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The Cultural Industries
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Table of Contents

PART ONE: INTRODUCING THE CULTURAL INDUSTRIES Chapter 1 Change and Continuity, Power and Creativity Chapter 2 The Cultural Industries Approach: Distinctive Features of Culture-Producing Businesses PART TWO: ANALYTICAL FRAMEWORKS Chapter 3 Theories of Culture, Theories of Cultural Production Chapter 4 Cultural Industries in the Twentieth Century: The Key Features Chapter 5 Why the Cultural Industries Began to Change in the 1980s PART THREE: POLICY CHANGE Chapter 6 Policy Change in Media and Telecommunications: Marketisation and Copyright Chapter 7 Cultural Policy: Creative Cities, Creative Industries, Creative Economies PART FOUR: CHANGE AND CONTINUITY IN THE CULTURAL INDUSTRIES, 1990-2017 Chapter 8 Ownership (1): Concentration, Conglomeration and Corporate Power, 1980-2010 Chapter 9 Ownership (2): Concentration, Conglomeration and Corporate Power, 2010 onwards Chapter 10 How the Claims of Digital Optimists were Contradicted by the Rise of Digital Culture Chapter 11 The Effects of Digital Networks on Individual Industries Chapter 12 Creativity, Commerce and Organisation Chapter 13 Working Conditions and Inequalities in the Cultural Industries Chapter 14 Internationalisation: Neither Globalisation nor Cultural Imperialism Chapter 15 Texts: Diversity, Quality and Social Justice Chapter 16 Conclusions: A New Era in Cultural Production? Glossary

About the Author

David Hesmondhalgh is Professor of Media, Music and Culture in the School of Media and Communication at the University of Leeds. He is the author of The Cultural Industries (4th edition, 2019, previous editions 2002, 2007 and 2013); Culture, Economy and Politics: The Case of New Labour (Palgrave, 2015, co-written with Kate Oakley, David Lee and Melissa Nisbett); Why Music Matters (Wiley-Blackwell, 2013); and Creative Labour: Media Work in Three Cultural Industries (Routledge, 2011, co-written with Sarah Baker). He is also editor or co-editor of seven other books on media, music and culture, including Media and Society (with James Curran, 6th edition, Bloomsbury, 2019) The Media and Social Theory (Routledge, with Jason Toynbee, 2008) and Western Music and its Others (University of California Press, with Georgina Born, 2000).

Reviews

Hesmondhalgh has done all students of media and communication a great service by updating this book, which offers a necessary and comprehensive map of the world of cultural industries. It is an indispensable resource for researchers and students across the world. -- Jose van Dijck
Hesmondhalgh has done the impossible - a phenomenal new edition that grapples with some of the biggest issues, major transformations and important continuities in the cultural industries to date. From political economics of neoliberalism to organisational business strategies; from sociocultural change through to technological impact this book digs deep into the relationship between power, culture and production and shows us yet again why culture and the cultural industries really do matter. It's a tour de force written with style and packed with substance - a book that every media studies student and scholar should read at least once!
-- Natalie Fenton
The Cultural Industries is one of those rare books that is accessible to students and essential for scholars. Hesmondhalgh integrates an analysis of both the changes and continuities within cultural industries in a way that is far too rare in scholarship in this field. -- Philip M Napoli
A masterful text that lays out the intellectual foundation for the contemporary study and understanding of cultural industries. Thoroughly updated, this edition maintains its original framework and reflects the expanding boundaries of its subject matter to consider both new digital industries and the extension of existing media industries into internet distribution. -- Amanda D Lotz
The publication of the 4th edition of The Cultural Industries reminds us just how important this book has been over the last decade and a half. In a period of great turbulence and far reaching transformations, we have had an almost 'real-time' charting of these industries across a vast literature, from frothily optimistic to dour doom-mongering. This edition brings us up to date, with important additions on 'digital' disruption and on the rise of China. As always, Hesmondhalgh shows us the long term continuities in the industries and, more importantly, what is at stake in the production and circulation of the meanings by which we make sense of the world. -- Justin O'Connor

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