24:1, pp. 92-96.

Reading b:

McIntyre P, Fulton JM, Paton E, (2016) ‘General systems theory and creativity’ in The Creative System in Action: Understanding Cultural Production and Practice, Palgrave Macmillan, UK.

Reading c:

McIntyre, P (2012) ‘Reconceptualising creativity’ in Creativity and Cultural Production: Issues for Media Practice, Palgrave Macmillan, New York.

Reading d:

Toynbee, J (2000) ‘Market: The selling of the soul’ in Making Popular Music: Musicians Creativity and Institutions. 1st ed. London: Arnold.

Reading e:

Bilton, C and Leary, R (2002) ‘What can managers do for creativity? Brokering creativity in the creative industries,’ International Journal of Cultural Policy, 8:1, pp. 49-64.

Reading f:

Hesmondhalgh, D. (2006) ‘ Bourdieu, the media and cultural production ’, Media, Culture & Society, 28, pp. 211-32.

Reading g:

Negus, K and Pickering, M (2000). ‘Creativity and cultural production’, International Journal of Cultural Policy, 6(2), pp. 259-282.

Topic C:

Art versus commerce

Reading a:

Todorovic, M (2016) ‘Arts and commerce’ in Rethinking Strategy for Creative Industries. 1st ed. Taylor and Francis, London and New York.

Reading b:

Banks, M (2007) ‘Introducing cultural work’ in The Politics of Cultural Work, Basingstoke: Palgrave.

Reading c:

Carey, J (2006) ‘Is high art superior? in What good are the arts?. 1st ed. Oxford: Oxford University Press, pp. 32-64.

Reading d:

Faulkner, S, Leaver, A, Vis, F and Williams, K (2008) ‘Art for art’s sake or selling up?’, European Journal of Communication, 23(3), pp. 295-317.

Reading e:

Lloyd, R (2006) ‘Industry and art in the modern city’ in Neo-Bohemia: Art and Commerce in the Post-Industrial City, London: Routledge, pp. 23-48.  

THEME B - Copyright and ethics

Topic D:

Copyright and creative commons

Reading a:

Hesmondhalgh, D (2009) ‘Digitalisation, music and copyright’, in P. Jeffcut and A.C. Pratt (eds) Creativity and Innovation in the Cultural Economy, Abingdon and New York: Routledge.

Reading b:

Lessig, L (2004) ‘Creators’ in Free culture. 1st ed. New York: Penguin Press.

Reading c:

Kim, M. (2007). The creative commons and copyright protection in the digital era: Uses of creative commons licenses. Journal of Computer-Mediated Communication, 13(1), pp.187-209.

Reading d:

Rens, A. (2006). Managing risk and opportunity in Creative Commons enterprises. First Monday, 11(6).

Reading e:

Tschmuck, P (2009) ‘Copyright, contracts and music production’, Information, Communication & Society, 12(2), pp.  251-266.

Reading f:

Simpson, S and Munro, J (2012) ‘Copyright and music: The basics’ in Music Business: A Musician’s Guide to the Australian Music Industry, (4th Edition) Sydney: Omnibus, pp. 141-177.  

Topic E:

Ethics in the arts: Music industries case study

Reading a:

Morrow, G (2013) ‘The influence of dirty pool on the Australian live music industry: A case study of Boy & Bear’, Tschmuck, P, Pearce, P and Campbell, S (eds.) Music Business and the Experience Economy: The Australasian Case, Springer Publishing: New York, pp. 135-152.

Reading b:

Goodman, F (1997) The Mansion on the Hill: Dylan, Young, Geffen, Springsteen, and the Head-On Collision of Rock and Commerce, New York: Vintage Books/Random House, pp. 3-20.

Reading c:

Dannen, F (1990) Hit Men: Power Brokers and Fast Money Inside the Music Business, London: Muller, pp. 31-57.

Reading d:

Greenfield, R (2011) The Last Sultan: The Life and Times of Ahmet Ertegun, New York: Simon and Schuster, pp. 37-57.

Reading e:

Welch, C (2003) Peter Grant: The Man Who Led Zepplin, London: Omnibus Press, pp. 75-95.

