- L’urgence d’agir contre la monopolisation d’Internet et ses impacts dévastateurs sur les industries culturelles ; Rioux, Michèle ; Revue interventions économiques, Hors Série, Transformations; 2021.
Extracts: L’une des conséquences majeures de l’actuelle pandémie de COVID-19 a été le renforcement du processus de monopolisation d’Internet et l’amplification de ses impacts dévastateurs pour les industries culturelles. La crise sanitaire mondiale a mis en lumière le fait que les géants du web ou Big Tech – Google, Apple, Facebook et Amazon (GAFA) – et les acteurs du « streaming culturel » comme Netflix, continuent d’opérer sans être tout à fait assujettis aux mêmes conditions que les entreprises locales. Non seulement bénéficient-elles de conditions favorables liées à une asymétrie règlementaire et technologique par rapport aux acteurs locaux traditionnels, mais le contexte actuel, marqué par une forte croissance du commerce électronique, a également confirmé l’hégémonie de ces mastodontes à l’ère de la consommation numérique.
- L’impact des industries culturelles créatives sur la richesse des régions européennes; Barois Brice, Dimou Michel, Schaffar Alexandra ; Revue d'économie industrielle, 2021/1 (n° 173), pp. 11-42.
Résumé: En utilisant des données régionales d’Eurostat sur la période 2006-2013 et en mobilisant un modèle empirique et un panel d’outils économétriques, cet article propose d’étudier l’impact direct et indirect des industries culturelles et créatives sur la richesse des régions européennes. Bien que de nombreux travaux existent dans ce domaine, il n’y a pas, à notre connaissance, d’étude qui propose une analyse économétrique du rôle de ces industries dans la richesse économique des 226 régions européennes. Ce travail montre que l’emploi dans les industries culturelles et créatives n’est guère impacté par la crise économique de 2008. Il montre également que ces industries captent en partie l’effet capital humain régional. Il montre enfin que lorsque l’on tient compte des effets d’autocorrélation spatiale, l’impact de ces industries sur la richesse des régions européennes est plus contrasté et peut, dans certains cas, creuser les disparités.
- L’industrie musicale: Nouvelles directions, nouvelles interrogations; Revue française de gestion 2021/1 (N° 294) ; p. 202.
Résumé: L’objectif de cet article est de revenir sur les profonds bouleversements touchant la musique enregistrée depuis l’avènement de la numérisation, qui a permis la dématérialisation des œuvres. Nous proposons un cadre général pour mieux cerner les défis à relever par les acteurs, en mobilisant une approche fondée sur le modèle d’affaires. Nous défendons l’idée qu’un nouvel écosystème de la musique est en train de se développer, nécessitant l’acceptation collective d’un « méta-modèle d’affaires » pour fonctionner. L’article présente également les travaux de ce numéro spécial.
Abstract: Understanding the transformation of the music industry. A business model approach: The aim of this article is to review the profound changes that have affected recorded music since the advent of digitisation, which has allowed the dematerialisation of works. We propose a general framework to better understand the challenges faced by the players, using an approach based on the business model. We defend the idea that a new music ecosystem is developing that requires the collective acceptance of a “business meta-model” to function. The article also presents the work of this special issue.
- Réseaux et la télévision; Dominique Pasquier, Franck Rebillard ; Réseaux 2021/5 (N° 229), pp. 9-24.
Résumé: Ce double dossier de la revue Réseaux (numéros 229 et 230) est né d’un constat : alors que la télévision reste la première consommation de loisir des Français, et a même battu des records en 2020 avec une durée d’écoute quotidienne de 3h58 (soit 18 minutes de plus qu’en 2019 selon Médiamétrie), force est de reconnaître que les recherches, qui n’ont jamais en France été excessivement nombreuses, semblent s’être encore raréfiées à mesure que montait le nombre de publications sur le numérique et la culture digitale.
- Quand l’art se désexpose; Pascal Dibie ; Sociétés & Représentations 2021/2 (N° 52), pp. 269-274.
Extraits: « Dans le contexte actuel et suite aux annonces du gouvernement français, nous sommes au regret de vous informer qu’à compter du 30 octobre 2021, tous les musées et lieux d’exposition sont fermés en France, jusqu’à nouvel ordre. » À la place, pour nous consoler, on nous propose un nouvel art pauvre, « la culture chez soi » : des visites virtuelles gratuites d’expositions réelles non montrables. « Musées fermés : comment continuer à voir de l’art ? », s’interroge-t-on sur la toile.
- Strategies in the cultural and creative industries: static but flexible vs dynamic and liquid. The emergence of a new model in the digital age; Pierre-Jean Benghozi, Elisa Salvador, Jean-Paul Simon; Revue d'économie industrielle 2021/2 (n° 174), pp. 117-157.
