By Melanie Selfe, Ealasaid Munro, Philip Schlesinger
This research is predicated at the authors' fieldwork within Cultural company workplace, a small Scottish employer that helps inventive companies. It discusses united kingdom coverage at the artistic economic climate, the increase of intermediaries among policy-making and undefined, and the taking part in out within the supply of industrial recommendation companies to inventive microbusinesses.
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Additional info for Curators of Cultural Enterprise: A Critical Analysis of a Creative Business Intermediary
That was to continue on their predecessors’ path and to set up a new funding and development agency for the arts. This idea had come out of the National Cultural Strategy. 55 While a focus on culture’s contribution to the economy had been a mainstay of Scottish cultural policy since devolution, as may be seen from this move, ideas concerning the creative economy assumed particular importance from the mid-2000s. 0005 Curators of Cultural Enterprise and reported on. 56 For those adopting a creative industries development strategy – as the Lab-Lib coalition did, and with which the SNP continued – having established a new focus or object for policy the task is to try and devise instruments to make it work better, in this case, to make more of a profitable business of culture.
Andrew Gowers, Gowers review of intellectual property (London: The Stationery Office, 2006), 1. , 3. Ian Hargreaves, Digital opportunity: a review of intellectual property and growth (London: Department for Business, Innovation and Skills, 2011), 3. ) Industrias creativas: amenanzas sobre la cultura digital (Barcelona: Gedisa Editorial, 2011); Nicholas Garnham, ‘From cultural to creative industries: an analysis of the implications of the “creative industries” approach to arts and media policymaking in the United Kingdom’, International Journal of Cultural Policy 11 (2005); Justin O’Connor, The cultural and creative industries: a literature review [2nd edition] (London: Creativity, Culture and Education, 2010).
76 The collection of studies they edited covers advertising, branding, public relations, arts promotion, fashion, popular music, lifestyle media and journalism, fitness, clothing, book retail and food and drink. Their work does not cover research into cultural agencies conceived as intermediaries between a national policy system and everyday, smallscale cultural production. The more usual focus taken – as Keith Negus noted some years ago77 – has been on the practices that intervene between cultural production and consumption.