Introducing the Creative Industries

Rosamund Davies has a background in professional practice in the film and television industries, in which she worked with both independent production companies and public funding bodies. As script editor and story consultant for Film London, she oversaw the development of around 100 projects. Rosamund has been a lecturer in creative and media writing at the University of Greenwich since 2001, founding and expanding the university's screenwriting provision. She also developed the Working in the Media and Creative Industries course, which became the basis for the book Introducing the Creative Industries: From Theory to Practice (SAGE, 2012), which she co-authored with colleague Gauti Sigthorsson. Rosamund is a member of the International Screenwriting Research Group and sits on the Programme Committee of the Adaptive Hypertext and Narrative Connections track for ACM Hypertext. Her publications include articles and book chapters on screenwriting, hypertext and online video. Her article Narrating the Archive and Archiving Narrative: the Logic of the Index in International Journal of the Book, 5 (2008), was awarded the International Award for Excellence for the top ranked article in 2008. As an original member of the International Screenwriting Research Group, she has been active in the development of this new area of research and her article Screenwriting Strategies in Marguerite Duras's script for Hiroshima, Mon Amour (1960), was selected for inclusion in the first volume of the Journal of Screenwriting (2010) and identified as an example of innovation in screenwriting research (Koivumaeki, M.R, 2011). In her recent media practice, Rosamund has explored the intersection between narrative and archive as cultural forms and transmedia storytelling approaches to dramatic narrative. As co-investigator on the interdisciplinary research project PATINA (Personal Architectonics Through Interaction with Artefacts), funded by the RCUK Digital Economy programme, Rosamund has brought narrative enquiry to the context of designing effective research spaces, collaborating with colleagues in computer science, human computer interaction, archeology and architecture at the universities of Southampton, Bristol, Brighton, Newcastle and Swansea. She is currently collaborating on further interdisciplinary research projects with colleagues from computer science and archeology at the University of Southampton and Kings College London. Dr Gauti Sigthorsson is Principal Lecturer in Architecture and Programme Leader for the BA and MA in Media & Communication at the University of Greenwich.

Introduction: How to Use This Book Chapter 1: What are the Creative Industries? Defining the Creative Industries Studying the Creative Industries - Three Approaches Chapter 2: Creativity and Commerce Patronage: Wealth, Power and Religion in Italian Renaissance Painting The Marketplace: English Theatre in the Time of Shakespeare Reproduction and Mass-production: The Print Revolution Industrial Production Industrialised Media Production: The Studio system PART ONE: WORKING IN THE CREATIVE INDUSTRIES Chapter 3: Institutions, Ownership and Entrepreneurship The Organisation of Production Workplaces Work Structures Work Patterns Finding Work National and International Perspectives Chapter 4: The Business of Creativity Sole Traders and Micro Businesses Financing a Creative Business Contracts and Rights Business Models PEST: Political, Economic, Social and Technological Factors Clustering and the Sense of Creative Community Chapter 5: Work Routines and Work Cultures Employees: Staffers, In-house Workers Freelancers and Portfolio Workers Networking Equality of Opportunity? PART TWO: PRODUCTION AND CIRCULATION OF PRODUCTS Chapter 6: Creative Producers and Products Creative Goods and Services: Tangible and Intangible Creative Originals Producers Creative Content Producers Creative Experience Providers Creative Service Providers From Simple Creative Goods to Complex Creative Goods Chapter 7: Research, Development and Production Research and Development Production Chapter 8: Circulation: Marketing and Distribution of Creative Products Circulation The Mass Market Model Channels of Distribution and Marketing What is Marketing? Selling Stuff: Retail and its Disruptions PART THREE: THE CREATIVE ECONOMY Chapter 9: Institutional Commissioning and Financing Structures Business Models in the Television Sector Commissioning in Television How Do Writers and Producers Get TV Commissions? Finding a Route In Commissioning and the Business of Magazine Publishing Chapter 10: Clients, Funders and Going it Alone Working to Brief: The Client Relationship. Public Funding Entrepreneurial Approaches Self-funding Crowdfunding Chapter 11: The Changing Economic Landscape Creativity and Commerce: Novelty, Risk and Change Changing Work Routines and Work Cultures Changing Structures and Models Jobs That Don't Exist Yet Glossary

With the rapid growth in opportunities to work in the creative industries, there is a need for books that clearly outline the key issues. With a book rich with case studies and definitional materials, Davies and Sigthorsson have admirably met this challenge. Professor Terry Flew Queensland University of Technology Full, fresh and fun, but also hard work - absorbing, detailed and ambitious. That's the creative industries, and also this book. It suits what it studies, showing how human creativity, meaningfulness and experience are organised at industrial scale. Aimed squarely at those who will be the workforce and wealth-creators of the future, this is the go-to guide for understanding a complex and varied market. John Hartley Curtin University, Australia, and Cardiff University, Wales