Abstract: The cultural and creative industries (CCIs) were among the first to be disrupted by the digital revolution. General lessons can thus be learned from the strategies they adopted in the digital age. Alongside a reversal model and a differentiation policy, CCI companies now face a new alternative between two main strategies, which cannot easily be classified using traditional theories. The first model is a static but flexible strategy whereby the organization equips itself with skills and tries to be sufficiently flexible and ambidextrous to absorb the shocks of changing environments. This strategy aims at overcoming organizational inertia through slow and cautious steps, even if they are not always in line with the rapidity of changes in the digital age. The second model, the liquid one, consists of a proactive and agile strategy where the organization moves quickly, adapts hastily, and changes constantly to be in tune with the new configurations that are emerging around it.
Résumé: Les industries culturelles et créatives (ICCs) ont été parmi les premières à être remises en cause par la révolution numérique. Des leçons globales peuvent ainsi être désormais tirées des stratégies adoptées face à cette nouvelle vague technologique. Parallèlement au besoin de définir une politique de différenciation et un modèle économique adapté, les entreprises des ICCs sont aussi, aujourd’hui, confrontées à une nouvelle alternative entre deux principaux types de stratégies, difficiles à classer selon les théories traditionnelles. Le premier relève d’une stratégie combinant une vision statique mais flexible : en se dotant de nouvelles compétences et en cherchant à être suffisamment flexible et ambidextre, l’organisation s’efforce d’absorber les chocs d’environnements changeants pour préserver sa position. Cette stratégie vise donc à surmonter l’inertie organisationnelle par des mouvements lents et prudents, pas toujours en phase avec la rapidité des changements à l’ère numérique. Le deuxième modèle peut être qualifié de liquide car passant par une stratégie non seulement agile mais aussi proactive. L’organisation y évolue rapidement, s’adapte à la hâte et change constamment pour être en phase avec les nouvelles configurations qui émergent autour d’elle.
- Censure et proscription en territoire conquis; François Rastier ; Cités 2021/2 (N° 86), pp. 141-156.
Extraits: Approfondissant le projet de l’humanisme, les auteurs des Lumières concevaient la culture de manière cumulative, dans le temps comme dans l’espace. On leur doit ainsi la notion de littérature mondiale et le projet même des sciences de la culture, comme leur méthodologie historique et comparative. [--] une pensée postcoloniale conséquente se doit de « déconstruire » – voire d’éradiquer – la culture au nom du combat antiraciste. [--]. C’est l’effet, sinon le programme explicite, de la cancel culture : né sur les campus nord-américains, ce mouvement qui se réclame de la déconstruction s’est étendu à l’ensemble de la sphère culturelle, médias compris. Cette « culture » [-] se réduit paradoxalement à un conformisme néo-puritain qui conduit à la censure de pans entiers de la culture. Les rares productions qu’elle suscite se signalent jusqu’à présent par leur indigence édifiante.
- Faire culture autrement ou comme avant ? Quatre voies alternatives au débat sur le « statut des artistes » ; Luca Ciccia ; La Revue Nouvelle 2021/2 (N° 2), pp.53-57.
Résumé: La culture a cruellement été touchée par la crise de la Covid-19 et les aides ont tardé à venir. Pour autant, la crise montre la nécessité de repenser en profondeur les politiques culturelles et d’améliorer la protection sociale des artistes et des techniciens. Comment y arriver ? Des pistes concrètes existent…
- Cultural diversity and knowledge in explaining entrepreneurship in European cities; David Audretsch, Maksim Belitski, Julia Korosteleva; Small Business Economics; Jun 2019; pp. 1-19.
Publisher’s note: This study establishes and empirically explores the relationship between knowledge, cultural diversity and various entrepreneurial outcomes across European cities in 2008–2010. We demonstrate that the mechanism of knowledge spillover entrepreneurship is contextual and contend that cultural diversity and knowledge have differential impact on entrepreneurial outcomes across cities and countries. Cities with high cultural diversity provide more opportunities for entrepreneurship in sectors where technology and knowledge play more important role. While in technology-based sectors, we observe a decline in employment, in cities where cultural diversity is moderately high, this effect is counteracted by an increase in demand for skilful labour that is more concentrated in culturally diverse contexts. Implications for regional and national policy makers and international entrepreneurs are offered.
- Pour une Europe des musées; Pierre Grégory, Jean-Pierre Daviet; Commentaire 2020/1; n° 169; pp. 175-178.
Introduction : Les œuvres d’art majeures de l’Occident résultent souvent d’échanges entre les Européens. Le dire, le montrer, c’est contribuer à faire aimer l’Europe. Il devient vital qu’après une Europe de l’éducation (Erasmus), de la science et de la technologie (en matière spatiale surtout), soit lancée une Europe des musées, ce qui serait facile à mettre en œuvre sans engager des budgets importants.
