The cultural and creative industries

A critical and Historical account of the cultural and creative industries as a policy discourse. It argues that the emergence of a cultural policy discourse was part of a progressive democratic politics from the 1960s onwards, taking cognizance of the emergence of new kinds of commercial popular culture. It suggests that this period saw the merging of aesthetics and culture in particular ways. The creative industries come from a different source which combined innovation theory, embedded economics and entrepreneurialism in ways that resulted in a much less progressive politics. The chapter ends by suggesting the the idea of the creative industries is now at an end.

Frontiers of science

‘Everybody is science conscious these days’ – so started the inaugural week of Frontiers of Science, a self described ‘intelligently presented and attractively drawn’ science-based comic strip published in the Sydney Morning Herald from 1961 to 1982 and ultimately syndicated to daily newspapers around the world. An archive of the first 200 Frontiers of Science comic strips (1961−65) has been made freely available online through an initiative of the University of Sydney Library. While the 1960s public interest in evolution, space exploration, and the Cold War have given way to the twenty-first century concerns about global warming, genetic engineering, and alternative energy sources, it is fair to say that everybody is still science conscious. Frontiers of Science provides an interesting and nostalgic insight into 1960s popular science through an unusual mode of dissemination.

The differential recognition of children’s cultural practices in middle primary literacy classrooms

This paper argues that teachers’ recognition of children’s cultural practices is an important positive step in helping socio-economically disadvantaged children engage with school literacies. Based on twenty-one longitudinal case studies of children’s literacy development over a three-year period, the authors demonstrate that when children’s knowledges and practices assembled in home and community spheres are treated as valuable material for school learning, children are more likely to invest in the work of acquiring school literacies. However they show also that whilst some children benefit greatly from being allowed to draw on their knowledge of popular culture, sports and the outdoors, other children’s interests may be ignored or excluded. Some differences in teachers’ valuing of home and community cultures appeared to relate to gender dimensions.

Redesigning school spaces : creating possibilities for learning

This chapter reports on a project in which university researchers’ expertise in architecture, literacy and communications enabled two teachers in one school to expand the forms of literacy that primary school children engaged in. Starting from the school community’s concerns about an urban renewal project in their neighbourhood, participants collaborated to develop a curriculum of spatial literacies with real-world goals and outcomes. We describe how the creative re-design of curriculum and pedagogy by classroom teachers, in collaboration with university academics and students, allowed students aged 8 to 12 years to appropriate semiotic resources from their local neighbourhood, home communities, and popular culture to make a difference to their material surrounds. We argue that there are productive possibilities for educators who integrate critical and place-based approaches to the design and teaching of the literacy curriculum with work in other learning areas such as society and environment, technology and design and the arts. The student production of expansive and socially significant texts enabled by such approaches may be especially necessary in contemporary neoconservative policy contexts that tend to limit and constrain what is possible in schools.

Fashion localisation in a global aesthetic market

This paper investigates how fashion circulates globally and is adapted and localised by consumers. The rise of fashion blogs, social networking, on-line retail and on-line streaming of fashion shows has exponentially increased the availability of fashion images globally, enabling a further multiplication of styles and looks. The geographical dispersion of production systems in third world countries, and the concentration of management and finance in first world countries are increasingly acknowledged as having an uneven social and economic effect. However, processes of hibridisation and creolisation give rise to new cultural forms where the local and the foreign are mixed in interesting ways. I argue that the current circulation of fashion must be understood as adaptation in which “outside aesthetic influence is integrated into and becomes part of an existing style tradition” (Lynch and Strauss, 2007, p. 154). This emergence of new local and eclectic styles denies assumptions in which consumers are disengaged while duped by a system of commodification. The paper argues that, through a process of “deterritorialisation”, “displacement” and “repatriation” (Appadurai 1996, p. 32), creative ordinary consumers are able to engage with fashion, reinventing it in the context of their local cultures.

