"Orientalism" The East and South (Other) - Answer-- Invented by Europe as a way of
forging an identity for the West;
- Represented in Western culture in science, politics, media as undeveloped, behind in
the the world
- Framed as always in need of Western intervention, asssistance and help, i.e., World
Vision.
/."Orientalism" the west - Answer-- Active, rational, civilized, and sophisticated.
- Ahead in the world, developed people, culture, technology
- Always developed, industrial, advancing of knowledge.
/.2 Levels of Economic Value - Answer-Evaluation, and Exchange/Use
/.3 definitions of Globalization - Answer-Tomlinson (1995), Tomlinson (2007), and
Friedman
/.3 Phases of Innovation - Answer-- Phase 1: The invention or origination of a novel
idea;
- Phase 2: The adoption or diffusion of that idea through the economic system;
- Phase 3: The retention, normalization or embedding of that idea in the economic
system, because of the effect of the novel idea and the consequences of its adoption
and retention
/.3 Spillovers in the Creative Economy - Answer-Demand-Driven, Product-Driven, and
Network
/.4 Dimensions of Career Adaptability Resources - Answer-1. Career concern (helps to
look ahead and prepare for the future);
2. Career control (being responsible in making career-related decisions);
3. Career curiosity (exploring one's opportunities and thinking about the "fit");
4. Career confidence (one's perceived ability to solve problems and to overcome
obstacles)
/.4 Mutually Reinforcing Relationships Promoting Globalization and CI - Answer--
Deregulation of national cultural and media policy frameworks (neoliberalism);
- Rising consumer affluence, particularly in developing countries (like Asia but also
Africa), which promotes creative industries in terms of demand and supply
- Digital technologies for media and cultural content;
- The rise of services in the global economy
,/.4 Organizational Capabilities that Foster Adaptability - Answer-1. The ability to read
and act on signals of change;
2. The ability to experiment rapidly and frequently- not only with products and services
but also with business models, processes, and strategies;
3. The ability to manage complex interconnected systems of multiple stakeholders;
4. The ability to motivate employees and partners
/.6 'flatteners' - Answer-Globalization -
- Outsourcing
- Offshoring
- Open-sourcing
- Insourcing
- Supply Chaining
- In-forming
/.6 Key Points from Terry Flew - Challenges & Opportunities for China's Media & CI -
Answer-1. His research was funded through a grant from US, China, Hong Kong,
Australia.
2. Joseph Nye - Defined "soft power" as "the ability to get what you want through
attraction rather than transaction or payment and the ability to shape the preferences of
others."
3. "Cultural power" refers to the relation between globalization and culture (there is a fit
between them) - culture as (1) resource; (2) governmental; (3) nation-branding (displays
of national culture.)
4. Changing role of culture is linked to cultural trade and creative economy strategies;
5. Global power struggles are around credibility; the US is occupying the entertainment
and commercial strand of cultural power and in the UK the information and state-led
strand (i.e., global Hollywood vs. BBC world).
6. There are 5 key Asian countries in discussion around globalization, cultural/soft
power.
/.A General definition of 'Cultural Policy' - Answer-- it is understood to have taken shape
in the mid. 20th century in Britain and France.
- UNESCO took on the role of establishing protocols for the development of a national
cultural policy in nation-states around the world.
- Cultural policy aims to 'establish conditions conducive to improving the means for the
expression and participation of the population in cultural life'
/.Aesthetics and Taste Relationship - Answer-All images are subject to judgement about
their qualities (such as beauty) and their capacity to have an impact on vieers... All
viewers interpretations involve two fundamental concepts of value- aesthetics and taste
/.Aesthetics in the Creative Industries - Answer-1. A production apparatus- Includes
practitioners and their education, training, etc.
2. Works- The textual or object/artefact element of creative enterprise
, 3. Demand- non-market patronage by philanthropists, or educational institutions who
pay for students to attend plays (but not musicals)
4. A regulatory or state-sponsored component- Tax-dollar subsidies and state owned
agencies such as opera companies and the GLAM (galleries, libraries, archives,
museums) sector
/.Affective Labour - Answer-- Work intended to produce or modify emotional
experiences in people.
- Involves human contact and interaction
- The entertainment industry is very focused on the creation and manipulation of affect
- Affective labour produces social networks and forms
/.Arrow's 3 reasons why information is different to other commodities - Answer-
Indivisible Value, Never Goes Away, Public Good VS. Corporate Interests.
/.Asian region global flow of creative content, products, and experiences - Answer-
Russia- international news v state-run Media
India- Bollywood as global entertainment
Japan- Anime and video game technology
South Korea- K-Pop and Korea-style TV shows
/.Benefits of Creative Clusters - Answer-1, a more central role is given to cultural
dimensions of urban development;
2. a broader and more inclusive understanding of culture than simpl the performing and
visual arts, or 'high culture';
3. Great recognition of lifestyle factors and consumption activites in urban planning
4. Development of new cultural infastructructres that have renovated the images of
cities and acted as attractors of tourism and - possibly - investment
/.Big P - Answer-More formal, regulated, bills, laws, and acts, geared toward the
'experts'.
/.Bottom Up Influences - Answer-- Today in fashion, designers and editors look to
popular culture and trends (i.e. the 'democratization of fashion') realizing that success
requires knowing the taste of the fashion consuming public (e.g., Zara).
- In the 1980s, the Swiss watch-making industry was dying out, in response, the Swatch
line was created which remade watches into fashion accessories rather than useful
objects.
/.Brand Equity - Answer-Building brand equity is about fostering a number of possible
attachments around the brand, be these experiences, emotions, attitudes, lifestyles, or
most importantly, loyalty.
