1、1900单词，3260汉字 毕业论文外文 文献 翻译 外文题目 : FORM CULTURAL TO CREATIVE INDUSTRIES- An analysis of the implications of the “creative industries” approach to arts and media policy making in the United Kingdom 出 处 : Internat
2、ional Journal of Cultural Policy 作 者 : Nicholas Garnham
3、 原 文： Creative Industries Policy We can now return to the nature and validity of the implicit claims being made by the mobilisation of the term “creative industries” and their policy impacts. These can be reduced to two: that the creative industries are the key new growth s
4、ector of the economy, both nationally and globally, and thus, against a background of manufacturing sector decline, they are the key source of future employment growth and export earnings. This general line of argument stemmed from the original Making a Business of Information report, but it was the
5、n linked to more general work on the competitiveness of the British economy and, inspired by the work of management gurus such as Michael Porter, it fed into statistical work on the export earnings and potential of the cultural industries (British Invisibles 1991) and into both Myerscoughs (1988) st
6、udy on The Economic Importance of the Arts in Britain and into the report by Gorham and Partners (1996) for the British Council entitled Export Potential for the Cultural Industries. It is from this strand of policy analysis that derives: 1、 The measurement of the creative industries in the “C
7、reative Industries Mapping Document”(DCMS 2001) and the associated claims that they now represent the fastest sector of economic growth； 2、 the stress on the training of creative workers； and 3、 the stress on the protection of intellectual property. This is the source of the view expressed in
8、the Labour Partys Create the Future that the cultural industries “are vital to the creation of jobs and the growth of our economy. The creative and media industries world wide are growing rapidly we must grasp the opportunities presented” (Labour Party 1997). Note the distinction made at this
9、stage between creative and media industries. It is also the source of Chris Smiths claim (at the time, the responsible government minister) in his Creative Britain that “given the levels of growth already experienced in these fields, given the flow of changing technology and digitalisation, given ou
10、r continuing ability to develop talented people, these creative areas are surely where many of the jobs and much of the wealth of the next century are going to come from” (Smith 1998, p. 25). It is in justifying these claims and the policies that derive from them that the use of the term “creative”
11、has been crucial. In the Mapping Document, the term “creative” was chosen so that the whole of the computer software sector could be included. Only on this basis was it possible to make the claims about size and growth stand up. However, this inclusion had two valuable policy consequences for the in
12、terests involved. It enabled software producers and the major publishing and media conglomerates to construct an alliance with cultural workers, and with small-scale cultural entrepreneurs, around a strengthening of copyright protection. The software industry was pushing for the contentious widening
13、 of intellectual property protection of software. The major media conglomerates wanted an extension of copyright protection and its reinforced policing. In all cases, this involved the undermining of existing public use provisions and also, according to some analysts, a break on innovation rather th
14、an its encouragement. It suited these interests to sell the extension of copyright as a defence of the interest of “creators” with all the moral prestige associated with the “creative artist”. Whether recent intellectual property reforms in the Millennium Copyright Act in the United States or the In
15、formation Society Copyright Directive in the European Union do in fact foster creativity or protect the economic interest of artists is in fact highly dubious. (For a general review of these arguments that accepts the “creative industries” agenda, see Howkins 2001.) The Artist as Creative Worker The
16、 second consequence of the choice of the term “creative” and the inclusion of computer software in the definition of the “creative industries” was that it enabled the cultural sector to use arguments for the public support of the training of “creative workers” originally developed for the ICT
17、industry. The original argument derived from so-called “endogenous growth” theory which attributed the relative international competitiveness of nations and industries to the institutional structures supporting innovation, part of which was the provision of suitably trained human capital. This was t
18、hen translated into the claim that skill shortages in the ICT industries were a major drag on economic growth and relative competitiveness. Against this general policy background, the choice of the term “creative” enabled the cultural sector to claim that without public support there would be an ina
19、dequate supply of creative workers to ensure the United Kingdoms international competitiveness in the supposedly high-growth market for cultural products and services. This whole argument has very wide policy implications because it increasingly drives education policy. While there may be something
20、in the general human capital argument, the skill shortage argument, and still less the response of attempts at micro manpower planning through the public education and training system, has never made much sense even within the ICT field. That the American dominance in global media is the resul
21、t of superior education or training or that the United Kingdom is short of “creative” workers bears no serious examination. Indeed the Gorham Report (Gorham and partners 1996) argues for an export push in part to mop up above-average levels of unemployment in the sector. At the general level of educ
22、ation policy there is an argument that the shift to the service sector and this is supported by detailed labour market analyses of which types of jobs requiring which skills are growing has meant not the growth in the requirement for high-tech skills, but for inter human communication and relational
23、 skills and analyses of information of the type a humanistic, rather than technical scientific, education provides. However, this is not an argument, as the arts college lobby is now trying to construct it, for an expansion of or for special support for arts education and training on the grounds that its products alone are “creative” (for an expansion of this argument, see Garnham 2002). Access, Excellence and Accountability Current creative industries policy is presented as a break with the past in two senses.The renaming of the Department of National Heritage as the Department for