Wolf Creek by Sonya Hartnett

Australian screen classics are seminal for a range of reasons: whether it is a particular title’s popularity and impact upon popular culture, its cultural and textual meaning, or what the film tells us about the social, political and cultural climate from which it emerged. Wolf Creek (Greg McLean, 2005) is undoubtedly an Australian screen classic. The film was an impressive low-budget breakout success, which played a big part in the renaissance of contemporary Australian genre cinema by opening doors for genre filmmakers targeting international markets in ways that haven’t been seen in Australia since the 1980s. Wolf Creek has become the quintessential Australian horror movie. It has captured collective national fears and anxieties about the Australian outback – the isolation, the repressive desolation, the idea that the landscape itself is your enemy. It challenges traditional representations of Australian masculinity and the “ocker larrikin” to show a negative image of the rural ocker which dominated Australian screen in the 1970s and, to lesser extent, the 1980s.

something 2.0

In ‘something 2.0’, a section of a Hollywood film is re-edited to include textual elements that appear as ‘Pinocchio-ish’ protrusions from the actors faces. As they sit in what appears to be an interview or therapy session, this re-editing and looping imposes a new fictionalized narrative upon the characters. The histrionic yet vague nature of the text, and its imperfect integration into the footage, can be read as both a comical imposition and a failed critical gesture, both speaking to the complications involved in the relationship of the artist and the fan as they engage with popular culture. Thw work was included in the group show 'Perfection' part of the Metro Arts Artistic Program 2008.

The wandering

In this video, text sourced from dream description websites is combined into a narrative. The words floating against an animated cloud background are set to a stock music track. This work examines the nature of consciousness and identity in a contemporary context. It mixes the languages of dream description and cinematic narrative. By extending on some of Nicolas Bourriaud’s ideas around “postproduction” and the creative and critical strategies of ‘editing’, this work draws attention to the ways popular culture and private anxieties continually mix together in our experiences of lived and imagined realities.

Arts and creative industries : a historical overview; and an Australian conversation

Australia should seek new and liberating ways to bring together the arts, popular culture and the creative industries, according to Arts and creative industries. The report, funded by the Australia Council for the Arts and prepared by Professor Justin O’Connor of the Creative Industries Faculty at Queensland University of Technology, looks at ways in which the policy relationship between these often polarised sectors of arts and creative industries might be re-thought and approached more productively. The report is in two parts, commencing with An Australian conversation, in which Professor O’Connor, with Stuart Cunningham and Luke Jaaniste, document a series of in depth interviews with 18 leading practitioners across the creative industries. They discuss their perceptions of the similarities, differences and connections between the arts and creative industries. The interviews frequently returned to the fundamental question of what was meant by ‘art’ and ‘creative industries’. The second, larger part of Arts and creative industries, addresses this question through an extensive review of the discussions of art and its relation to society and culture over the last few centuries. A historical overview highlights the importance that art has had in developing our comprehension of the modern world. It also examines the enthusiasm for the creative industries over the last 15 years or so and the impact this has had on creative policy-making. Arts and creative industries suggests there is no dividing line between publicly-funded arts, popular culture and the blossoming businesses of the creative sector – and national policy should reflect this. This study was commissioned by the Australia Council as part of a long-running and productive relationship between the council and the ARC Centre of Excellence on Creative Industries and Innovation at the Queensland University of Technology.

When There's Love

This work is an installation featuring three video projections, music and mirror balls. The three projections fill the walls with scrolling text borrowed from love song lyrics. Headphones in the gallery space allow you to hear a male voice sing the same words to an impromptu tune. Mirror balls send fragments of light spinning around the room while The Righteous Brothers’ Unchained Melody plays on repeat. This work emphasizes fragmentary, repetitious and spatio-temporal experiences of language in order to question the symbolic conventions of romance. By exaggerating and mixing hackneyed symbolic elements, this work extends on some of Nicolas Bourriaud’s theoretical insights into the creative and critical strategies of ‘postproduction’. In particular, it toys with the intersections between popular culture and inter-subjective experiences.

