Media Culture and Creative Industries

Both the creative industries and ICT are sectors that have stimulated the economic growth in the Netherlands in 2015-2018, the years of economic boom. The number of jobs in creative industries grew 3.4 percent per year in that period, which is twice the national average. For the ICT sector the yearly growth was 2.6 percent. Together creative industries and ICT account for 7.7 percent of the jobs in the Dutch economy, the creative industries for four percent (344.000 jobs), ICT for 3.7 percent (320.000 jobs).

Furthermore, the research reported in this document concludes: (1) Design is a fast-growing sector. (2) Free lancers account for a significant part of jobs in the Dutch creative industries. (3) From 2015 the creative industries combine job growth with economic value created. (4) The concentration of creative industries in Dutch major cities is increasing. (5) Between forty and sixty percent of the Dutch creative workforce is employed outside the creative industries. (6) Creative industries are of significant social importance; besides the economic value they represent.

For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. In the end, students will have a richer understanding of Disney not only as a company, but as a cultural institution.

This report updates and substantially extends the 2017 report, Go West! Bristol's Film and Television Industries. It revises all the statistical information, including the number of companies. The report analyses the major changes that have occurred since 2017, notably Bristol being awarded a UNESCO City of Film status; the arrival of Channel 4, which located one of its two regional 'creative hubs' in Bristol ;and the impact of the COVID-19 pandemic on the screen sector. There are revised profiles of BBC - placing the Natural History Unit in BBC Studios - and of Aardman Animations as the two principal 'anchor' firms. The report also contains numerous case studies of Bristol's independent companies, including several of the new ones that have emerged since 2017. There is a substantailly enlarged section on natural history filmmaking, examining Bristol's global role as the 'Green Hollywood'. The report argues that Bristol, in terms of company numbers and variety, is the second largest screen production cluster after London and that the screen sector plays a vital role in the city's economy and culture.

Cultural industries, television among them, are industries that exemplify harsh working conditions and precariousness. Recently, there has been greater attention paid to the specific experiences of ethnic and racial minorities in the creative industries in general and on television specifically. However, the study of minorities in television has generally focused on content analysis and not on the daily experiences of workers in the precarious television labor market itself. This paper offers an in-depth examination of the work process and conditions of ethnic-national minority (Israeli-Palestinians) versus majority creative workers (Jewish Israelis) in a television production, using observations conducted on the set of the Israeli TV series, Fauda ("Chaos" in Arabic) as a case study. Our study's conclusions emphasize the way groups' experiences reproduce social hierarchies based on ethnicity, nationality, and gender.

Videogames were once made with a vast range of tools and technologies, but in recent years a small number of commercially available 'game engines' have reached an unprecedented level of dominance in the global videogame industry. In particular, the Unity game engine has penetrated all scales of videogame development, from the large studio to the hobbyist bedroom, such that over half of all new videogames are reportedly being made with Unity. This book provides an urgently needed critical analysis of Unity as ‘cultural software’ that facilitates particular production workflows, design methodologies, and software literacies. Building on long-standing methods in media and cultural studies, and drawing on interviews with a range of videogame developers, Benjamin Nicoll and Brendan Keogh argue that Unity deploys a discourse of democratization to draw users into its ‘circuits of cultural software’. For scholars of media production, software culture, and platform studies, this book provides a framework and language to better articulate the increasingly dominant role of software tools in cultural production. For videogame developers, educators, and students, it provides critical and historical grounding for a tool that is widely used yet rarely analysed from a cultural angle.

Tanner Mirrlees

A critical cultural materialist introduction to the study of global entertainment media.

In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies.

Among other topics, Mirrlees examines:

Paradigms of global entertainment media such as cultural imperialism and cultural globalization.

The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media.

The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow.

The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions.

The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media.

The cross-cultural reception and effects of TV shows and films.

The World Wide Web, digitization and convergence culture.

