Creative Industries

The second keynote speaker in this ECREA 2012 plenary is Daya Thussu, whose interest is in the internationalisation of media studies, with specific reference to China and India. Where we are today in terms of global media is a mix of material of Hollywood-imported or -inspired programming (in music, television, films, news, sports, children's programming, and also in online media); the US continues to dominate the entertainment industry, in particular.

Gothenburg.
The next AoIR 2010 session I’m in is a panel on sustainable entertainment, which involves Wenche Nag from the Norwegian telecommunications company Telenor, Mia Consalvo, Jean Burgess, Patrick Wikström, and Martin Thörnkvist. Patrick begins by noting the transformations in the music industry, for example, where the largest company now no longer is a record label but a live music company. iTunes and similar models are also making a significant impact, of course. Much of this is now based on artist/audience relationships that are based on passion and substantial emotional investment – which works for some entertainment industries, of course, but not for others.

Also, what are revenues linked to – where do payments come from (now perhaps from subscription fees, advertising, sponsorships, etc., rather than from content sales)? This has led to a rapid succession of various attempted business models – the latest, for example, is Spotify –, some of which have failed already. Spotify, for example, has been an attempt to draw users away from illegal filesharing models and towards legitimate systems.

Canberra.
The final speaker in this session at ANZCA 2010 is Kerry Green, who presents on the Northern Adelaide Research Archive, an archive which aims to connect a range of previously isolated information on Northern Adelaide. Northern Adelaide has tended to be represented as backward and crime-ridden in the media, and this has been a cause of some concern; prominent people from the area, including singer Jimmy Barnes, have spoken out against this and pushed for a change in media attitudes.

In part, this was facilitated through the organisation of the Northern Summit, developing a number of ideas for change - for example, mapping and coordinating the positive activities happening in the area; developing life transition programmes based on these maps, linked with TAFEs and universities; and improving publicity and access to information for those who can benefit from it. Web 2.0 technology is seen as an important element in this.

Singapore.
The final speaker in this session at ICA 2010 is Marc Verboord, who shifts our focus to the book market. Traditionally, book reviews in the conventional media had paramount authority; today, there are a number of alternative, peer-produced sources online - customer ratings and recommendations on Amazon, for example, as well as recommendations through social networking sites. So, is this part of a decline of cultural authorities? Does it democratise the market, from the grassroots up? Does it lead to (or result from) a larger, long-tail market for a wider range of books?

Singapore.
For the second round of ICA 2010 papers this morning, I'm in a popular communication session, and Matt Stahl is the first presenter. He notes the ongoing turbulence in the recording industry, dating back to the late 1970s which led it to embrace a blockbuster model for which Thriller is the best example; there was an intensification of rigidity in labour relations as a result (with a focus on high-earning artists in both industry employment and product marketing), but also a flexibility in the exploration of new business models to support this and identify new artists.