1. Creative Industries and the
Future of Universities
Presentation to School of Journalism and Mass
Communication, University of Colorado, Boulder, CO, 13
March, 2012
Professor Terry Flew, QUT

2. Sources of funding per students ($a)

3. Sources of funding for Australian
universities, 2010

4. UK DCMS 13 CI sectors
Advertising Interactive leisure software
Architecture Music
Arts and antique markets Performing arts
Crafts Publishing
Design Software and computer services
Designer fashion Television and radio
Film and video
Source: DCMS 1998
4

5. ‘New Labour’ and Creative Industries
• The role of creative enterprise and cultural contribution … is a key economic
issue … The value stemming from the creation of intellectual capital is
becoming increasingly important as an economic component of national
wealth … Industries, many of them new, that rely on creativity and
imaginative intellectual property, are becoming the most rapidly growing and
important part of our national economy. They are where the jobs and the
wealth of the future are going to be generated (Chris Smith, in
DCMS, 1998).
• Creative talent will be crucial to our individual and national success in the
economy of the future (Tony Blair, in DCMS, 2001).
• In the coming years, the creative industries will be important not only for our
national prosperity, but for Britain‟s ability to put culture and creativity at the
center of our national life (Gordon Brown, in DCMS, 2008).

6. That was then, this is now?

7. The ‘Concentric Circles’ model

8. US: Copyright and Creative Industries
CREATIVE
COPYRIGHT (ARTS)
INDUSTRIES INDUSTRIES
6% of GDP 2.9% of GDP
?
Source: IIPA 2006; Americans for the Arts 2008
8

9. Problems with ‘Concentric Circles’
• „There is no longer a stable hierarchy of value … running from “high”
to “low” culture‟ (John Frow, 1995: 1).
• „The logic of many [publicly] funded arts organisations is poorly
equipped to respond to the plethora of new artists, art
forms, audiences, genres, and subcultures emerging in a rapidly
changing cultural dynamic‟ (Marcus Westbury and Ben
Eltham, 2010: 42).
• Under the new model of culture … cultural policy is no longer
confined to a small budget line and a narrow set of questions about
art. On the contrary, if we understand culture … as a networked
activity, where funded, home-made and commercial culture are
deeply interconnected – then we can start to appreciate the wider
value of culture in and to society (John Holden, 2009: 449-450).

10. UNCTAD Model of the Creative Industries

11. UNESCO Cultural Domains
• Direct domains
– Cultural and natural heritage;
– Performance and celebration;
– Visual arts and crafts;
– Books and print media;
– Audio-visual and interactive media;
– Design and creative services;
• Related domains
– Tourism, hospitality and accommodation;
– Sports and recreation.

12. UNESCO Culture Cycle

13. Creative Trident
• Specialist creatives
(cultural
occupation/cultural
industry
• Embedded creatives
(cultural
occupation/non-
cultural industry
• Support activities
(non-cultural
occupation/cultural
industry 13

14. Australian creative workforce - using
creative trident
Source: Higgs, Cunningham and Pagan 2007.
14

15. Sectoral composition- employment
Source: Higgs, Cunningham and Pagan 2007 15

16. CI growth by sector, Australia, 1996-2007

17. Fifth Techno-Economic Paradigm (Perez)
Age of Oil, the Automobile and Mass Production (1930s -1980s)
Mass production/mass markets
Economies of scale: bigger is better
Standardisation of products
Energy intensity (oil based)
Synthetic materials (e.g. plastics)
Functional specialisation: hierarchies within organisations
Centralisation of urban form: metropolitan centres/suburbanisation
National powers/economies within an international framework
Age of Information and Telecommunications (Networked ICTs) (1990s – present)
Information-intensive (microelectronics-based ICTs)
Decentralised integration: network structures
Segmentation of markets/proliferation of niche products and services
Knowledge as capital: intangible value added as key to new wealth creation
Economies of scope, and product/service specialisation combined with scale
Globalisation: interaction between the global and the local
Production/geographical clusters and networks of collaboration/learning
Instantaneous global communication across multiple platforms/devices

18. From mass communications media to social
media: the crisis of news
MASS COMMUNICATIONS MEDIA SOCIAL MEDIA
(20TH CENTURY) (21ST CENTURY)
MEDIA DISTRIBUTION Large-scale; barriers to entry Dramatically reduced barriers to entry
MEDIA PRODUCTION Complex division of labour; media Easy to use web 2.0 technologies; small,
professionals as content ‘gatekeepers’ multi-purpose teams as “preditors”
(Miller)
MEDIA POWER Assymetrical – one-way communications Greater empowerment of
flow users/audiences through interactivity
and choice
MEDIA CONTENT Tendency towards standardised “mass Segmentation of media content markets
appeal” content and “long tail” economics (Anderson)
PRODUCER/CONSUMER Mostly impersonal, anonymous and Potential to be more personal; rise of the
commoditised (audience as mass market produser (Bruns); user networks and
RELATIONSHIP target) communities
PAYMENT SYSTEM Audiences cross subsidised by Not clear as yet: subscription,
advertisers (commercial media) or tax “freemium”, free?
revenues (public service media)
18

19. Verticals and horizontals
19

20. Definitions of Culture