The creative industries definitional discourse

Roodhouse, S

The creative industries definitional discourse

Roodhouse, S

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Publisher:: Edward Elgar
Publication Type:: Chapter
Citation:: Entrepreneurship and the Creative Economy: Process, Practice and Policy, 2011, 1, pp. 7 - 29
Issue Date:: 2011-01

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Field	Value	Language
dc.contributor.author	Roodhouse, S	en_US
dc.contributor.editor	Henry, C	en_US
dc.contributor.editor	Bruin, AD	en_US
dc.date.issued	2011-01	en_US
dc.identifier.citation	Entrepreneurship and the Creative Economy: Process, Practice and Policy, 2011, 1, pp. 7 - 29	en_US
dc.identifier.isbn	978-1-84844-769-1	en_US
dc.identifier.uri	http://hdl.handle.net/10453/17779
dc.description.abstract	Successive United Kingdom (UK) national governments and their agencies have defined and redrawn boundaries. This has resulted in continuous public cultural policy and practice turbulence since 1945, commencing with the establishment of the Arts Council of Great Britain (Pick and Anderton, 1999). The pragmatic determination of these boundries - that is definitions with no obvious rationale for inclusion or exclusion- lends itself to an interpretation of a public sector domain engaged in restrictive cultural practice, wherein boundaries are constrained enough to match the level of available resources at any given time. It is the government administrative machinery responding to national policy by providing manageable and controllable categories, classifications and frameworks for the allocation of public funds, rather than a rational, inclusive and empirically informed (and hence measurable) system that conforms to the requirements of evidence-based policy (Solesbury, 200.1). Urban regeneration (Roodhouse and Roodhouse, 1997) and the creative industries policy (Roodhouse, 2003c) by the New Labour administration exemplify this practice.	en_US
dc.publisher	Edward Elgar	en_US
dc.relation.ispartof	Entrepreneurship and the Creative Economy: Process, Practice and Policy	en_US
dc.title	The creative industries definitional discourse	en_US
dc.type	Chapter
utslib.location	Cheltenham, UK	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.citation.edition	1	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.edition	1	en_US
pubs.place-of-publication	Cheltenham, UK	en_US

Abstract:

Successive United Kingdom (UK) national governments and their agencies have defined and redrawn boundaries. This has resulted in continuous public cultural policy and practice turbulence since 1945, commencing with the establishment of the Arts Council of Great Britain (Pick and Anderton, 1999). The pragmatic determination of these boundries - that is definitions with no obvious rationale for inclusion or exclusion- lends itself to an interpretation of a public sector domain engaged in restrictive cultural practice, wherein boundaries are constrained enough to match the level of available resources at any given time. It is the government administrative machinery responding to national policy by providing manageable and controllable categories, classifications and frameworks for the allocation of public funds, rather than a rational, inclusive and empirically informed (and hence measurable) system that conforms to the requirements of evidence-based policy (Solesbury, 200.1). Urban regeneration (Roodhouse and Roodhouse, 1997) and the creative industries policy (Roodhouse, 2003c) by the New Labour administration exemplify this practice.

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http://hdl.handle.net/10453/17779