-His book is called the cultural industries, his work is about tracing the relationship with media work, media workers and the media industries.
-the study of creative work should include a wider set of questions including the way in which aspirations to and expectations of autonomy could lead to disappointment and disillusion. As Banks and Hesmondhalgh argue,
–‘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’
-the media industry is extremely demanding and so many people cant keep up with the work load and struggle.
–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).
His book is ‘The Cultural Industries’ and it is about the relationship between media workers and the media industry. He talks about the vulnerable and precarious career paths in the creative industry. Younger people are drawn into the celebrity-type lifestyle.
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)
“I think a lot sadly does come down to luck and who you know. Which can be a shame, I don’t think there is a scheme set up which pushes people into just the media industry” shows that it’s difficult to make a proper career about of media and if you don’t know anyone famous at the start you will struggle to promote your work.
Wrote a book called “The Culture Industries“, for undergraduate students about the relationship between media worker and media industries.
It suggests that a career in media has a vulnerable and precarious nature, and that young people are drawn to the area because of the ideas about fame and wealth when in fact it is very rare that you will succeed in the media industry. ‘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’
“I think a lot sadly does come down to luck and who you know. Which can be a shame, I don’t think there is a scheme set up which pushes people into just the media industry” shows that it’s difficult to make a proper career about of media and if you don’t know anyone famous at the start you will struggle to promote your work.
His book is ‘The Cultural Industries’ and it is about the relationship between media workers and the media industry. He talks about the vunerable and precarious career paths in the creative industry. Younger people are drawn into the celebrity-type lifestyle, not realising how much hard work has to go into it.
Hesmondhalgh argues that the creative industry is a risky business.
Products only exist as a result of their economic context.
Media business product patterns have to adapt to audience consumption patterns.
Key words/Definitions
Cultural industries – Managed methods of making a profit.
Production – The making process of media products.
Distribution – The way media products are delivered to an audience.
Exhibition / Consumption – Viewing of the product from an audience.
Media concentration – Progressively fewer owners of a larger sum of the industry.
Conglomerates – A company owning numerous mass-media enterprises.
Globalisation (in terms of media ownership) – Production and consumption of media material on a global scale
His book is called The Cultural Industries, his book is about the relationship between the media workers and the media industries.
He talks about the precarious and vulnerable nature of working in the media industry. Younger people are often easily influenced and deceived with what they’re going into.
The Media industry is set out to be a hit or miss. You can either make it or you don’t. Media is shown to younger people as a world full of fun and joy when it could be merely the opposite.
What does the Media industry do to minimise the risks?
David Hesmondhalgh has said in The Cultural Industries that to lower the risks, the industry controls commercial risks through the careful supervision of distribution and promotion practices. These are some ways of avoiding risks: star formatting – obtaining a favourable figure
Cultural industries – an economic field concerned with producing, reproducing, storing, and distributing cultural goods and services on industrial and commercial terms.
Production – the action of making or manufacturing from components or raw materials, or the process of being so manufactured.
Distribution – the methods by which media products are delivered to audiences, including the marketing campaign.
Exhibition / Consumption – a public display of works of art or items of interest, held in an art gallery or museum or at a trade fair.
Media concentration – a process whereby progressively fewer individuals or organizations control increasing shares of the mass media.
Conglomerates – a company that owns numerous companies involved in mass media enterprises.
Globalisation (in terms of media ownership) –
Cultural imperialism – The practice of promoting the culture values or language of one nation in another.
Vertical Integration – a way in which media companies expand by acquiring different businesses in the same chain of production and distribution.
Horizontal Integration – a way in which media companies expand by acquiring media companies that work in similar sectors.
Mergers – an acquisition in which one or more of the undertakings involved carries on a media business in the Page 2 State and one or more of the undertakings involved carries on a media business elsewhere.
Monopolies – concentrated control of major mass communications within a society (illegal).
Gatekeepers – is a process by which information is filtered to the public by the media.
Regulation – a rule or directive made and maintained by an authority.
Deregulation – the removal of regulations or restrictions, especially in a particular industry.
Free market – an economic system in which prices are determined by unrestricted competition between privately owned businesses.
Commodification – Process by which things, services, ideas, and people relations are transformed into objects for sale.
Convergence – a phenomenon involving the interconnection of information and communications technologies, computer networks, and media content.
