+1 862 207 3288 Analyse one of the required readings from this module in depth by applying it to one specific example connected to a cultural and creative industry.
Cultural and creative industries, arts and popular culture
This module introduces you to the historical, social, political and economic contexts underpinning the development of the cultural and creative industries, as well as familiarising you with the globalised markets in which cultural goods and services circulate.
You will consider the cultural and creative industries not just as economic activities, but as sources of meaning and instruments of power. You will also examine the relationship of such industries to different art forms and how this affects the manner in which they operate, as well as consider the impact of on-going changes in technology.
This module runs over two terms in your first year. This term, we will focus onthinking about what the cultural and creative industries mean and in what ways they might be influential. We will do this by drawing on some interesting debates in this area, by introducing key terms like hegemony, ideology and post-Fordism, and by arguing about questions of culture, taste, meaning and power.
Next term, you will be focusing more on questions of space, globalisation and technology.
The schedule, tutor and room details for the Spring term will be provided towards the end of this term. The day/times for CC1001 in the Spring term will be the same as this term (ie Thursdays, 1-3:50pm)
Teaching and learning
Lectures and seminars will both be very interactive, with lots of discussion and group work. We also have two guest speakers from the cultural and creative industries this term. We want everyone to contribute, so please do as much reading as you can and write down notes and questions before you arrive so as to get as much out of these sessions as possible.
Readings
The texts that you have to read every week are marked here as ‘required’. They are necessary reading: if you do not read these you will be unable to participate in the module. Photocopies of the required readings will be given to you at the beginning of term.
Alongside these are additional readings; read as many of these as you want to or that you find interesting. Some recommended readings will be on Moodle, and others will be in the library. Make time to look them up. You are expected to read widely and in your assessment you must refer to a range of relevant reading from the course.
You will notice that each week has keywords highlighted in bold. These are the terms you will learn and become familiar with that week.
Moodle
Moodle is essential to this module — like all the others you will be doing – and your tutor will post additional material and information there. It is vital you check Moodle as well as your City email on a regular basis.
Weekly Schedule
Section One: On culture and creativity
3 October Week 1 Introduction to the module(Jo)
What are the cultural and creative industries? What is ‘culture’?
This week will introduce the module — what it is about, how to participate and how it is assessed –and each other.We will ask what the cultural and creative industries are, and start to delve deeper by considering what we mean when we talk about ‘culture’. For as Raymond Williams points out, ‘culture’ has meant both ‘a whole way of life’ and ‘the arts’; and we’ll talk about what it means today, and how these meanings connect to ‘the cultural industries’.
Required reading:
Raymond Williams, ‘The Analysis of Culture’ in The Long Revolution, Chatto&Windus 1961 pp57-70
David Hesmondhalgh, ‘Introduction’ to The Cultural Industries, 3rd Edition, Sage 2012
Additional reading:
‘What is popular culture?’ inJohn Storey (ed) Cultural Theory and Popular Culture: A Introduction6th edition, Pearson 2012
Part 1 (Culture and Civilization) and Part 2 (Culturalism) in John Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006
James Clifford, ‘On Collecting Art and Culture’ in The Predicament of Culture, Harvard, 1988) 215-229
10 October Week 2 What is ‘creativity’? (Kathy)
‘Creativity’is something we’re all supposed to value, but what do we mean by it? Where does it come from? How is creativity produced? Why is it we’re all supposed to be creative nowadays? Why did people start talking about ‘the creative industries’ alongside ‘the cultural industries’ — and why is this so controversial? In this session we’ll unpack this popular and overused concept, considering its different meanings and what’s at stake in it.
