Cultural Industries

DAVID HESMONDHALGH – Concept 1: Minimise/Maximise Profit

David Hesmondhalgh is a British Sociologist who critically analyses the relationship between media work and media industry. He wrote a book called ‘Cultural Industries‘ published in 2002. He is acknowledged as a key figure in developing the “cultural industries” approach to media, which emphasises the complex and contradictory nature of cultural production under capitalism. A critical reflection highlights that there is a ‘myth‘ about how the creative industry really is and how much work they require. Leaving people vulnerable to the illusion that they will be a ‘star‘ if they have some sort of creative talent.

In his seminal book, he suggests that ‘the distinctive organisational form of the cultural industries has considerable implications for the conditions under which symbolic creativity is carried out’ The Culture Industries’ (Sage, 2019, p.99)

Put another way, in an article he wrote with Banks (Banks, M., & Hesmondhalgh, D. (2009). Looking for work in creative industries policy. International Journal of Cultural Policy, 415-430.)

there must be serious concerns about the extent to which this business-driven, economic agenda is compatible with the quality of working life and of human well-being in the creative industries. Looking for work in creative industries policy. International Journal of Cultural Policy p.428

David also states that its a risky business. It is competitive as those are fighting for the spotlight but its also determined on the opinions of the audience or the producers. This means creative people are competing for the majority in order to be liked and successful.

the individualising discourses of ‘talent’ and ‘celebrity’ and the promise of future fame or consecration, have special purchase in creative work, and are often instrumental in ensuring compliance with the sometimes invidious demands of managers, organisations and the industry (Banks & Hesmondhalgh, p. 420).

As can be deduced, this approach looks to spotlight a prevailing assumption around cultural production as one that is ‘innately talent-driven and meritocratic – that anyone can make it’

David states networking is also incredibly important in the industry, its all about who you know and who you have ties to. Without this it is much harder to achieve the spotlight, even if you are better or a hard worker.

‘for every individual who succeeds, there are many who do not. For many, it will be the result of a perfectly reasonable personal decision that the commitment and determination required is not for them’ (p. 20)

The creative industry is divided into 3 groups:

Production– people who create thing e.g write a song, make a movie, make a painting.

Distribution– people who promote and market things to reach the target audience using advertisements.

Consumption– The audience consuming the information e.g by going to the cinema, going to a concert; to consume the product.

Key Quotes:

“the distinctive organisational form of the cultural industries has considerable implications for the conditions under which symbolic creativity is carried out“

“in its utopian presentation, creative work is now imagined only as a self-actualising pleasure, rather than a potentially arduous or problematic obligation undertaken through material necessity” (2009, p. 417)

Media buisnesses are reliant upon changing audience consumption patterns”– The media and creative industry is based off of audience preference, taste, and how audiences will react to productions.

Risk is minimized by many different things:

• ‘Fan culture’, if productions develop a strong, reliable and loyal fan base, producers can almost rely on a positive reaction from these consumers towards future productions.
• Marketing and advertising, the use of advertisement allows creative/ media products to gain the attention of their target audience
• Trying not to create a ‘monopoly’, often, large, worldwide companies such as ‘Disney’ and ‘Apple’ leave one aspect of production, distribution or consumption to a third party company in order to create a legal monopoly.
• Repetition; Producers stick to their strengths and create similar products time and time again to create a loyal fan base so that they don’t have to continue finding new target audience.