How To Make A Living In The Creative Industries

This booklet explains simply and clearly how copyright helps creative people to earn money from their original works. It is designed for people who may already work in the cultural and creative industries, or who may be contemplating a career in them, as well as for individual creators, policy makers, academics, and business support agencies working in the field. It is accessible to non-specialists or newcomers to the subject of copyright and intellectual property rights.

Creativity is the fastest growing business in the world. Companies are hungry for people with ideas - and more and more of us want to make, buy, sell and share creative products. But how do you turn creativity into money? In this newly rewritten edition of his acclaimed book, leading creative expert John Howkins shows what creativity is, how it thrives and how it is changing in the digital age. His key rules for success include: Invent yourself. Be unique. Own your ideas. Understand copyright, patents and IP laws. Treat the virtual as real, and vice versa. Learn endlessly: borrow, reinvent and recycle. Know when to break the rules. Whether in film or fashion, software or stories, by turning ideas into assets anyone can make creativity pay.

In this exciting new book Angela McRobbie charts the‘euphoric’ moment of the new creative economy, as itrose to prominence in the UK during the Blair years, and considersit from the perspective of contemporary experience of economicausterity and uncertainty about work and employment. McRobbie makes some bold arguments about the staging of creativeeconomy as a mode of ‘labour reform’; she proposes thatthe dispositif of creativity is a fine-tuned instrument foracclimatising the expanded, youthful urban middle classes to afuture of work without the raft of entitlements and security whichprevious generations had struggled to win through the post-warperiod of social democratic government. Adopting a cultural studies perspective, McRobbie re-considersresistance as ‘line of flight’ and shows what is atstake in the new politics of culture and creativity. She incisivelyanalyses ‘project working’ as the embodiment of thefuture of work and poses the question as to how people who cometogether on this basis can envisage developing stronger and moreprotective organisations and associations. Scattered throughout thebook are excerpts from interviews with artists, stylists, fashiondesigners, policy-makers, and social entrepreneurs.

What is creativity? How does it work? How do we manage it and how do we profit from it? In 1996, US copyrights were worth $60.18 billion of export sales, surpassing for the first time every other export sector, including automobiles, agriculture and aircraft. Meanwhile the British music business is already larger than its steel industry. Any economy hoping to prosper in a global entertainment and design culture must seize the opportunities presented by creativity quickly. Howkins here explores how this can be done in the real world.

Creative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate. This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. “Production” collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. “Participation” explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. “Pedagogies” explores how education impacts inclusion and visibility in creative industries. Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.

Politicians, educators and business leaders often tell young people they will need to develop their creative skills to be ready for the new economy. Vast numbers of school leavers enrol in courses in media, communications, creative and performing arts, yet few will ever achieve the creative careers they aspire to. The big cities are filled with performers, designers, producers and writers who cannot make a living from their art/craft. They are told their creative skills are transferable but there is little available work outside retail, service and hospitality jobs. Actors can use their skills selling phone plans, insurance or advertising space from call centres, but usually do so reluctantly. Most people in the ‘creative industries’ work as low-paid employees or freelancers, or as unpaid interns. They put up with exploitation so that they can do what they love. The Creativity Hoax argues that in this individualistic and competitive environment, creative aspirants from poor and minority backgrounds are most vulnerable and precarious. Although governments in the West stress the importance of culture and knowledge in economic renewal, few invest in the support and infrastructure that would allow creative aspirants to make best use of their skills.

Can a creative mind thrive in a corporate landscape? Can a business leader use creativity to guide teams more effectively? From one of today’s leading creative minds comes a book for modern rebels on building a rewarding life without losing your edge. Written for uncompromising creative thinkers and aspiring changemakers, The Art of Creative Rebellion encapsulates insights and wisdom collected over a life of creative and professional prosperity. In these frank and insightful reflections, John S. Couch shares with young free thinkers the uncompromising principles needed to thrive in a world that seems to reward conformity. Above all, The Art of Creative Rebellion is a guide to shaping a life, career and reality that nourishes the spirit and feeds the soul—without compromises or apologies.

This book documents the rise in youth creativity, entrepreneurship, and collective strategies to address systemic barriers and discrimination in the creative industries and create an expanded, more diverse, inclusive, equitable, and caring field. Although the difficulties of entering and making a living in the creative industries—a field which can often perpetuate dominant patterns of social exclusion and economic inequality—are well documented, there is still an absence of guidance on how young creatives can navigate this environment. Foregrounding an intersectional approach, Reimagining the Creative Industries responds to this gap by documenting the work of contemporary youth collectives and organizations that are responding to these systemic barriers and related challenges by creating more caring and community-oriented alternatives. Mobilizing a care ethics framework, Miranda Campbell underscores forms of care that highlight relationality, recognize structural barriers, and propose new visions for the creative industries. This book posits a future where creativity, collaboration, and community are possible through increased avenues for co-creation, teaching and learning, and community engagement. Anyone interested in thinking critically about the creative industries, youth culture, community work, and creative employment will be drawn to Campbell's incisive work.