Reading f:

Rogan, J (1988) ‘Don Arden’ in Starmakers and Svengalis, London and Sydney: Futura, pp. 128-149.

Reading g:

Goldberg, D (2008) ‘Smells like Nirvana’ in Bumping into Geniuses: My Life Inside the Rock and Roll Business, New York: Gotham Books, pp. 175-230.

Topic F:

Advertising, coolness, and the creative and cultural industries

Reading a:

Gill, R. (2002) ‘Cool, creative and egalitarian? Exploring gender in project-based new media work in Europe’, Information, Communication & Society, 5(1), pp. 70-89.

Reading b:

Thornton, S (2006) ‘Understanding hipness: ‘Subcultural capital’ as feminist tool’, in A. Bennett, B. Shank and Toynbee, J (eds.) The Popular Music Studies Reader, New York: Routledge, pp. 99-105.

Reading c:

McGuigan, J (2009) ‘Consumer culture’ In Cool Capitalism, New York: Pluto Press, pp. 83-128.

Reading d:

Moore, R (2010) Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis, New York: NYUPress, pp. 75-113.

Reading e:

Dunn, K (2012), “If it ain’t cheap, it ain’t punk”: Walter Benjamin’s Progressive Cultural Production and DIY Punk Record Labels, Journal of Popular Music Studies, 24, pp. 217–237.

THEME C - Working in the creative and cultural industries

Topic G:

What’s it like to work in the creative and cultural industries?

Reading a:

Hesmondhalgh, D and Baker, S (2011) ‘Introduction: can creative labour be good work?’ in Creative labour: media work in three cultural industries, Routledge: Milton Park.

Reading b:

Bunting, M (2005) ‘The meaning of overwork’ in Willing Slaves: How the Overwork Culture is Ruling Our Lives, London: Harper Perennial.

Reading c:

Coles, A (2015) ‘Creative class politics: Unions and the creative economy’, International Journal of Cultural Policy, pp.1-17.

Reading d:

Kolb, B (2015) ‘Finding your entrepreneurial inspiration’ in Entrepreneurship for the Creative and Cultural Industries, Routledge, London and New York.

Topic H:

Gatekeeping in the creative and cultural industries  

Reading a:

Kaufman, J & Baer, J (2012) ‘Beyond new and appropriate: Who decides what is creative?’, Creativity Research Journal, 24:1, pp. 83-91.

Reading b:

Hughes, D, Evans, M, Morrow, G and Keith, S (2016) ‘The new business of music’ in The New Music Industries: Disruption and Discovery, Palgrave Macmillan: Basingstoke, pp. 17-36.

Reading c:

Sinkovich, J, Ravanas, P and Brindisi, J (2013) ‘Pitchfork: Birth of an indie music mega-brand’, International Journal of Arts Management, 15(2), Winter.

Reading d:

McKee, A, Collis, C, Nitins, T, Ryan, M, Harrington, S, Duncan, B, Carter, J, Luck, E, Neale, L, Butler, D and Backstrom, M (2014) ‘Defining entertainment: An approach’, Creative Industries Journal, 7(2), pp.108-120.

Reading e:

Eikhof, D and Haunschild, A (2007) ‘For art’s sake! Artistic and economic logics in creative production’, Journal of Organizational Behavior, 28(5), pp. 523-538.

Topic I:

Portfolio careers in the arts

Reading a:

Jones, C (1996) ‘Careers in project networks: the case of the film industry’, in M.B. Arthur and D.M. Rousseau (eds) The Boundaryless Career: A New Employment Principle for a New Organizational Era, Oxford: Oxford University Press.

Reading b:

Bridgstock, R (2005) ‘Australian artists, starving and well-nourished: What can we learn  from the prototypical protean career?’, Australian Journal of Career Development,  14(3), pp. 40-48.

Reading c:

Alter, J (1999) ‘Dance and creativity’, in Runco, M and Pritzker, S (Eds.), Encyclopedia of Creativity, San Diego: Academic Press, 1, pp. 469-481.

Reading d:

Card, A (2006) Body for Hire? The state of dance in Australia, Strawberry Hills: Currency House.