"Mirrlees explains in clear and lively language how the most popular and ubiquitous movies, TV formats, and brands are made and consumed―and he also explains why this matters. In a world where media continue to increase their hold on resources and their place in our lives, Global Entertainment Media is a must-read for media activists and students of culture." ―John McCullough, Associate Professor and Chair, Department of Film, York University

"Comprehensive and tactically plain-spoken, Dr. Mirrlees’s cultural-economic study maps out the complex networks of production, consumption, and regulation that structure today’s culture industry, and offers a key for unlocking its meanings and functions in a neoliberal age dominated by neo-imperial corporations. In the process, this teachable text provides a primer―ideal for undergraduates―on key ‘macro’ concepts in media and cultural studies, like discourse, globalization, intellectual property, and postcolonialism." ―Mark A. McCutcheon, Assistant Professor of Literary Studies, Athabasca University

"Mirrlees presents a meticulously well researched, original, and insightful overview of an expansive field. Global Entertainment Media surveys a complex and ever-changing global media landscape, navigating the terrain with great clarity and authority. Mirrlees’s methodological approach, his deft theoretical analysis, and his wide-ranging and up-to-date use of examples and case studies make this a foundational work that brings global media studies scholarship firmly into the twenty-first century." ―Ian Reilly, Assistant Professor, Department of Communication Studies, Mount Saint Vincent University

The rapidly evolving technologies and political economies of the digital age are redefining the cultures and processes of media production across institutional contexts.  This course will draw upon writings from communication/media studies, sociology, and internet studies to explore the changing nature of the media and culture industries. We will begin by surveying key issues and debates across three intersecting subfields: critical media industry studies, cultural studies of creative work, and sociologies of media production. This broad overview will provide a useful backdrop for examining how workers in “traditional” media industries are adapting to the emergent platforms and logics of the digital economy. Particular attention will be devoted to the role of “audience labor” in contemporary media and marketing institutions. This discussion will segue into an in-depth treatment of digitally enabled modes of creative production, which we will investigate through writings on fandom, peer-production, co-creativity, and digital labor, among others. The final section of the course will require us to think through the socio-political stakes of contemporary modes of labor through discussions of 1). socially mediated self-branding; 2). the invisible workers of the online ecosystem; and 3). enduring social hierarchies within (new) media industries.

The world is creative – as prosperous economies of the world have grossly embraced creativity, riding on its wings.
Creativity rules the world! To this effect, it could be said that African countries have paid lip service to embracing the
creative school of thought and this is so evident in the numerous socio-economic problems confronting Africa in present
time. The objective of this paper therefore, is to explore how adequate and practical education in creativity through
entrepreneurial skills, properly communicated and encouraged in our tertiary institutions, can be effectively utilized to
trigger off socio-economic development in Africa. In order to achieve this, the paper in its findings identified some of
the problems confronting Africa, such as unemployment, poverty, food insecurity, youth violence/militancy, etc; and
also showed that such socio-economic problems are by-products of lack of creativity and entrepreneurship development
and the sustenance of such in policy making and practice. The paper thereby posits that the solution to these problems is
found in the ambience of gross creativity – for individuals to become creative in diverse ways – intensively communicated
through competency-based education. The paper concluded by recommending the need for African countries to become
socio-economically creative, that is, to create an enabling environment for creativity to thrive through entrepreneurial
development, foster through competency-based education; and with this, meaningful developments would be attained in
post-2015 Africa.

Bu çalışma, HÜ BAP Birimi tarafından SBI-2017-16354 koduyla desteklenen projenin Güney Kore saha araştırmasından üretilmiştir. Güney Kore saha çalışması Kore hükümetinin farklı yaratıcı endüstrilere destekleri ve kültür politikaları üzerinedir.
Bu çalışmada Güney Kore hükümetlerinin yaratıcı içerik endüstrilerinden biri olan sinema endüstrisine yönelik kültür politikaları ve düzenlemeleri tarihsel bir bağlamda ve ekonomi politik bakış açısıyla değerlendirilmiştir. Kore Film Konseyi’nin (KOFIC) Kore’de sinema endüstrisinin gelişmesindeki rolü ele alınmıştır. Ayrıca, Kore sinema endüstrisinin mevcut ve gelecek sorunları sıralanmıştır.

Anahtar Sözcükler: Güney Kore hükümetleri, yaratıcı endüstri, sinema endüstrisi, Kore sineması, Kore Film Konseyi.

SOUTH KOREAN GOVERNMENT’S CULTURAL POLICIES
AND REGULATIONS FOR THE MOVIE INDUSTRY

Abstract
The South Korean government’s cultural policies and regulations for the movie
industry are analyzed from the perspective of political economy in an historical
context. The role of the Korean Film Council (KOFIC) in the development of the
movie industry and the current and the future problems of the industry are also
discussed.

Keywords: South Korean government, creative industries, movie industry, Korean cinema, Korean Film Council.

