In this session we invite both conceptual and empirical contributions that seek to analyse the economic, social and political features and consequences of trans-local cultural and creative production from multi-disciplinary perspectives. The focus can be both on CCIs in general or any individual cultural and creative sector. The topics addressed within the session include, but are not limited to: the organisation and functioning of the trans-local production networks of CCIs; the mobility (and immobility) of workforce, capital, products and ideas that make up the CCIs production networks and the intertwined-ness of these diverse flows; the network construction by various actors in the cultural and creative production projects and their power relations; processes and locations of value creation, enhancement and capture within and across the different sectors of CCIs; the relationship between the institutional regulatory context at different spatial scales and the functioning of CCIs. Please submit your abstract (250 words maximum) to us, Chun Yang (firstname.lastname@example.org), June Wang (email@example.com) or Xu Zhang (firstname.lastname@example.org), by 15 October. Your Pin number will be required upon acceptance. Please note that the final due date for registration is November 8, 2018. Please feel free to contact us for any enquiry.
During the last decades, cultural and creative industries (CCIs) have attracted growing interests in both academic and policy areas. Whereas the early CCIs research has focused primarily on the localised clustering of such activities and the policy prescriptions that might help foster such agglomerations, the production of cultural and creative goods and services is increasingly organised through a spatially dispersed network of interconnected firms and non-firm actors which perform differentiated roles at various locations (Coe, 2015). This trans-local production of CCIs has entailed the ceaseless mobility of people, ideas, technology, finance and artistic images (Kong, 2014; Wang et al., 2016) and, consequently, have generated new forms of labour market segmentation and spatial division of labour (Miller, 2016). Meanwhile, because of the high explicit symbolic content of their products and the subsequent potential for cultural and political contestation, the various components of cultural and creative production are still embedded in the multi-scalar regulatory frameworks and the territorial-specific social and institutional contexts (Kloosterman, 2010). Furthermore, the application of digital technologies has engendered the transformation of cultural and creative industries, e.g. gaming, movie industries, at global, national and local/regional levels, the studies of which have however been in lack of conceptual efforts and empirical investigation. Changing dynamics and reconfiguration of the trans-local cultural and creative production at different geographical contexts thus offers a rich field of research which may spur new scholarly conversations.
|Presenter||Di Wu*, , The role of the “boundary spanners” on attracting the creative individuals to the porcelain crafts industry cluster in Jingdezhen, China||20||9:55 AM|
|Presenter||James Vail*, University of Manchester, Networked Cultural Production and the Discourse of Autonomy in Underground Record Labels||20||10:15 AM|
|Presenter||Jinliao He*, , Creatives in Cyberspace: Local Amenities for the Agglomeration of Creative E-Freelancers in China||20||10:35 AM|
|Presenter||Hu Wen*, Hunan University, SUYUAN ZHANG, Hunan university, The Study of Beijing Film Industry from the Perspective of City Network Linkage||20||10:55 AM|
|Presenter||Xu Zhang*, Wuhan University of Technology, Cultural and creative production in the era of globalization: Exploring the trans-border mobility of Chinese media and entertainment celebrities||20||11:15 AM|
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