MARC details
| 000 -LEADER |
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| fixed length control field |
08486nam a22002297a 4500 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
HCC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20250113215047.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
140404s2013 enka|||| b||| 001 0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9781849205733 |
| 040 ## - CATALOGING SOURCE |
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| Transcribing agency |
HCC |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER |
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| Classification number |
338.477 DAV |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Davies, Rosamund. |
| 245 10 - TITLE STATEMENT |
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| Title |
Introducing the creative industries : |
| Remainder of title |
from theory to practice / |
| Statement of responsibility, etc |
Rosamund Davies and Gauti Sigthorsson. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) |
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| Place of publication, distribution, etc |
London : |
| Name of publisher, distributor, etc |
SAGE, |
| Date of publication, distribution, etc |
2013 |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
x, 269 p. : |
| Other physical details |
ill. ; |
| Dimensions |
24 cm. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc |
Includes bibliographical references (p. [247]-262) and index. |
| 505 ## - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
Table of Contents<br/><br/>Acknowledgements viii<br/>Introduction: How to Use This Book ix<br/> 1 What are the Creative Industries? 1 (21)<br/> Defining the Creative Industries 1 (6)<br/> Studying the Creative Industries -- Three 7 (13)<br/> Approaches<br/> Summary 20 (1)<br/> Recommended Reading 20 (2)<br/> 2 Creativity and Commerce 22 (21)<br/> Patronage: Wealth, Power and Religion in 24 (5)<br/> Italian Renaissance Painting<br/> The Marketplace: English Theatre in the 29 (2)<br/> Time of Shakespeare<br/> Reproduction and Mass-production: The 31 (3)<br/> Print Revolution<br/> Industrial Production 34 (4)<br/> Industrialized Media Production: The 38 (3)<br/> Studio System<br/> Summary 41 (1)<br/> Recommended Reading 41 (2)<br/> Part 1 Working in the Creative Industries 43 (80)<br/> 3 Institutions, Ownership and 45 (25)<br/> Entrepreneurship<br/> The Organization of Production 46 (9)<br/> Workplaces 55 (2)<br/> Work Structures 57 (2)<br/> Work Patterns 59 (1)<br/> Finding Work 60 (2)<br/> Career Trajectories and Portfolios 62 (3)<br/> National and International Perspectives 65 (3)<br/> Summary 68 (1)<br/> Recommended Reading 68 (2)<br/> 4 The Business of Creativity 70 (22)<br/> Sole Traders and Microbusinesses 70 (9)<br/> Financing a Creative Business 79 (1)<br/> Contracts and Rights 79 (1)<br/> Business Models 80 (4)<br/> PEST: Political, Economic, Social and 84 (2)<br/> Technological Factors<br/> Clustering and the Sense of Creative 86 (3)<br/> Community<br/> Summary 89 (1)<br/> Recommended Reading 90 (2)<br/> 5 Work Routines and Work Cultures 92 (31)<br/> Employees: Staffers, In-house Workers 92 (10)<br/> Freelancers and Portfolio Workers 102 (2)<br/> Networking 104 (10)<br/> Equality of Opportunity? 114 (6)<br/> Summary 120 (1)<br/> Recommended Reading 120 (3)<br/> Part 2 Production and Circulation of Products 123 (52)<br/> 6 Creative Producers and Products 125 (13)<br/> Creative Goods and Services: Tangible and 125 (1)<br/> Intangible<br/> Creative Originals Producers 126 (2)<br/> Creative Content Producers 128 (3)<br/> Creative Experience Providers 131 (1)<br/> Creative Service Providers 132 (2)<br/> From Simple Creative Goods to Complex 134 (3)<br/> Creative Goods<br/> Summary 137 (1)<br/> Recommended Reading 137 (1)<br/> 7 Research, Development and Production 138 (20)<br/> Research and Development 138 (9)<br/> Production 147 (9)<br/> Summary 156 (1)<br/> Recommended Reading 156 (2)<br/> 8 Circulation: Marketing and Distribution 158 (17)<br/> of Creative Products<br/> Circulation 158 (1)<br/> The Mass Market Model 159 (1)<br/> Channels of Distribution and Marketing 160 (1)<br/> What is Marketing? 161 (2)<br/> Selling Stuff: Retail and its Disruptions 163 (10)<br/> Summary 173 (1)<br/> Recommended Reading 173 (2)<br/> Part 3 The Creative Economy 175 (52)<br/> 9 Institutional Commissioning and Financing 177 (18)<br/> Structures<br/> Business Models in the Television Sector 177 (2)<br/> Commissioning in Television 179 (1)<br/> How Do Writers and Producers Get TV 180 (4)<br/> Commissions?<br/> Finding a Route In 184 (3)<br/> Commissioning and the Business of 187 (6)<br/> Magazine Publishing<br/> Summary 193 (1)<br/> Recommended Reading 193 (2)<br/> 10 Clients, Funders and Going It Alone 195 (22)<br/> Working to Brief: The Client Relationship 195 (8)<br/> Public Funding 203 (3)<br/> Entrepreneurial Approaches 206 (5)<br/> Self-funding 211 (2)<br/> Crowdfunding 213 (2)<br/> Summary 215 (1)<br/> Recommended Reading 216 (1)<br/> 11 The Changing Economic Landscape 217 (10)<br/> Creativity and Commerce: Novelty, Risk 218 (1)<br/> and Change<br/> Changing Work Routines and Work Cultures 219 (4)<br/> Changing Structures and Models 223 (2)<br/> Jobs That Don't Exist Yet 225 (1)<br/> Recommended Reading 226 (1)<br/>Glossary 227 (20)<br/>References 247 (16)<br/>Index 263<br/> |
| 520 ## - SUMMARY, ETC. |
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| Summary, etc |
"Creativity used to be the difficult concept to define - now it has probably been overtaken by the concept 'creative industries'. However, this text does a sterling job at identifying, outlining and defining the many elements that go to make up this booming sector of industry. What makes it particularly interesting is that it includes the view of the creative industries from the perspective of working in it, then the definitions of what products and producers are involved, and ends with the broader picture of the creative economy and predictions for future trends. Add to this that they include both theory and practice, and this really is an all-round guide to the vast domain that is loosely titled 'the creative industries' - Angela Birchall, School of Media, Music & Performance, Salford University With so much talk about the creative industries, do we really know what they are, what they produce, and who works in them? This ground-breaking textbook takes the student through the history, trends, products and markets of the creative industries, showing how success depends on a mix of ideas, tactics and talent.When understanding social networks and cultural economy is just as important as hands-on skills or an entrepreneurial spirit, Introducing the Creative Industries shows students how to use theories, concepts and practical skills to get ahead in their course and professional life. Creatively imagined and beautifully written, this book: * interweaves concepts and practices in an easy-to-read layout on every page * uses cultural economy to teach the essential concepts and thinkers * integrates case studies from fashion and gaming to journalism and music * shows students strategies for navigating the links between skills, industries, creativity and markets. This book will expand students' horizons in this fast-moving industry, showing them how to spot opportunities and use their knowledge and savvy to take advantage of them. It is an essential guidebook for students of creativity in media and communication, design, creative industries and business. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name as entry element |
Cultural industries. |
| 700 1# - ADDED ENTRY--PERSONAL NAME |
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| Personal name |
Sigthorsson, Gauti. |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
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| Source of classification or shelving scheme |
Dewey Decimal Classification |
| Koha item type |
Books |