Medienindustrien rücken in der deutschsprachigen Medienwissenschaft verstärkt in den Mittelpunkt. Workshop- und Konferenzthemen, Forschungsprojekte sowie Verzahnungen mit Media Industry Studies in weiteren Sprachräumen und Ländern sind deutliche Indizien. Steht nun auch für den deutschsprachigen Forschungskontext der "industry turn" bevor?

Zumindest greift die Einschätzung zu kurz, dass Medienindustrie- und Produktionsforschungen allein in der angloamerikanischen Welt stattfinden. Der Navigationen-Band führt aktuelle Arbeiten aus der deutschsprachigen Medienwissenschaft zusammen und geht so eine Lücke an, gegen die die AG Medienindustrien seit ihrer Gründung 2012 anarbeitet. Mit Beiträgen von Wissenschaftler*innen der AG Medienindustrien präsentiert die Publikation Schwerpunkte wie die deutsche Fernsehindustrie und Serienproduktion, Filmvermarktung, Filmfestivals, Games und Radio. Neben historischen Perspektiven geht es auch um aktuelle Diskussionen zu Gender-Hierarchien.

This course examines how public policy has shaped, regulated, and failed to regulate television and the internet. If the airwaves belong to the public, how could and should they be used? Focusing on the establishment and administration of the Federal Communications Commission, we will explore the development of television and internet in a U.S. context. Special attention will be paid to key stakeholders, including industry figures, public administrators, lawmakers, and content creators. Key concepts and policies explored in this course include the Fairness Doctrine, the public interest, the digital divide, and net neutrality as well as case studies on indecency, children's television, public broadcasting, and Netflix and other streaming services. We will examine how the FCC has not only shaped U.S. media culture, but the media industries themselves.

This article deals with the social and cultural dimensions of globalization and uses both qualitative and quantitative methods to analyse the effects of stronger European integration on media production and reception. It combines theories and methods from sociology, anthropology and media studies and looks at the impact of TV drama genres on the forming of social imaginaries. The article examines structural changes in production and distribution in the European TV-drama landscape since 2000. On the basis of empirical evidence it is argued that a creative, transnational European network of co-productions has increased the distribution of original and often local stories in Europe. The article analyses examples of some successful European drama series, their audiences and reception. The analysis is discussed in the context of national and transnational media policy and the impact of globalisation. Concepts like " imagined community " , " social imaginary " , " banal nationalism " , and " mediated cultural encounters " are connected to the theory of cultural globalisation. Also touched upon are studies of a European civic and cultural identity next to the national, and the role of media and cultural policy in this development. The article concludes that encounters of the kind we find in different forms of TV drama will make Europe more diverse and richer for a much broader audience. The interaction between the particular and universal in " narratives " on our past and contemporary social and cultural order contribute to a better feeling for and understanding of the " us " and " them " in European culture.

Since late 1990s, Hong Kong cultural and creative industries (CCI) are increasingly perceived as the key driver of economic growth in Hong Kong. As the CCI grew steadily, their glamorous image seems to attract a considerable amount of aspirational young workers to enter the field. However, the realistic predicament of creative workers, such as declining prestige and creative autonomy, low job security and exploitative work conditions, are not reflected by such rosy rhetoric. It is a global trend that the print industry, especially fashion magazines, has been vastly affected by the development of digital media. Since then, Hong Kong fashion media has arguably been shrinking and also losing its exclusivity in connecting Asia with Europe as social media platforms enable users to freely engage with fashion trends around the globe (Tse, 2015: 268). Meanwhile, fashion editors are pressured by their counterparts in Mainland, where the booming consumer market is coveted by fashion marketers worldwide, and thus forced to prioritise advertising concerns over content quality (Tse, 2015: 268).
Going beyond the Western fashion discourse, an ‘ex-centric’, contextualised perspective was adopted in this study to nuance the scope and limit of Western-centric creative labour theories when applied in different social, cultural, political-economic and geographical contexts (Alacovska and Gill, 2019). Drawing from 20 in-depth interviews with Hong Kong fashion journalists from a wide array of media organisations and levels of seniority conducted between 2015 and 2017, this proposed chapter focuses on how situated fashion media workers differentially view their creative and editorial autonomy, work insecurities and dissatisfactions derived from the accelerated digitalisation of cultural production, dissemination and consumption, in addition to how they manage their coping mechanisms and find agency amid external and internal uncertainties.