- Cultural globalization on the printed page: Stability and change in the proportion of foreign cultural products in European quality newspapers, 1960–2010; Tina Lauronen, Riie Heikkilä, Semi Purhonen; Acta Sociologica; May 2019; Vol. 62(2); pp. 211-227.
Publisher’s note: To bring empirical scrutiny to the often very general and theory-driven debates on cultural globalization and to broaden the geographical scope of previous studies on the topic, this paper presents an analysis of the changes in the relative weight of national and global culture in the culture sections of quality European newspapers from 1960 to 2010. Through content analysis of newspaper articles, the paper examines how the composition of geographical origin of the cultural products discussed has changed over a half-century. The paper asks whether globalizing trends exist in newspaper coverage of culture or whether coverage of national culture remains dominant; to what degree is there variation, based on the art form discussed; and whether newspapers embedded in their national contexts differ from each other in these respects. The results show only a moderate increase in coverage of global products. However, clear trends were found that are associated with both the geographical origin of cultural products and the art forms discussed in the articles, highlighting that post-1960s cultural globalization is best understood as being intertwined with the rise of popular culture and the corresponding decline of traditional – and very European – highbrow culture.
- Trade, culture and the European Union cultural exception; Lilian Richieri Hanania; International Journal of Cultural Policy: Trade and Culture: The Ongoing Debate; 29 July 2019; Vol. 25(5); pp. 568-581.
Publisher’s note: The article examines how the European Union has addressed the 'trade and culture debate' in its international trade agreements. From a cultural exception approach based on an attempt to detach culture from trade provisions, the European Union economic agreements seem to evolve to a broader and more holistic position aiming to promote cultural exchanges through cooperation, while still safeguarding policy space in cultural matters through its traditional cultural exception. The article provides an overview of the European positions to defend the specificity of the audio-visual services sector at the multilateral (World Trade Organization Agreements), regional and bilateral levels. It also examines how the implementation of the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions has led the European Union to negotiate cultural cooperation provisions in parallel to some of its recent bilateral and regional trade agreements and the way this Convention may impact the understanding of the ‘trade and culture debate’.
- The Twentieth Century and the Phenomenon of Culture; Vladimir S. Bibler; Russian Studies in Philosophy; October 2020; Vol. 58(5); pp. 370-377.
From the abstract: In this excerpt, Bibler dissects the dual connection of past and present through sublation of the past in the present and on the basis of its preservation through their interaction. Culture is built on the second principle; communication of achievements and inventions always takes place despite different time periods. In that context, he considers Bakhtin’s discovery that showed how artistic heroes of one era enter into debate, a dialogue with heroes of another era, arguing the same problems with them. Oedipus, for example, addresses the problem of life’s meaning differently than Hamlet, and Hamlet differently than Anna Karenina, but they can disagree over which approach is more correct. He analyzes history in the same plane of interaction. For Bakhtin, culture develops on the boundaries of cultures. Culture in general, according to Bibler, is defined as the universal meaning and purpose of being.
Abstract: Background. This article looks at the role that arts, culture, and creativity play in promoting social cohesion and community well-being. It presents research on the role that a community arts center plays in an ethnic enclave that is under stress of immigration and gentrification. Method. An academic–community research partnership conducted this research. A mixed-methods approach was used. Twenty-four interviews were conducted with stakeholders (including community leaders, neighborhood residents, and business owners). Surveys (n = 102) were done of community members and those who participate in the Center activities. Results. Interviewees and survey respondents point to the importance of the ethnic enclave as a close-knot community that helps to foster a sense of belonging, security, and cultural identity. Arts, culture, and creativity plays a role in maintaining this sense of social cohesion, despite the threat of gentrification. Engagement in the arts and creative practice are important for buffering the stress of immigration. Discussion. The center has an important role as a critical cultural, civic, and creative space for the neighborhood and the broader community who sees the ethnic enclave as their cultural home.
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The Birth of the Cultural Treaty in Europe's Age of Crisis; Benjamin G. Martin; Contemporary European History; May 2021; Vol. 30(2), pp. 301-317.
Abstract: Bilateral treaties are an age-old tool of diplomacy, but before the First World War they were only rarely applied to the world of intellectual and cultural relations. This article explores the process by which diplomatic agreements on intellectual and cultural exchange came instead to be a common feature of interwar European international relations by contrasting two types of agreements identified by period observers: ‘intellectual’ accords, typified by the agreements France signed in the 1920s, and ‘cultural’ treaties, advanced by fascist Italy in the 1930s. Comparing France and Italy's use of such agreements in Central-Eastern Europe reveals that Italy's fascist regime responded to the crises and opportunities of the interwar period by developing a distinctive model of ‘cultural treaty’ that applied state power to international cultural exchange, and mobilised the idea of ‘culture’ itself, in a new and influential manner.
