1. We believe that cultural industries are the set of production activities, marketing and mass communication of messages and cultural goods that promote national and international mass dissemination of information and entertainment, and the increasing access of the majority. Among these we can identify: the press, television, radio, new media, books, music, film, DVD and video, video games, performing arts, visual arts and cultural heritage.
Comments (2)
MUY ADECUADO COMENZAR CON UNA PROPUESTA DE ESTE TIPO, APOYADO, PERO LO QUE ME PARECE MAL SON VARIOS DE LOS EJEMPLOS DE INDUSTRIAS CULTURALES, EN CUANTO NO ME GUSTAN LOS NOMBRES SELECCIONADOS. NUEVA REDACCIÓN SUGERIDA, CON LA QUE SÍ ESTOY DE ACUERDO: Las industrias culturales son el conjunto de actividades de producción, comercialización, y comunicación, a gran escala, de bienes culturales de todo tipo y de mensajes, que favorecen la difusión masiva, nacional e internacional, de estos contenidos de información, de cultura, de entretenimiento, de socialización. Entre las industrias culturales y para su mejor análisis, podemos identificar los siguientes grandes grupos: la prensa tradicional, la televisión, la radiodifusión, los nuevos multimedios, las editoriales literarias y las agencias literarias (lo que genéricamente se llama el negocio editorial), las productoras audiovisuales (productoras de audio, discográficas, productoras multimedios, productoras de vídeos), la cinematografía, las productoras y comercializadoras de videojuegos y de entretenimientos, el negocio de las artes escénicas, el negocio de las artes visuales y plásticas (pintura, fotografía, grabado, escultura, arte interactivo), la arquitectura y el patrimonio cultural, la industria digital en toda su diversidad.
Starting definition so academic and complicated!2. We believe that the two sides of the cultural industries - as an economic resource and a source of identity and social cohesion - require to take them into consideration through a dual approach: on the one hand seeking the maximum utilization of their capabilities to contribute to economic development and on the other seeking that this economic strengthening favors creativity and cultural diversity.3. We believe that development must be understood also in its relations with cultural freedom, as a process of expression of the freedom of choice. At the center of cultural development are the creation, production and exchange of meanings and individual and social appropriations understood as dynamic processes. If culture can be understood as a ""network of meanings"" (Geertz) or forms of social relations (Bourdieu), content creation is essential to cultural industries.4. We believe that thinking about the relationship between culture and development means also to be concerned about how people have changed, as well as seek new ways of living.5. We believe that inequalities define the presence of cultural industries in development, and link them to the issue of equality in which there are wide gaps, particularly for access.6. We believe that public regulation of the cultural industries is needed, to avoid that they become an influential non-elected political actor and a determinant propagator of unsustainable, violent and unfair values.
Bien señor Elissalde7. We believe that the relationship between culture and development should generate clearly defined policies, coordination between the cultural sector and other private sectors of society, resources to support the various stages of creation, and for circulation on the international stage, among other necessary actions. This is not an issue that concerns only governments, but also private enterprises, social organizations and individual creators.8. We believe convenient the construction of a community of exchange and dialogue between people and institutions working on these issues, one that ensured the representation of civil society involved.9. We believe there is a need to address public actions on these industries that exceed the national level and achieve a public transnational cultural space. These actions would have to create norms and develop socio-cultural and economic programs that accompany free trade agreements, and integration and sharing agreements.10. We believe that a new cultural relationship of cultural industries is necessary, particularly with schools, and the creation of societal actors (organizations for television viewers, cinema public, media ombudsperson) as elements of primary importance to modify the social function of these industries, transcend their commercial focus and be able to intervene in the paradoxes of globalization when local producers and the expressions of minorities are silenced.11. We believe there is a need to strengthen competitive cultural industries, to convene the creativity of small and medium enterprises and regional and local contributions, and to democratize culture promoting cultural diversity and multiculturalism. Creating programs to support individual artists and groups, internships, experiences of incubation, are all mechanisms to consolidate a strong and active cultural infrastructure.12. We believe it is necessary to improve the recovery of cultural memory, as the promotion of innovation. Experimentation is essential in a field that cannot be anchored in the reiteration of the achievements and tradition built over the years.13. We believe the improvement of distribution channels is a major challenge for the promotion of cultural industries in a development perspective. The deficiency of the circuits and distribution mechanisms of local production is a major handicap to development, as it prevents the distribution of their creativity and an exchange with the production of other countries. The discovery of alternative mechanisms of distribution and the internationalization of local production is essential.14. We believe that it is not enough to increase cultural offer, it is also necessary to form publics in a critical and continous manner, so the access to creative products keeps growing, increasing their ability to interact with cultural industries without resorting to repression and censorship and, especially. for their own enjoyment and qualified appropiation or use..15. It is crucial to connect cultural practices with social and community processes. It has been shown the relevance of music projects, media, theater or dance, in developing health programs, to reduce violence or for democratic education. CLICK ON A TOPIC TO GO TO THE ONLINE DELIBERATION:
General comments
COMENTARIO GENERAL - Los grandes grupos de industrias culturales: la prensa tradicional, la televisión, la radiodifusión, las agencias de publicidad, los nuevos multimedios, las editoriales literarias y las agencias literarias (lo que genéricamente se llama el negocio editorial), las productoras audiovisuales (productoras de audio, discográficas, productoras multimedios, productoras de vídeos), la cinematografía, las productoras y comercializadoras de videojuegos y de entretenimientos, el negocio de las artes escénicas, el negocio de las artes visuales y plásticas (pintura, fotografía, grabado, escultura, arte interactivo), la arquitectura y el patrimonio cultural, la industria digital en toda su diversidad.
Written by J.Elissalde at 06 / 12 / 2010
Cultural industries embody the relationship between culture and development, between creativity and practicality, between what has been accumulated of memory and heritage and present needs and modes of life.
Written by S.Baassiri at 27 / 12 / 2010
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