Este artículo da cuenta de la revisión y análisis de los enfoques investigativos aplicados en la literatura científica sobre las industrias creativas y culturales ―ICC―, a lo largo del tiempo, con la finalidad de ofrecer un panorama claro con base en los antecedentes del tema y las diversas aristas que han ido surgiendo en el desarrollo de este tópico de investigación. Como resultados más significativos se encuentran una serie de limitaciones en la temática desde sus orígenes en los que las industrias culturales se ven asociadas con grupos sociales particulares, generando de alguna manera una segmentación en el acceso a los servicios y productos afines a este tipo de industrias. Sin embargo los cambios mismos en que se ven inmersas las sociedades, llevan a reconfigurar los patrones iniciales que adquirieron las ICC; propiciando una revolución que impactaría dimensiones sociales, económicas y políticas de las comunidades. De este modo la revisión y análisis permite concluir que las industrias culturales y creativas han tomado un papel protagónico capaz de permear dimensiones del desarrollo social, económico y patrimonial de las comunidades actuales, por lo que se expresa un llamado clave para continuar profundizando la investigación asociada a esta temática para nutrir el campo del conocimiento e incluso descubrir nuevos matices del tema.

Despite the boom of media industries research over the past decade, the ethics of doing such research has been surprisingly little discussed. While some basic ethical premises are understood to be tacitly shared – such as to build trust or protect your sources – general proceedings of ethical reasoning are lacking as much as field-specific ethical reflections. At the same time, many ethical questions remain open. Is it a problem if scholars are paid by major corporations for actively shaping a particular agenda? What kinds of access to the field are acceptable? Do we also need to strive for subjects to consent to our research? This chapter aims to develop a conceptual framework for practical judgment which seems necessary both for stimulating more public reflexivity on ethics and solving actual research dilemmas. In doing so, it surveys various understandings of ethical issues in the research field. Based on this survey, the chapter suggests to think of ethical judgment as a nexus between primary ethical norms, procedural arrangements, and forms of case-based, practical reasoning. In order to substantiate this suggestion, the chapter focusses on Production Studies.

Le but de cette communication est de comprendre comment peut-être vécue et revendiquée la notion d'indépendance dans l'industrie culturelle du comics, marché de niche de l'édition nord-américaine, par l'étude de cas d'un éditeur marqué comme indépendant, ou indie, Image Comics. Nous aborderons ce qui motive la prise d'indépendance des auteurs / fondateurs de l'éditeur, puis ce qui est spécifique à la notion d'indépendance telle qu'elle s'applique dans le monde éditorial du comics en Amérique du Nord, afin d'expliquer le succès commercial et critique d'Image Comics.

Using Michael Warner’s (2002) conception of publics and counterpublics, we can see that historically much of fandom was situated in the position of counterpublic as fans not only were placed on the outskirts by others but also actively participated in acts that ran counter to the mainstream reading and consumption of media content. Current media fans of popular American franchises, however, are often courted by corporations and those with the power to influence the mainstream. There is an interest in the types of transformative practices in which fans engage. In actively seeking these audience members and their practices, corporations are forcing these groups into a more public position while helping to shift the types of activities that are considered part of fandom. Essentially, by bringing ‘desirable’ and ‘affirmational’ media fans into the mainstream, corporations are reorganizing them as publics in terms of their position within society, and this shift could contribute to a cha...

Cultural industries, television among them, are industries that exemplify harsh working conditions and precariousness. Recently, there has been greater attention paid to the specific experiences of ethnic and racial minorities in the creative industries in general and on television specifically. However, the study of minorities in television has generally focused on content analysis and not on the daily experiences of workers in the precarious television labor market itself. This paper offers an in-depth examination of the work process and conditions of ethnic-national minority (Israeli-Palestinians) versus majority creative workers (Jewish Israelis) in a television production, using observations conducted on the set of the Israeli TV series, Fauda ("Chaos" in Arabic) as a case study. Our study's conclusions emphasize the way groups' experiences reproduce social hierarchies based on ethnicity, nationality, and gender.

