文化创意产业 The cultural and creative industries: a review of the literature
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关键词： 文化创意产业 The cultural creative industries review literature

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 文化创意产业 The cultural and creative industries: a review of the literature

Foreword 4
Introduction 7
1  The culture industry as kulturkritic 9
2  Cultural industries: political  
economy and cultural politics 18
3  From cultural to creative industries 26
4  Creative cities 34
5  Creative industries 40
6  Final thoughts 52
References 56

Creative Partnerships aims to develop schoolchildren’s potential,ambition, creativity and imagination. It achieves this by buildingsustainable partnerships between schools, creative and culturalorganisations and individuals, which impact on learning. Phase 1 ofthe programme ran from April 2002 to March 2004. Sixteen CreativePartnerships were established in areas of economic and socialdisadvantage. Each Creative Partnership brokered partnershipsbetween 15-25 schools and creative individuals and organisations.Nine Phase 2 Creative Partnerships areas joined the initiative inSeptember 2004 and eleven Phase 3 areas were established duringSeptember 2005.Creative Partnerships aims to influence policy and practice in boththe education and cultural sectors. It was established by Arts CouncilEngland, with funding from the Department for Culture, Media andSport (DCMS) and the Department for Children, Schools andFamiles (DCFS) in response to the National Advisory Committee onCreative and Cultural Education (NACCCE) report by Ken Robinson:All Our Futures: Creativity, Culture and Education (1999). Itspearheads a raft of initiatives designed to develop creativity andencompasses social, personal and economic domains. As a flagshipproject, Creative Partnerships can have maximum impact if teachers,parents, children, youth and creative practitioners learn from theexperience and activities that are delivered through the programme.For this reason one of the most significant legacies of CreativePartnerships will be the product of its research and evaluation andhow that is effectively communicated to stakeholders.

 However, because Creative Partnerships works by drawing from thewidest fields of endeavour, the stakeholders often recognise thatthere is a ‘knowledge gap’ between reflection, analysis and learningfrom the programme. In addition, the wide focus of approach – whichis fundamental to the nature of creativity – means that people areoften working at the limit of their disciplines. For these reasons we have commissioned a series of researchmonographs exploring the key issues in current literature andsummarising the latest developments in each subject. Eachmonograph is written by an experienced and respected author orauthors in their field. The reports aim to be accessible, clearlyreferenced and to act as ‘stepping-stone’ resources to underpin theresearch conducted by and for Creative Partnerships.This report surveys the literature focusing on the history and theoryof the cultural and creative industries. It explores both the history ofthe idea of the cultural industries and how this has changed anddeveloped our current interest in the creative economy. It focuses onthe conceptual ideas behind thinking in this area and lays out thereasons behind the shifts in terminology and policy. It is especiallyrelevant to the broader ambitions for Creative Partnerships for two reasons. First as research conducted by Burns Owens im to bethe largest single investment in artists and the arts sector – in termsof professional development – ever undertaken in the UK (BurnsOwens Partnerships, 2006).

Working with the cultural and creativesectors is key to Creative Partnerships’ success and ambitions andthis report sheds light on some of the assumptions and aspirationsbehind those ambitions. Secondly, CP is substantively interested inoffering a kind of creative education in tune with some of thespeculations about the shift to a creative economy. Again this reportshows the historical and theoretical complexities underlying thisdirection. We hope that the report will be a useful and practical handbook forthose interested in cultural and creative industries. It offers a seriousand sophisticated review of the concept of the cultural and creativeindustries and should be of use to all those with ambitions to act inthis arena. A key part of Creative Partnerships’ future developmentwill be shaped by an engagement with the challenges ProfessorO’Connor clearly lays out here.

Reference
Adorno, T. (1981) In Search of
Wagner.Trans. Rodney Livingstone. London:
Verso
Adorno, T. (1991) The Culture Industry:
Selected Essays on Mass Culture. London:
Routledge.
Adorno, T. (1992) Quasi Una Fantasia:
Essays on Modern Music. Trans. Rodney
Livingstone. London: Verso.
Adorno, T., Benjamin, W., Bloch, E., Lukacs,
G. (1977) Aesthetics and Politics. London:
Verso.
Adorno, T., and Horkheimer, M. (1979) The
Dialectic of Enlightenment. Trans. John
Cumming. London: Verso
Allen, P. M. (1997) Cities and regions as Self-
Organising Systems: Models of Complexity.
Reading: Gordon and Breach.
Amin, A. (Ed.) (1994) Post-Fordism. A
Reader. Oxford: Blackwell.
Amin, A. and Graham, S.  (1997) ‘The
Ordinary City’ in Transactions of the Institute
of British Geographers 22, pp. 411-429
Amin, A. and Cohendet, P. (1999) ‘Learning
and adaptation in decentralised business
networks’, Environment and Planning D:
Society and Space, Vol. 17, pp.87-104
Anderson, B. (1983) Imagined Communities:
Reflections on the Origins and Spread of
Nationalism. London: Verso.