The drift

In this video, text floats on screen amidst a field of swirling coloured orbs and a stock music soundtrack. The text is sourced from Internet dating websites and combine into a single animated portrait charting an array of likes, dislikes, influences, beliefs and hobbies. This work examines the nature of consciousness and identity in a contemporary context. It reworks the languages of Internet dating websites to question how we construct and communicate our sense of self. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work presents an exaggerated take on contemporary identity that emphasizes its construction through consumer tastes, lifestyle choices and relationships with popular culture.

Renegades on the frontier of innovation: The shanzhai grassroots communities of Shenzhen in China's creative economy

Two Australian researchers specializing in China's creative industries examine recent developments in southern China commonly associated with the shanzhai phenomenon (e.g., production and sale of cheap local facsimiles of globally branded goods). While shanzhai is often condemned as the embodiment of China's "knock-off" industries, the authors argue that it might be more appropriately viewed as an instance of China's emerging creative economy and an example of rapid prototyping. The paper traces the evolution of shanzhai mobile phones and the materialization of the shanzhai ethos in popular culture. In arguing that shanzhai provides inputs into creative industries, the paper describes the fuzzy boundary between formal and informal culture and notes the interaction between three spheres of activity: official culture, the market, and grassroots culture.

'The comfort lies in all the things you can do': the Australian drive-in: cinema of distraction

Contrary to the claims of some film historians, the drive-in was not a uniquely American invention. Australian drive-in cinemas were, at least in the 1950s and 1960s, distinguishable from their American counterparts by virtue of the profusion of additional amusements (or distractions) they offered alongside film-viewing. This article traces the history of Australian drive-ins as ‘entertainment centres’ and ‘high temples of modernity’. It argues that the drive-in can usefully be understood as a mid-point between the domestic and public spheres, and a powerful symbol of post-WWII Australia, signifying prosperity, gathering consumer confidence and, in metropolitan areas, marking the path of urban development through its concentration in new, outer suburban areas.

Cinematic hooks for Korean studies: using the 'Apache' framework for inspiring students about Korea in and through film

Developing awareness of and maintaining interest in Korea and Korean culture for non-language secondary and tertiary students continues to challenge educators in Australia. A lack of appropriate and accessible creative and cultural materials is a key factor contributing to this challenge. In light of changes made to 'fair use' guidelines for the Digital Millennium Copyright Act in the United States in July 2010, and in order to prepare for a time in the near future when Australian copyright regulations might follow suit, this article offers a framework for utilizing film and digital media contents in the classroom. Case studies of the short digital animation film 'Birthday Boy' (2004) and the feature film The Divine Weapon (2008) are presented in order to illustrate new educational approaches to popular Korean films---the cinematic component of the 'Korean Wave' ('Hanryu' or 'Hallyu' in Korean). It is hoped that this work-in-progress will enable teachers to inspire students with limited language skills to learn more about Korean popular culture, history, and tradition as well as media, politics, and genre studies in dynamic ways through the use of films as cultural texts in the classroom.

We just make the pictures…?’ How work is portrayed in children’s feature length films

This article explores how adult paid work is portrayed in 'family' feature length films. The study extends previous critical media literature which has overwhelmingly focused on depictions of gender and violence, exploring the visual content of films that is relevant to adult employment. Forty-two G/PG films were analyzed for relevant themes. Consistent with the exploratory nature of the research, themes emerged inductively from the films' content. Results reveal six major themes: males are more visible in adult work roles than women; the division of labour remains gendered; work and home are not mutually exclusive domains; organizational authority and power is wielded in punitive ways; there are avenues to better employment prospects; and status/money is paramount. The findings of the study reflect a range of subject matters related to occupational characteristics and work-related communication and interactions which are typically viewed by children in contemporary society.