Unlike other social-technological contexts (Boccia Artieri, 2012), video games offer a space where death is frequently present as a narrative theme from the linguistic and practical viewpoints (Egenfeldt-Nielsen, et al. 2015), even though it is deprived of its more dreadful dimension-its permanent trait. In fact, "game over" indicates only the end of a possibility that can be repeated countless times, as players wish. The Last Day of June proposes a story that focuses on the protagonist's loss. A car accident leaves the main character, Carl, in a wheelchair. When the man realizes that his loved one, June, died, the players' target becomes to help him accept his loss-and triumph over it-by modifying the course of events before June's death. This paper proposes a narrative analysis (Fernandez-Vara, 2015), rooted on Gennette's (1980) model, relating story highlights to flashbacks (which we define "generative" in the analysis) to some visual and scenic choices that are associated with the stages of grief and its processing. The aim is to enquire into the pedagogical and cultural values of the case study by means of its association with myths and their main functions. Finally, a qualitative examination of a number of comments from one of the main YouTube channels will support the interpretation of the video game. Lo statuto ontologico del game: tra narrazione e azione Il dibattito intorno al videogioco continua ad essere dominato da posizioni controverse, tra coloro che ne evidenziano i rischi e la scarsa utilità, associandolo a un momento puramente ricreativo, e chi invece ne riconosce un ruolo importante dal punto di vista psicologico e sociale (Bianchi-Berthoze & Isbiter 2016; Yannakakis & Martinez 2016, Ferguson 2018). Eppure spesso si dimentica che questo prodotto dell'industria culturale ha delle origini innate e antichissime. Esso è per statuto ontologico ascrivibile al mondo più classico dei giochi: una pratica che affonda le sue radici nelle attività simulative e ricreative già messe in essere da alcune specie diverse dalla nostra, confermandone la natura istintuale e biologica. Al tempo stesso al gioco viene riconosciuto una matrice antropologica, oltre che evolutiva. Incarna dunque la cultura del suo tempo e ne diventa espressione (Egenfeldt-Nielsen, Smith, Tosca 2016).

By drawing on ethnographic data gathered from British and Malaysian Islamic television channels between 2012 and 2017, this article argues that different religiopolitical and sociocultural environments in which such television production workers as creative managers, producers and researchers exist, shape how they make creative decisions for religious programmes that they produced. This article points to the extent to which these television production workers from both the British and Malaysian television channels have various degrees of creative autonomy, and how 'limited' creative autonomy affects their working life. The results show that the creative managers and producers of British Muslim television channel have lesser autonomy than their Malaysian counterparts. The clash between the Western and Islamic cultures and intergenerational clash are mainly the forms of religiopolitical and sociocultural factors that shape the creative autonomy in Islamic television production in Britain. Such representational issues relating to religious personalities, music artists and performances, and women, are among the constraints that these workers faced. By contrast, creative managers and producers in Malaysia, have some degree of autonomy. Unlike their British colleagues, religiopolitical and sociocultural factors concerning identity politics have less implication for their working life. Nonetheless, despite having a higher level of creative autonomy than their British equals, their creative decisions often are driven by the notion of giving what audiences want. Such commercial pressures as audience ratings and advertising force are the primary factors that shape the creative autonomy of managers and producers of Islamic programmes in Malaysia.

Since the turn of the millennium, TV business representatives, TV broadcasting policy agencies, TV creators, journalists, and viewers have participated in numerous discussions and debates about TV’s “future.” New corporate strategies (vertical and horizontal integration), technological transformation (the broadbanding of networks, wireless systems, and digitization), new media (computers, the Internet, websites, mobile devices, and video game consoles), and interactive viewers are reshaping TV. As an industry, technological form, viewer experience, and object of scholarly inquiry, TV—broadcast TV specifically—is changing. Yet, network TV and the commercial functions that sustain it have not been terminated; the political economic power structure that has historically governed TV has not been overturned; and the future of TV is not inevitable. There are important changes associated with post-network TV, but they do not signal a radical break with the dominant capitalist and political logics of TV’s past. To highlight “what’s new,” the first part of this essay reviews the “emergent” characteristics of post-network TV. To situate the “new” within the “old,” the second section of the essay emphasizes the resilience, responsiveness, and re-invention of network TV by media corporations. Post-network TV has not precipitated a “crisis” for broadcast TV, nor has it heralded a “revolution” in media capitalism. Though important economic, technological, and cultural changes are reconfiguring TV, features of the new and the old co-exist and mix in the present moment. This essay, then, illuminates the dialectic of change and continuity in twenty-first-century TV.