Diversity – it means understanding that each individual is unique, and recognizing our individual differences.
Innovation – the process of not just an “invention” of a new value for journalism, but also the process of implementing this new value in a market or a social setting to make it sustainable.
his book is called the cultural industries, it is a very set text for undergraduate students, he traces the relationship between media workers and the media industries A critical reflection that highlights the ‘myth-making’ process surrounding the potential digital future for young creatives, setting up a counter-weight against the desire of so many young people who are perhaps too easily seduced to pursue a career in the creative industries. Where the promise of wealth and fame and the celebration of a range of unlikely popular heroes including various dot.com millionaires, Young British Artists, celebrity chefs, pop stars, media entrepreneurs and the like, have according to Banks and Hesmondhalgh (2009), encouraged nascent creatives to imagine themselves as the ‘star’ at the centre of their own unfolding occupational drama.
“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).
‘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 not all creative people
Key words:
Cultural industries – refers to various businesses that produce, distribute, market or sell products that belong categorically in creative arts. Including clothing, decorative material for homes, books, movies, television programs, or music.
Production – The making of a product (eg. the people involved in creating a film).
Distribution – the methods by which media products are delivered to audiences, including the marketing campaign.
Exhibition / Consumption – a public display of works of art or items of interest, held in an art gallery or museum or at a trade fair.
Book traces relationship between media workers and media industry
A career in Media is precarious & venerable
People may be drawn in by the promise of success, wealth and fame
People may also be drawn to media work after being driven away from the boring repetitive nature of other careers such as finance which is more predictable
Creative work is often imagined to be a self actualising pleasure instead of a potentially arduous or problematic obligation undertaken through material necessity
06/01/22
Products exist as a result of their economic context
The media industry is a high risk business
Media businesses are reliant upon changing audience consumption patterns
The media is reliant on marketing and publicity functions
Media products have limited consumption capacity
Hesmondhalgh argues that the risk associated with the creation on media leads the industry to to employ highly tuned range of production practices
book- the culture industries (2019)- relationship between media workers and media industries- set text for media students.
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’ (ibid).
Wrote the book “The Culture Industries” published in 2019. This book is about the relationship between media workers and the media industry.
It describes how a career in the creative industry is much more volatile than that of a typical industry e.g finance. The careers in the creative industry are never guaranteed and the nature of them are very precarious. A lot of people, particularly on the younger end, are drawn into this career path because they are seduced by the promise of wealth and fame, then in reality this is not always the case.
The creative industry is often not as forgiving as others, in that the industry can rapidly grow or decline and jobs are never in excess.
The media industry is a very risky business, however big companies are able to somewhat mitigate the risks. They do this by using well-established, famous people to promote the content to a wide audience, serialisation (using prequels, sequels spinoffs) in order to lessen the amount of marketing needed to increase audience visibility of the product, and continuously making content based around the same genre in order to maintain consistent success. In addition, media companies are able to expand via horizontal, vertical and multi-sector integration in order to acquire new links and relations in order to explore new business opportunities. In addition, from this media companies can find multiple artists
Compared to other industries, the Cultural Industries is what effects they way in which we perceive the world
‘plays a pivotal role in organising the images and discourse through which people make sense of the world’ (Golding & Murdock)
David Hesmondhalgh – The Culture Industry
Wrote The Culture Industries (2002)
He highlights concern with the creative industry and it being too business and economically driven which effects the quality of work life and human well being
He also shines a light on the precarious nature of the creative industry as so many young people are too easily seduced to pursue a career in the creative industries which is an issue because this promise of wealth and fame is highly unlikely
In fact, the majority of the time, those who gain the most success out of the creative industry are those who previously had connections to those already in the industry
Forbes magazine estimated that in 2018 over 80% of the 700+ films created made no profit, which supports Hesmondhalgh’s view that the creative industry is a ‘RISKY BUSINESS‘ in the sense that:
An audiences tastes are continuously adapting which makes predicting their needs and wants nearly impossible
The industry is extremely competitive meaning its extremely difficult to become successful
The industry heavily relies on its connections and communication of the marketing functions and if communication is not made clearly then controlling the messages delivered by publicity partners of other companies can be very difficult
Media products such as film and television have a limited consumption capacity meaning the huge sums of money invested in creating media products result in only a one time reward
It can take considerable marketing efforts to break a potential writer or performer as a new ‘star’, especially without a built initial fanbase
Hesmondhalgh highlights that the risk associated with media creation encourages organisations, most significantly the large-scale organisations, to overproduce media content in the hopes that enough of those projects will succeed and make up for any losses.