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Culture, institutions and democratization; Yuriy Gorodnichenko, Roland, Gerard Roland; Public Choice; April 2020; Vol. 187; pp. 165-196.
From the introduction: In this paper, we present a simple formal model of democratization that includes the individualistic-collectivist dimension of culture. A key difference between those cultural types is that a collectivist culture creates stronger pressure towards conformity and stronger aversion for radical institutional innovation. We show that, starting from an initial situation of autocracy, a collectivist society is less likely to adopt a democratic regime than an individualistic society, irrespective of whether a collectivist culture may be more effective in overcoming collective action problems. In our model, collectivist societies often end up in equilibrium having a “good” autocracy, i.e., an autocracy that does not act in a predatory way toward its citizens because good autocracies tend not to be overthrown by collectivist societies, unlike those of individualistic societies. That outcome occurs because of the stronger aversion for radical institutional innovation in collectivist societies. Furthermore, if political institutions can influence culture over time, our central prediction continues to hold: collectivist societies are less likely to end up with democracy.
- Polish Culture in the Face of the COVID-19 Pandemic Crisis; Angelika Kantor, Jakub Kubiczek; Journal of Risk and Financial Management; April 2021; Vol. 14(4); pp. 181.
Abstract: Cancellation of the events offered by cultural institutions was caused by the restrictions introduced by the government and, at a critical moment, a national lockdown. The COVID-19 pandemic forced cultural institutions to adapt to the new reality. The aim of this article was to present the impact of the pandemic on the activities of cultural institutions, as well as to identify and systematize the activities of such institutions during the pandemic. The following classification, dividing the activities into three groups, has been proposed: virtualization of existing activities, expansion of activities with additional initiatives, and implementation of corporate social responsibility (CSR) initiatives. The greatest challenge was the virtualization of the existing activities and finding new customer markets. The pandemic has contributed to a significant deterioration in the financial situation of cultural institutions because of the reduced income. Long-term effects on cultural institutions may be difficult to predict and losses may be difficult to rebuild.
- The Audiovisual Action Plan: a New Audiovisual Policy for Ireland; Maria O'Brien; Cultural Trends; December 2019; Vol. 28(5); pp. 417-428.
Abstract: This article analyses the recent plan for the audiovisual industries introduced (after some delay) by the Irish Department of Culture, Heritage and the Gaeltacht. The Audiovisual Action Plan ("the Plan") sets out the Department's approach to the audiovisual industries and is, it is contended, evidence of a marketization of culture consistent with a creative industries perspective. The analysis of the Plan in a wider policy context identifies key issues shaping audiovisual production in Ireland. Using a thematic analysis approach from Braun and Clark (2005, 2019) a number of themes are developed from analysis of the relevant policy documents, broadly conceived around the increasing instrumentalism of culture. Taking a political economy perspective allows for development of themes around the commodification of the nation-state through the provision of policies that actively encourage a certain type of audiovisual production. Building on Mosco's work on political economy (Mosco, 2009) the concept of spatialization from Lefebvre (Lefebvre, 1991) is used to interrogate the production of and commodification of space through Specifically, this article interrogates the policy norms underpinning the Audiovisual Action Plan introduced by the Department of Culture, Heritage and the Gaeltacht in Ireland in 2018 as part of Culture 2025, the national cultural policy framework. It identifies the key proposals which affect the audiovisual industries. It is concluded that the Plan (and other relevant policy documents) support a spatialized, commodified view of the audiovisual industries as primarily industrial in nature, paying scant attention to the consideration of such industries as cultural forces.
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Technology and In/equality, Questioning the Information Society: (Almost) 20 Years Later; Flis Henwood, Sally Wyatt; Digital Culture & Society; 2019; Vol. 5(1); pp.183-194.
Abstract: At the beginning of the 21st century, we co-edited a book called Technology and In/equality, Questioning the information Society. In that book, we focused on access and control of media technology, education and skills with a particular focus on gender and global economic development. The editors and contributors were all committed to approaching teaching and research about digital technologies and society from an interdisciplinary perspective. In this article, we reflect on how the debates about digital inequalities have developed over the past 20 years, and on our current understanding of "technology" and "in/equality," the key terms in the title of the book. In this article, we examine what has stayed the same and what has changed, through the lens of gender. We argue that while digital technologies have clearly changed, inequalities have persisted. Contrary to popular belief, access is still an issue for the global south, as well as for marginalised communities throughout the world. We also show how gender inequalities and hierarchies are reproduced in digital spaces, demonstrating that even where women have equal access, possibilities for discrimination and oppression remain. We conclude by arguing that there remain important tasks for scholars of technology and new media, namely to monitor the material and symbolic significance of new technological developments as they emerge and to examine the ways in which they may reflect and re-produce social inequalities.