Required reading:
‘Creativity’ and ‘The Creative Industries’ in John Hartley, Terry Flew et al, Key Concepts in the Creative Industries, Sage 2013
Rosamund Davies and GautiSigthorsson, ‘What are the Creative Industries?’ in Introducing the Creative Industries Sage 2013
Additional reading:
Keith Negus andMichael Pickering, ‘Creativity’ in Creativity, Communication and Cultural Value, Sage 2004
John Hartley ‘Creative Industries’ in his (ed) Creative Industries, Sage 2005 especially ‘Creative Identities’pp106-115
David Hesmondhalgh, ‘Introduction’ to The Cultural Industries, 3rd Edition, Sage 2012
Toby Miller, ‘A View from a Fossil’ in International Journal of Cultural Studies March 2004 vol. 7 no. 1 55-65
Section 2: The uses of the cultural industries
17 October Week 3 Mass Culture and commodification [Kathy]
Does everyone basically consume the same stuff? Why are we all so bothered about ‘being an individual’? This week we will consider the question of commodification, and the idea of standardised mass culture. We will be looking at the very influential ideas of the Frankfurt School on The Culture Industry and asking what relevance they have today
Required reading:
Excerpt from Max Horkheimer and Theodor W. Adorno‘The Culture Industry: Enlightenment as Mass Deception’ in The Cultural Studies Readered Simon During, 3rd edition Routledge2007
Additional reading:
Chapters 1 & 2 in David HesmondhalghThe Cultural Industries, 3rd Edition, Sage 2012
Chapter 1 of John Storey (ed) Cultural Theory and Popular Culture: A Introduction 6th edition, Pearson 2012
Part 3 (Marxism) in John Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006
Part 4 (Marxisms) of John Storey (ed) Cultural Theory and Popular Culture: A
Introduction 6th edition, Pearson 2012
Karl Marx. ‘The Fetishism of Commodities and the Secret Thereof’ in RaifordGuins and Omayra Zaragoza Cruz,Popular Culture: A Reader,Sage 2005 pp. 89-95
Walter Benjamin ‘The Work of Art in the Age of Mechanical Reproduction’ in RaifordGuins and Omayra Zaragoza Cruz,Popular Culture: A Reader, Sage 2005 pp. 96-102
There is also a good short film by Esther Leslie on Horkheimer on The Guardian website
24 October Week 4 Fordism to post-Fordism (Jo)
The cultural and creative industries are very different today from how they were 100 years ago, partly because of changes in the structure of industry. This week we discuss what changed in industry and what marks the cultural industries out today as contemporary. We will be considering such phenomena as focus groups, target markets, lifestyles, affinity marketing, working in the cloud. Key terms we coverincludepost-Fordism and the knowledge economy.
Required reading:
David Goldblatt, ‘Living in the After-Life: Knowledge and Social Change’ in Knowledge and the Social Sciences: Theory, Method, Practice, Routledge, 2000
Additional reading:
Parts V (‘Creative Enterprises’) and VI (‘Creative Economy’) of John Hartley, Creative Industries, Sage 2005
Chapters 3 and 6 of David Hesmondhalgh, The Cultural Industries, 3rd Edition, Sage 2012
Paul du Gay (ed) Production of Cultures/Cultures of Production, Sage 1997, especially chapters 5&6
31 October Week 5 Popular culture is political (Jo)
This week we will think about how the products made by the media and cultural industries are political in the sense that they have the power to affect and shape people’s ‘common sense’. We will consider the terms ideology and hegemony in particular.
This week will also include a guest speaker: the filmmaker, TV writer and producer of The Revolution Will Be Televised and creative director of Don’t Panic UK, Joe Wade. See http://www.dontpaniconline.com/ andhttp://www.bbc.co.uk/programmes/p00vqgx3
Required reading:
Stuart Hall, ‘Notes on Deconstructing the Popular’ inJohn Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006
Tracey Jensen, ‘A Summer of Television Poverty Porn’, Sociological Imagination, 9 September 2013. Online at http://sociologicalimagination.org/archives/14013
Further Reading
Part 10 ‘The Politics of the Popular’, in John Storey (ed) Cultural Theory and Popular Culture: A Introduction 6th edition, Pearson 2012
Parts 3 and 7 in John Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006
Roger Simon, Gramsci’s political thought
Stuart Hall ‘The Work of Representation’ in Hall (ed) Representation: Cultural Representations and Signifying Practices
Special issue of Communication, Culture and Critique on Hall’s text 6:2 2013
7 November Week 6 READING WEEK — NO LECTURE OR SEMINAR
Section 3: The active audience
13 November Week 7 Identity (Jo)
Who are you? What is ‘identity’, and how does what you produce and consumein and from the culture and the cultural industries relate to your sense of self? This week we will delve into some of these questions, exploring issues of equality,essentialism and hybridity.
This week will include the guest speaker RoshiNaidoo, who will talk about her experiences working across the heritage sector — for example in the Heritage Lottery Fund, National Maritime Museum and National Portrait Gallery.
