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.)