/.Business to Business within the market place - Answer-- in the creative fields deal with
a lot, the transaction is from business to business (supplier to film industry; only sell to
fashion designer)
forging an identity for the West;
- Represented in Western culture in science, politics, media as undeveloped, behind in
the the world
- Framed as always in need of Western intervention, asssistance and help, i.e., World
Vision.
/."Orientalism" the west - Answer-- Active, rational, civilized, and sophisticated.
- Ahead in the world, developed people, culture, technology
- Always developed, industrial, advancing of knowledge.
/.2 Levels of Economic Value - Answer-Evaluation, and Exchange/Use
/.3 definitions of Globalization - Answer-Tomlinson (1995), Tomlinson (2007), and
Friedman
/.3 Phases of Innovation - Answer-- Phase 1: The invention or origination of a novel
idea;
- Phase 2: The adoption or diffusion of that idea through the economic system;
- Phase 3: The retention, normalization or embedding of that idea in the economic
system, because of the effect of the novel idea and the consequences of its adoption
and retention
/.3 Spillovers in the Creative Economy - Answer-Demand-Driven, Product-Driven, and
Network
/.4 Dimensions of Career Adaptability Resources - Answer-1. Career concern (helps to
look ahead and prepare for the future);
2. Career control (being responsible in making career-related decisions);
3. Career curiosity (exploring one's opportunities and thinking about the "fit");
4. Career confidence (one's perceived ability to solve problems and to overcome
obstacles)
/.4 Mutually Reinforcing Relationships Promoting Globalization and CI - Answer--
Deregulation of national cultural and media policy frameworks (neoliberalism);
- Rising consumer affluence, particularly in developing countries (like Asia but also
Africa), which promotes creative industries in terms of demand and supply
- Digital technologies for media and cultural content;
- The rise of services in the global economy
,/.4 Organizational Capabilities that Foster Adaptability - Answer-1. The ability to read
and act on signals of change;
2. The ability to experiment rapidly and frequently- not only with products and services
but also with business models, processes, and strategies;
3. The ability to manage complex interconnected systems of multiple stakeholders;
4. The ability to motivate employees and partners
/.6 'flatteners' - Answer-Globalization -
- Outsourcing
- Offshoring
- Open-sourcing
- Insourcing
- Supply Chaining
- In-forming
/.6 Key Points from Terry Flew - Challenges & Opportunities for China's Media & CI -
Answer-1. His research was funded through a grant from US, China, Hong Kong,
Australia.
2. Joseph Nye - Defined "soft power" as "the ability to get what you want through
attraction rather than transaction or payment and the ability to shape the preferences of
others."
3. "Cultural power" refers to the relation between globalization and culture (there is a fit
between them) - culture as (1) resource; (2) governmental; (3) nation-branding (displays
of national culture.)
4. Changing role of culture is linked to cultural trade and creative economy strategies;
5. Global power struggles are around credibility; the US is occupying the entertainment
and commercial strand of cultural power and in the UK the information and state-led
strand (i.e., global Hollywood vs. BBC world).
6. There are 5 key Asian countries in discussion around globalization, cultural/soft
power.
/.A General definition of 'Cultural Policy' - Answer-- it is understood to have taken shape
in the mid. 20th century in Britain and France.
- UNESCO took on the role of establishing protocols for the development of a national
cultural policy in nation-states around the world.
- Cultural policy aims to 'establish conditions conducive to improving the means for the
expression and participation of the population in cultural life'
/.Aesthetics and Taste Relationship - Answer-All images are subject to judgement about
their qualities (such as beauty) and their capacity to have an impact on vieers... All
viewers interpretations involve two fundamental concepts of value- aesthetics and taste
/.Aesthetics in the Creative Industries - Answer-1. A production apparatus- Includes
practitioners and their education, training, etc.
2. Works- The textual or object/artefact element of creative enterprise
, 3. Demand- non-market patronage by philanthropists, or educational institutions who
pay for students to attend plays (but not musicals)
4. A regulatory or state-sponsored component- Tax-dollar subsidies and state owned
agencies such as opera companies and the GLAM (galleries, libraries, archives,
museums) sector
/.Affective Labour - Answer-- Work intended to produce or modify emotional
experiences in people.
- Involves human contact and interaction
- The entertainment industry is very focused on the creation and manipulation of affect
- Affective labour produces social networks and forms
/.Arrow's 3 reasons why information is different to other commodities - Answer-
Indivisible Value, Never Goes Away, Public Good VS. Corporate Interests.
/.Asian region global flow of creative content, products, and experiences - Answer-
Russia- international news v state-run Media
India- Bollywood as global entertainment
Japan- Anime and video game technology
South Korea- K-Pop and Korea-style TV shows
/.Benefits of Creative Clusters - Answer-1, a more central role is given to cultural
dimensions of urban development;
2. a broader and more inclusive understanding of culture than simpl the performing and
visual arts, or 'high culture';
3. Great recognition of lifestyle factors and consumption activites in urban planning
4. Development of new cultural infastructructres that have renovated the images of
cities and acted as attractors of tourism and - possibly - investment
/.Big P - Answer-More formal, regulated, bills, laws, and acts, geared toward the
'experts'.
/.Bottom Up Influences - Answer-- Today in fashion, designers and editors look to
popular culture and trends (i.e. the 'democratization of fashion') realizing that success
requires knowing the taste of the fashion consuming public (e.g., Zara).
- In the 1980s, the Swiss watch-making industry was dying out, in response, the Swatch
line was created which remade watches into fashion accessories rather than useful
objects.
/.Brand Equity - Answer-Building brand equity is about fostering a number of possible
attachments around the brand, be these experiences, emotions, attitudes, lifestyles, or
most importantly, loyalty.
/.Business to Business within the market place - Answer-- in the creative fields deal with
a lot, the transaction is from business to business (supplier to film industry; only sell to
fashion designer)