Required reading:
Excerpt from Kathryn Woodward (ed) Identity, Culture, Difference Sage 1998
Additional Reading
Parts 7 and 8 in John Storey (ed) Cultural Theory and Popular Culture: A Introduction 6th edition, Pearson 2012
Kate Bornstein, My Gender NotebookRoutledge 1997
Stuart Hall, ‘The centrality of culture: new reflections on the cultural revolutions of our time’ in Kenneth Thompson (ed) Media and Cultural Regulation Sage, 1997
bell hooks, Ain’t I a woman, South End Press 1981
Bev SkeggsClass, Self, CultureRoutledge2003
Imogen Tyler, Revolting Subjects Zed 2012
21 November Week 8High art and cultural distinction (Kathy)
This week we consider the question of taste and social distinction in more detail. How do people use their cultural interests and tastes to demarcate themselves?Is art for everybody? To what extent is art used a marker of cultural distinction, or cultural capital? How is art changing in relation to taste? Is highbrow and lobrow in the past – are we all ‘omnivores’ now? Or are they still there in coded, or newly explicit, forms?
Required reading:
Pierre Bourdieu ‘Introduction’ to Distinction: A Social Critique of the Judgement of Taste Routledge, 1984
Further Reading
‘Distinction/ The Aristocracy of Culture’ (in John Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006, pp. 498-507
Sarah Banet-Weisner, ‘Branding Creativity’ in Authentic TM NYU Press 2012
Elizabeth Wilson, ‘Fashion and Postmodernism’ in John Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006
Peter Braham, ‘Fashion: Unpacking a Cultural Production’ in P. De Gay (ed.) Production of Cultures/ Cultures of Production, Sage, 1997
Sarah Thornton ‘The Media Development of “Subcultures” (or the Sensational Story of “Acid House” inPopular Culture: A Reader, RaifordGuins and Omayra Zaragoza Cruz Sage 2005 pp. 383-400
28 November Week 9 Active audiences, active subjects (Kathy)
This week we will be considering the role of the ‘audience’. To what extent do audiences construct meanings for cultural industries, through their different interpretations and responses? We will consider all the hype around the audience’s changed, more active role in a digital world, with the rise of the ‘prosumer’ (consumer + prosumer). Is the audience less passive and more active than ever before with the advent of new technologies? We will also consider how identity osbeing used in the information age through self-branding, and what that does to our sense of self.
Required reading:
George Ritzer and Nathan Jurgenson, “Production, Consumption, Prosumption: The nature of capitalism in the ageof the digital ‘prosumer’”Journal of Consumer Culture 10:13 pp13-37
Sarah Banet-Weiser, ‘Branding the post-feminist self’ in Authentic TM NYU Press 2012
Additional Reading
Graeme Turner, ‘Revenge of the Nerds’ in Ordinary People and the Media: The Demotic Turn, Sage, 2010
Melissa Gregg, Work’s Intimacy, Polity 2011
Will Brooker and Deborah Jermyn (eds) The Audience Studies Reader, Routledge, 2003
Stuart Hall, ‘Encoding/decoding’ in The Cultural Studies Readered Simon During, 3rd edition 2007, Routledge
Graeme Turner, Ordinary People and the Media: The Demotic Turn Sage
Paul Willis ‘Symbolic Creativity’ inPopular Culture: A Reader, RaifordGuins and Omayra Zaragoza Cruz Sage 2005 pp.241-248
Henry Jenkins, Textual Poachers, Routledge 1992
Christie Carson ‘Democratising the Audience?’ in Carson, Christie and Farah Karim-Cooper (2008) Shakespeare’s Globe: A Theatrical ExperimentCambridge University Press.pp. 115-126
Eilean Hooper Greenhill, ‘Exhibitions and Interpretation: Museum Pedagogy and Cultural Change’ in Museums and the Interpretation of Visual Culture,Routledge, 2000.pp. 124- 150
5 December Week 10 RoundupandAssessment [Jo]
This week we will be talking in depth about what is expected from assessment.
12 December Week 11 Tutorials
This week everyone will have a tutorial with Kathy or Jo to discuss how they are progressing with their plans for assessment.
Summary schedule
Week 1 3 Oct Introduction to CCIs
What is culture?