国際関係学を初めて学ぶ読者へ向けた入門書。山積する課題から目をそらさず、21世紀の国際関係を学び研究するための基盤を提供する

第９章　グローバル化とメディア

キーワード：メディアの媒介作用、グローバル化、メディア効果、同質化、メディア生産の準中心地、グローバルメディア、

本章のねらい（学習目標）
・メディアを国際関係学における主要なテーマの一つとして考えるための基本的な知識と問題設定について理解する。
・メディアと媒介された経験について理解する。
・メディアの効果に関して同質化と異質化の言説を理解する。
・メディアのグローバル化の複雑さを理解する；グローバルメディアという言説を理解する。

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For anarchists, cultural production is part of a larger struggle. It is a struggle against socially inherited forms of oppression and toward the creative production of liberation and social transformation even as we produce 'guerrilla texts.' Guerrilla texts are irregular non-uniform anti-authoritarian texts combating a much larger normalized authoritarian system of textual production that tends to be capitalist, patriarchal, heteronormative, racist and/or ableist. This combat is not just a discursive struggle over the content and aesthetics of texts, nor is it simply a material struggle over the economics of production seen as a refusal of profits and co-optation, nor is it just a careful attention to non-hierarchical cultural production processes; rather it is a struggle to be true to an entire range of anti-authoritarian principles and values, to produce non-didactic texts that open people's minds to new possibilities, to develop a sense of individual and collective autonomy and self-determination, and to produce cultural producers who experience liberation, joy overflowing, love without end, and other sustained outbursts toward transformative social relationships. This may be a rather ambitious set of tasks to have before us when we are making a book, video or zine. Nonetheless it is this kind of profound transformative project that is at state in anarchist culture as we 'phase authorities out slowly.'

Using Michael Warner’s (2002) conception of publics and counterpublics, we can see that historically much of fandom was situated in the position of counterpublic as fans not only were placed on the outskirts by others but also actively participated in acts that ran counter to the mainstream reading and consumption of media content. Current media fans of popular American franchises, however, are often courted by corporations and those with the power to influence the mainstream. There is an interest in the types of transformative practices in which fans engage. In actively seeking these audience members and their practices, corporations are forcing these groups into a more public position while helping to shift the types of activities that are considered part of fandom. Essentially, by bringing ‘desirable’ and ‘affirmational’ media fans into the mainstream, corporations are reorganizing them as publics in terms of their position within society, and this shift could contribute to a change in what it means to be a media fan.

Nas últimas décadas houve mudanças significativas no funcionamento dos campos literário e cultural, em grande parte devido ao surgimento de uma ideologia que incorpora a cultura como um potencial recurso económico. Tendo em conta estas tendências, este trabalho pretende analisar os usos políticos, turísticos e culturais ativados no município português de Óbidos. Esta localidade apresenta uma ligação histórica muito forte com o turismo que, não obstante, experimentou mudanças significativas nos últimos anos, principalmente devido à organização de vários eventos de massas, que evidenciaram a tensão cada vez mais premente entre visitantes e população local. A cultura e a criatividade foram incorporadas como referente económico de desenvolvimento em Óbidos e, a partir de 2013, houve uma aposta específica na literatura com o projeto da Vila literária, revalidado pela UNESCO em 2015 com o reconhecimento desta localidade como Cidade Criativa da Literatura. Dentro deste quadro, os festivais literários associados, o Folio e o Latitudes, situam-se como marcos dinamizados e catalisadores de uma estratégia multidimensional que pretende intervir em diferentes planos da vida local, com foco principal na atividade turística, mas sem deixar de lado o plano educativo, político, económico ou propriamente cultural. Mediante a análise das diferentes fases deste processo e o estudo detalhado das edições do Folio (2015-2017) e do Latitudes (2017 e 2018), este trabalho pretende, por um lado, revelar as características das dinâmicas recentes do campo literário e, por outro, colocar alguns questionamentos sobre os riscos e desafios representados por estes novos modelos de desenvolvimento turístico e sobre o lugar (e papel) da literatura e da cultura neles.

Compte-rendu de la séance plénière du HCEAC du mardi 21 juin 2011 à l'Institut national d'histoire de l'art.

Dans un écosystème industriel où l’œuvre d’art est devenue à la fois un objet de consommation et un mode d’expression citoyen, il importait d’identifier les propositions mises en place par les personnels éducatifs comme par les opérateurs privés pour faire du numérique une valeur ajoutée pour la transmission des connaissances. De l’accès à la culture artistique à l’enseignement de l’Histoire des arts, il s’agissait de préciser la manière dont le numérique élabore de nouveaux cadres propices à la production des savoirs sur les œuvres d’art, à leur diffusion et à leur transmission, autant qu’il renouvelle les modes de communication entre les acteurs de la culture, les modes de capitalisation de l’information et les modes de création artistique.