Creative Industries and Innovation

  • Duration: Full semester
  • Spring semester, Exchange student
  • ECTS 7,5 ECTS
  • Application period Application deadline: 15 October

About the programme

The industries loosely defined as cultural and creative industries (CCI) produce a wide range of outputs – music, film, video games, TV, radio, architecture, design, books and arts, to name a few. Over the last decades, CCI has become a popular theme for both researchers and policymakers. The reason is twofold: On one hand, they have developed into competitive export industries and a thriving employer in most high cost countries(Power 2002).

On the other, value creation in many sectors of the economy rests increasingly on intangible assets, such as ideas, know-how, creativity and imagination. Indeed, Lash and Urry (1994) suggest that today's economies produce, circulate and consume cultural commodities, and this points toward the increasing convergence between the economic order on the one hand and systems of cultural expression on the other.

Today's economy is characterised by rapid change and an ever-increasing tempo. As suggested by numerous researchers in even more studies, the only sustainable strategy to stay competitive in this accelerated economy is through innovation. Few, if any, industries has experienced brisker changes than the cultural and creative industries (CCI), and this is well documentet. CCI are often imagined to be the most innovative, information-rich, dynamic, flexible, non-hierarchical and dependent on local clusters and knowledge. CCI spearheaded the digitisation of the entire value chain – innovation, production, distribution and consumption. Technological change has dramatically lowered barriers for producing and distributing cultural products. Consequently, there is no surprise that we find a large number highly innovative businesses in this industry. So by studying CCI we might learn something on the economy as a whole, for example:

In a digital economy, how does innovation happen and how does a digital innovation system look like?
More and more product and producers base their competitive strategies on intangibles such as brand value and experiences. This might be taken to the extreme in CCI and the mechanisms are most visible here. By studying this extreme case we might learn something about how these mechanisms work in other parts of the economy as well.
How can brand value be a part of firms competitive and innovative strategies?
What role does geography and localisation play in these processes and industries?
Most of CCI compete in high risk markets – how does this affect work life?
How are CCI used as tools and strategies for regional development?
These are themes that will be touched and discussed in the course.

Literature and compendium (draft)

Bakshi, H., McVittie, E. og Simmie, J. (2008):Creating innovation: Do the creative industries support innovation in the wider economy?Nesta Research Report

Creating growth. Measuring cultural and creative markets in the EUhttp://www.creatingeurope.eu/

Davies, Rosamund & Sigthorsson, Gauti (2013) 'What are the Creative Industries?' iIntroducing the Creative Industries – from theory to practice,SAGE Publications, London (20 s.)

Dokk Holm, Erling (2015) 'Arkitekturens makt, reiseliv – destinasjoner og opplevelsesøkonomi i det 21. århundre'. I Ellingsen og Blindheim (red.)Regional merkevarebygging. Bergen: Fagbokforlaget. (s. 119-131)

Gran, A.B., M.G. Theie og Æ. Torp (2016) The Creative Industries in Norway: 2008–2014. I Nordisk Kulturpolitisk Tidsskrift, vol. 19, Nr. 2-2016 s. 273–296 (23 s.) https://www.idunn.no/nkt/2016/02/the_creative_industries_innorway_2008-2014

Hauge, A (2015). Negotiating and producing symbolic value, in Anne Lorentzen, Lise Schrøder,
Karin Topsø Larsen (eds),Spatial Dynamics in the Experience Economy, Taylor & Francis Books

Hauge, Atle (2012). Creative industry: Lacklustre business - Swedish fashion firms' combination of business and aesthetics as a competitive strategy,Creative Industries Journal, 5 (2), (s. 105 – 118)

Hauge,Atle & Håmpland, O. (2014) Easier Said Than Done - Kartlegging og evaluering av virkemidler for film og musikknæringen i Trøndelag, ØF-rapport 11/2014, Lillehammer: Østlandsforskning http://www.ostforsk.no/wp-content/uploads/2015/02/112014-Easier-Said-Than-Done-Kartlegging-og-evaluering-av-virkemidler-for-film-og-musikkn%C3%A6ringen-i-Tr%C3%B8ndelag.pdf

Horrigmo, Aase Marthe Johansen (2011) "Fornuftig utviklingspolitikk?" i Stat & Styring03/2011 (5 s.) http://www.idunn.no/ts/stat/2011/03/art07

Hracs, B., Jakob, D. andHauge, A. (2013). Standing out in the crowd: the rise of exclusivity-based strategies to compete in the contemporary marketplace for music and fashion,Environment and Planning A, 45(5) 1144 – 1161

Jones, C., M. Lorenzen og J. Sapsed (2015) Creative Industries: A Typology of Change, in Jones, C., M. Lorenzen og J. Sapsed (eds)The Oxford Handbook of Creative Industries. Oxford University Press. Oxford

Kulturdepartementet (2015)Kunstens autonomi og kunstens økonomi(Kap 6+9+10+11+12+13)

Mangset, Per (2009) "Fortellinger om kulturelt entreprenørskap", i Mangset og Røyseng (red.)Kulturelt entreprenørskap. Oslo; Fagbokforlaget (36 s.)

Pratt, A. C. and P. Jeffcutt (2009) "Creativity, Innovation and the Cultural Economy: Snake oil for the 21st Century?", iCreativity, innovation in the cultural economy. London: Routledge (20 s.)

Course starts spring semester 2020

Would you like to apply?

The course is available only for students coming from our partner institutions. Contact the International Coordinator at your home institution to find out if you are eligible for exchange studies at Inland Norway University of Applied Sciences (INN University). Please notice that applications can be submitted for one campus only.

Practical information

Starts spring semester 2020

Courses

Courses

Learning outcome

Knowledge:

  • Has an overview of central research themes in CCI and recent development within this field.
  • has critical and analytical skills and understanding of the ways in which policy trends, emerging business models and new working practices are combining to reshape the sector.

Skills:

  • Can identify a range of significant topics that shape cultural and creative industries, and in particular how this affect and is affected by innovation in a digital economy.
  • Has the ability to utilise knowledge, both theory and methods, to identify relevant research topics.
  • Can identify relevant literature sources and critically engage with these.

General competence:

  • Can update his or her knowledge about cultural & creative industries and innovation based on insights into the research literature and research methods of the field.
  • Has the ability to utilize this knowledge and skills in an independent manner in different situations

More information

Price

Free for exchange students