Reading e:

Throsby, D and Zednik, A (2010) Do You Really Expect to get Paid? An Economic Study of Professional Artists in Australia, Strawberry Hills, The Australia Council for the Arts.

Reading f:

Throsby, D and Zednik, A(2011) ‘Multiple job-holding and artistic careers: Some empirical evidence’, Cultural Trends, 20(1), pp. 9-24.

Topic J:

The film industries

Reading a:

Blair, H (2001) “You’re only as good as your last job”: The labour process and labour market in the British film industry’, Work, Employment & Society , 15(1), pp. 149-69.

Reading b:

Blair, H (2003) ‘Winning and losing in flexible labour markets: The formation and operation of networks of interdependence in the UK film industry’, Sociology, 37(4), pp. 677-94.

Reading c:

Blair, H, Grey, S and Randle, K (2001) ‘Working in film: Employment in a project based industry’, Personnel Review, 30(2), pp. 170-85.

Reading d:

Biskind, P. (2004) ‘Risky business’ in Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film . 1st ed. New York: Simon & Schuster

Reading e:

Biskind, P (1998) ‘Before the revolution’ in Easy Riders, Raging Bulls: How the Sex ‘n’ Drugs ‘n’ Rock ‘n’ Roll Generation Saved Hollywood. 1st ed. New York, NY: Simon & Schuster.

Reading f:

Phillips, J (1991) ‘House lights dim before titles’ in You’ll Never Eat Lunch in this Town Again, New York, Faber and Faber, pp. vii-xxiii.

THEME D - Cultural policy

Topic K:

Cultural policy

Reading a:

Hesmondhalgh, D and Pratt, A (2005) ‘Cultural industries and cultural policy’ in International Journal of Cultural Policy, 11 (1), pp. 1-14.

Reading b:

Jancovich, L (2011) ‘Great art for everyone? Engagement and participation policy in the arts’, Cultural Trends, 20:3-4, pp. 271-279.

Reading c:

Gilfillan, E and Morrow, G (2016) ‘Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia, International Journal of Cultural Policy, pp.1-19.

Reading d:

Gilfillan, E and Morrow, G (2014) ‘The impact of public funding on creative processes in Australia: Three case studies of visual artists’ in Asia Pacific Journal of Arts and Cultural Management, 10(2), pp. 28-40.

Reading e:

Florida, R (2011) ‘The creative class’ in The Rise of the Creative Class Revisited, Basic Books: New York.

Reading g:

Gabe, T, Florida, R and Mellander, C (2013) ‘The creative class and the crisis’, Cambridge Journal of Regions, Economy and Society. 6,  pp. 37-53.

Reading h:

McGuigan, J (2009) ‘Doing a Florida thing: The creative class thesis and cultural policy’, International Journal of Cultural Policy, 15:3, pp. 291-300.

Topic L:

China Case Study

Reading a:

White, A and Xu, S (2012) ‘A critique of china’s cultural policy and the development of its cultural and creative industries: The case of Shanghai’, Cultural Trends, 21(3), pp.249-257.

Reading b:

Morrow, G, and Li, F (2016) ‘China’s music industries: Top down in the bottom up age’, in Business Innovation and Disruption in the Music Industry, Wikstrom, P and Defillippi, R (eds.), Edward Elgar Publishing: Cheltenham, UK.

Reading c:

O’Connor, J and Gu, X (2012) ‘Creative industry clusters in Shanghai: A success story?’, International Journal of Cultural Policy, 20(1), pp.1-20.

Reading d:

Chang, S (2009) ‘Great expectations: China’s cultural industry and case study of a government sponsored creative cluster’, Creative Industries Journal, 1(3), pp.263-273.

Reading e:

Liu, K (2009) ‘Creative edge of cities: A comparative analysis of the top 500 creative industries businesses in Beijing and Shanghai’, Creative Industries Journal, 1(3), pp.227-244.

This unit features a weekly seminar throughout the semester. We will be meeting in room W5C 234 and will then be moving to the MUSE building to work in smaller groups and to make use of the collaborative learning spaces there. We will be using ideas from the following book in the seminars:

MAKE SPACE : THE BOOK

http://dschool.stanford.edu/makespace/