These risks are minimised by:
Star formatting – rather than introducing new ‘stars’ whose path may prove unsuccessful and unprofitable, re-invent old, well-known stars with a ready-made audience
Genre-based formatting – labelling media content using genre-based categories allows an audience to identify whether or not a product is of interest to them before consuming it.
Serialisation – the use of sequels, prequels, spin-offs etc… requires less investment in marketing activities to create audience visibility therefore allowing producers to maximise their investments
Remakes – recycling previously successful archived material requires less time, effort and money when it comes to the production and instantly engages an audience through nostalgia-based appeals, while also rebranding content so that it fits the tastes of contemporary audiences
independent labelling – whilst the use of ‘independents’ engages more alternative audiences, audiences who are reluctant to consume mainstream media, it also shields companies from the impact of content failure on their brand identity
Curran and Seaton – Ownership Effects
Their novel ‘Power without Responsibility’ (1981), is deeply concerned with narrating the story of how the media landscape has fallen under the control of a handful of global media conglomerates.
Curran’s interest stemmed from his exploration of the radical press in the early 1800s: newspapers where originally engines for social and political change, made by the working class for the working class. However, this was short lived due to rising production costs meaning only upper class, competitive titles dominated the market and drove the radical press out. Ultimately, the process of media concentration – the control of media by larger organisations – began.
They both suggest a second, equally important factor which contributed to mass media concentration which look place in the late 20th Century. When widespread deregulation occurred in the media industry, the number of national press titles in the UK dropped to just 11 publications. This lack of diversity concentrates too much power in the hands of just a few companies.
Essentially, these conglomerates dominate the market through horizontal and vertical integration, leaving no room for smaller business, creating a lack of diversity and limited perspectives. Most commercial, print, film and television based media is situated in America and the UK: CBS, Comcast, Disney, News Corporation, Time Warner, and Viacom.
Benefits of HI
Benefits of VI
Production costs can be minimised Resources can be shared Market can be controlled
Capturing upstream and downstream profits (eg won’t have to pay extra for distributor) Control over all aspects of production chain restricts access to competitors Cross-media ownership synergies (eg Star Wars characters are used to build a plot for the films and into gaming products)
Curran argues, media owners control the content and flow of news either directly or indirectly:
Direct Control: Proprietor owners have the power to censor news content that conflicts with their political view and wider interests
Indirect Control: Installation of editors for example who are sympathetic towards the proprietor’s views and firing those who are not
They suggest that contemporary media ownership places the media in the hands of the few and not the many, touching upon Marx’s idea that culture is deployed to make the working class believe there isnt much alternative to their appaling working conditions:
Culture is controlled by social elites: media is controlled by a minority of wealthy institutions who only work for the benefit of themselves
Culture as a distraction: culture provides a temporary escape from people dull working lives and therefore distracts us from the true nature of our exploitation
Livingstone & Lunt – Regulation
They explore how the UK’s approach to to media governance serves the needs of audiences as both consumers and citizens. Most crucially, they believe that media policies implemented by governments over the last 20 years have worked in ways that protects the commercial interests of media producers
The consumer orientated approach:
Regulation champions consumer choice – regulation designed specifically to ensure a diversity of broadcasters to operate within the media landscape, allowing consumers to access a broad range of content, opinions and ideas
Relies on consumer-led policing of programme content – content regulation where audiences have to rely on ‘their own judgments of quality, truthfulness and enjoyment’ (2012).
The state plays a minor role in determining media regulation – this minimises the role of the government in producing media and is determined through quotas making entertainment that is more beneficial (eg factual, educational, content for children)
The citizen orientated approach:
Constructs a media model based on civic republicanism – provides focused content that directs media makers to ‘contribute to the enrichment of cultural and social life and the potential for self-development of individuals, groups and communities (2012). This serves consumers with not just entertainment, but also knowledge and a range of diverse content.
Citizen-based regulation foregrounds content issues – maintaining acceptable standards of content, by ensuring accuracy and dealing with the issues portrayed in a fair manner, is they key focus.
Encourages a media landscape that can critique government power – a central function of the media sector lies in its ability to hold the government and other sources of power accountable.
