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Chapter Ch. 4-8

CRI 100 Chapter Notes - Chapter Ch. 4-8: Marketing Mix, Disintermediation, Artists And Repertoire

Creative Industries
Course Code
CRI 100
Dr.Louis Etienne Dubois
Ch. 4-8

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CRI 100 11/08/16
Week 9 – Readings
Introducing the creative industries-ch. 4, 8
Ch. 4-the business of creativity
o The contemporary CI are characterized by an ecology of a few very large companies and many
small-to-medium sized companies.
o As a creative microbusiness, you are always chasing your next job and one of the ways that you
do this is through pleasing existing clients with the quality of your work and impressing future
ones with your show reel.
o Creative microbusinesses have to be careful and creative about how they allocate their resources
to their activities if they are to succeed.
o The next step for some freelancers may be to venture more fully into business management by
going from being a sole trader to setting up a partnership or limited company.
Lifestyle business:
owners’ aim is primarily to support a particular lifestyle.
the artistic fringes of society, eschewing conventional manners and morality.
o PEST analysis is often carried out as part of business strategy. This analysis considers how local
and global
echnological factors might impact a business.
the economic and social transformation of urban areas through investment,
infrastructure (communication, transportation, etc.), building projects and new institutions. Can be
seen as the development of post-industrial cities, where the local economy has stagnated after key
industries have failed or moved out of the area.
Creative clusters:
concept based on the more general concept of business clusters (Porter, 2005),
and its application to the CI, for example media clusters (Karlsson and Picard, 2011).
o Creative practitioners may in fact value creative clusters as environments in which it is possible
for them to operate in an alternative economy, different from that of monetary exchange value
enjoying the community, inspiration and support of fellow practitioners).
Gift economy:
creative practitioners giving their time, attention and sometimes money freely to
others, without expecting to receive something immediately in return.
o There is a prevalence of microbusinesses, the overlaps between culture and commerce and the
importance of IPR in creative business practice.
Ch. 8-circulation: marketing and distribution of creative products
o Circulation is what happens after something new has been created, when it’s time to find an
audience who will enjoy it, talk about it or use it.
o Marketing, publicity and distribution are important for creatives for two main reasons:
i. It is important for creatives to understand where the fruits of creative labour go next,
once they’ve seen the light of day.
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