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
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 (SAGE, 2019); 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 eight other books or special journal issues on media, music and culture, including a special issue of Popular Communication (co-edited with Anamik Saha) on Race and Cultural Production; The Media and Social Theory (Routledge, co-edited with Jason Toynbee, 2008) and Media and Society, 6th edition (Bloomsbury, co-edited with James Curran, 2019). He was born and raised in Accrington, Lancashire, did his first degree in English Language and Literature at the University of Oxford, and received his PhD from Goldsmiths University of London in 1996. He lives in Yorkshire with his partner, the philosopher Helen Steward, and they have two adult children, Rosa and Joe.
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.
*José 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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