从文化产业到创意产业-对于英国涵盖在“创意产业”方式下对于艺术和媒体政策形成的分析【外文翻译】

毕业论文外文文献翻译外文题目:FORMCULTURALTOCREATIVEINDUSTRIES-Ananalysisoftheimplicationsofthe“creativeindustries”approachtoartsandmediapolicymakingintheUnitedKingdom出处:InternationalJournalofCulturalPolicy作者:NicholasGarnham原文：CreativeIndustriesPolicyWecannowreturntothenatureandvalidityoftheimplicitclaimsbeingmadebythemobilisationoftheterm“creativeindustries”andtheirpolicyimpacts.Thesecanbereducedtotwo:thatthecreativeindustriesarethekeynewgrowthsectoroftheeconomy,bothnationallyandglobally,andthus,againstabackgroundofmanufacturingsectordecline,theyarethekeysourceoffutureemploymentgrowthandexportearnings.ThisgenerallineofargumentstemmedfromtheoriginalMakingaBusinessofInformationreport,butitwasthenlinkedtomoregeneralworkonthecompetitivenessoftheBritisheconomyand,inspiredbytheworkofmanagementgurussuchasMichaelPorter,itfedintostatisticalworkontheexportearningsandpotentialoftheculturalindustries(BritishInvisibles1991)andintobothMyerscough’s(1988)studyonTheEconomicImportanceoftheArtsinBritainandintothereportbyGorhamandPartners(1996)fortheBritishCouncilentitledExportPotentialfortheCulturalIndustries.Itisfromthisstrandofpolicyanalysisthatderives:1、Themeasurementofthecreativeindustriesinthe“CreativeIndustriesMappingDocument”(DCMS2001)andtheassociatedclaimsthattheynowrepresentthefastestsectorofeconomicgrowth;2、thestressonthetrainingofcreativeworkers;and3、thestressontheprotectionofintellectualproperty.ThisisthesourceoftheviewexpressedintheLabourParty’sCreatetheFuturethattheculturalindustries“arevitaltothecreationofjobsandthegrowthofoureconomy.Thecreativeandmediaindustriesworldwidearegrowingrapidly–wemustgrasptheopportunitiespresented”(LabourParty1997).Notethedistinctionmadeatthisstagebetweencreativeandmediaindustries.ItisalsothesourceofChrisSmith’sclaim(atthetime,theresponsiblegovernmentminister)inhisCreativeBritainthat“giventhelevelsofgrowthalreadyexperiencedinthesefields,giventheflowofchangingtechnologyanddigitalisation,givenourcontinuingabilitytodeveloptalentedpeople,thesecreativeareasaresurelywheremanyofthejobsandmuchofthewealthofthenextcenturyaregoingtocomefrom”(Smith1998,p.25).Itisinjustifyingtheseclaimsandthepoliciesthatderivefromthemthattheuseoftheterm“creative”hasbeencrucial.IntheMappingDocument,theterm“creative”waschosensothatthewholeofthecomputersoftwaresectorcouldbeincluded.Onlyonthisbasiswasitpossibletomaketheclaimsaboutsizeandgrowthstandup.However,thisinclusionhadtwovaluablepolicyconsequencesfortheinterestsinvolved.Itenabledsoftwareproducersandthemajorpublishingandmediaconglomeratestoconstructanalliancewithculturalworkers,andwithsmall-scaleculturalentrepreneurs,aroundastrengtheningofcopyrightprotection.Thesoftwareindustrywaspushingforthecontentiouswideningofintellectualpropertyprotectionofsoftware.Themajormediaconglomerateswantedanextensionofcopyrightprotectionanditsreinforcedpolicing.Inallcases,thisinvolvedtheunderminingofexistingpublicuseprovisionsandalso,accordingtosomeanalysts,abreakoninnovationratherthanitsencouragement.Itsuitedtheseintereststoselltheextensionofcopyrightasadefenceoftheinterestof“creators”withallthemoralprestigeassociatedwiththe“creativeartist”.WhetherrecentintellectualpropertyreformsintheMillenniumCopyrightActintheUnitedStatesortheInformationSocietyCopyrightDirectiveintheEuropeanUniondoinfactfostercreativityorprotecttheeconomicinterestofartistsisinfacthighlydubious.(Forageneralreviewoftheseargumentsthatacceptsthe“creativeindustries”agenda,seeHowkins2001.)TheArtistasCreativeWorkerThesecondconsequenceofthechoiceoftheterm“creative”andtheinclusionofcomputersoftwareinthedefinitionofthe“creativeindustries”wasthatitenabledtheculturalsectortouseargumentsforthepublicsupportofthetrainingof“creativeworkers”originallydevelopedfortheICTindustry.Theoriginalargumentderivedfromso-called“endogenousgrowth”theorywhichattributedtherelativeinternationalcompetitivenessofnationsandindustriestotheinstitutionalstructuressupportinginnovation,partofwhichwastheprovisionofsuitablytrainedhumancapital.ThiswasthentranslatedintotheclaimthatskillshortagesintheICTindustrieswereamajordragoneconomicgrowthandrelativecompetitiveness.Againstthisgeneralpolicybackground,thechoiceoftheterm“creative”enabledtheculturalsectortoclaimthatwithoutpublicsupporttherewouldbeaninadequatesupplyofcreativeworkerstoensuretheUnitedKingdom’sinternationalcompetitivenessinthesupposedlyhigh-growthmarketforculturalproductsandservices.Thiswholeargumenthasverywidepolicyimplicationsbecauseitincreasinglydriveseducationpolicy.Whiletheremaybesomethinginthegeneralhumancapitalargument,theskillshortageargument,andstilllesstheresponseofattemptsatmicromanpowerplanningthroughthepubliceducationandtrainingsystem,hasnevermademuchsenseevenwithintheICTfield.ThattheAmericandominanceinglobalmediaistheresultofsuperioreducationortrainingorthattheUnitedKingdomisshortof“creative”workersbearsnoseriousexamination.IndeedtheGorhamReport(Gorhamandpartners1996)arguesforanexportpushinparttomopupabove-averagelevelsofunemploymentinthesector.Atthegenerallevelofeducationpolicythereisanargumentt