Week 2 10 Oct What is creativity?
Week 3 17 Oct Mass culture + commodification
Week 4 24 Oct Fordism + Post-Fordism
Week 5 31 Oct Popular culture is political
Week 6 7 Nov Reading week
Week 7 14 Nov Identity and the CCIs
Week 8 21 Nov High art and cultural distinction
Week 9 28 Nov Active audiences
Week 10 5 Dec Roundup + assessment
Week 11 12 Dec Tutorials
Recommended books
If you want to buy a book or two for this module, we recommend the following:
• Raymond Williams, Culture Fontana 1981
• David Hesmondhalgh, The Cultural Industries, 3rd Edition, Sage 2012
• John Storey (ed) Cultural Theory and Popular Culture: A Reader 3rd edition, Pearson 2006
• John Storey (ed) Cultural Theory and Popular Culture: A Introduction 6th edition, Pearson 2012
Assessment
2,000-2,500 word essay by the deadline of 13 January 2014
Analyse one of the required readings from this module in depth by applying it to one specific example connected to a cultural and creative industry.
Your answer should show a detailed critical understanding of the text under discussion, which should also be related to a range of other concepts and texts discussed on the module.
You need to submit your copy electronically via Moodle. More details in the Student Handbook.
Assessment criteria
BA Cultural & Creative Industries grading assessment criteria for written work
These are the guidelines tutors on the BA (Hons) Cultural and Creative Industries will use when grading student work.
80%+ Outstanding
This work is exceptionally accomplished, going beyond what would normally be expected of an undergraduate. It has an extremely sophisticated grasp of relevant knowledge, skills and understanding, and a high degree of originality. The work is characterised by a superb grasp of the topic, involving extensive breadth and depth, an outstanding degree of conceptual clarity and a polished presentation. It is likely to have potential for publication or wider public dissemination.
70-79% Excellent
The work is of excellent overall quality (1st). The work demonstrates an excellent breadth and depth of understanding on the subject, independent research and is extremely coherent and well-structured. It engages with complex ideas in a fluent fashion, synthesizes a wide variety of information with considerable flair and clearly develops its own perspectives on the subject. Referencing and citations are exemplary.
60-69% Good
The work is of a high (2:1) standard. It makes a good attempt to address the learning outcomes / assessment criteria, realising all to some extent and most well. It demonstrates thorough research and reading, and engages well with the topic in terms of breadth and depth. Information is presented critically, with a clear development of the narrative and argument. It is well-structured and logically written. Referencing and citations are sound.
50-59% Fair
This work is of a fairly good (2:2) standard. It demonstrates knowledge of the subject area and attempts to address the learning outcomes/assessment criteria. It realises all of the learning outcomes to some extent, and some quite well, but typically also includes irrelevant or underdeveloped material. It shows some evidence of analysis but is overly based on description. It will have a structure, but this may not always be clear. It will use a fair amount of relevant sources and material, but clearly could have used more. Referencing and citations are largely good but may contain minor errors or have a few missing bibliographic details.
40-49% Pass
This is work that demonstrates basic knowledge of the subject area but only to a threshold level (3rd). It has some critical awareness, and core concepts and key debates are referred to, but only in a generic manner. This means the overall impression generated by the work is of superficial description rather than analysis. The work indicates only limited reading and research and typically refers to a very limited range of examples. The work may present an overall argument or logical development, but lack relevant content; alternately, it may present some evidence of reading and research in an unstructured or incoherent way. Writing style is typically a cause for concern, referencing and citations are haphazard, and the understanding of the role of referencing and bibliographies in academic practice is limited.
30-39% Fail
The submission is not acceptable to fulfil the assessment criteria for the course. The work shows little grasp of the topic under discussion or no development beyond very basic description. There will not be a coherent approach to the assignment, nor an adequate structure to frame the discussion. Referencing will be poor, or perhaps non-existent, suggesting lack of familiarity with academic practice. Essential sources are not consulted or are misunderstood. Presentation involves many errors of spelling, punctuation and grammar, making the work hard to follow.
0-29% Outright fail
The work suggests no real engagement with, or understanding of the subject area and demonstrates a totally inadequate attempt to address the learning outcomes. This suggests substantial cause for concern. Students receiving this mark will be expected to discuss their work with the course tutor.
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