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Файл:Английский язык для студентов программы подготовки «Мультимедийные цифровые технологии в креативных индустриях» = English for “Multimedia digital tech
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creative industries as the creative economy. Most recently they have been
denominated as the Orange Economy in Latin America and the Caribbean.
Howkins’ creative economy comprises advertising, architecture, art,
crafts, design, fashion, film, music, performing arts, publishing, R&D,
software, toys and games, TV and radio, and video games. Some scholars
consider that education industry, including public and private services,
is forming a part of creative industry. There remain, therefore, different
definitions of the sector.
The creative industries have been seen to become increasingly
important to economic well-being, proponents suggesting that “human
creativity is the ultimate economic resource,” and that “the industries of
the twenty-first century will depend increasingly on the generation of
knowledge through creativity and innovation”.
Various commentators have provided varying suggestions on what
activities to include in the concept of “creative industries”, and the name
itself has become a contested issue — with significant differences and
overlap between the terms “creative industries”, “cultural industries” and
“creative economy”.
Lash and Urry suggest that each of the creative industries has
an “irreducible core” concerned with “the exchange of finance for rights
in intellectual property”. This echoes the UK Government Department for
Culture, Media and Sport (DCMS) definition which describes the creative
industries as “those industries which have their origin in individual
creativity, skill and talent and which have a potential for wealth and job
creation through the generation and exploitation of intellectual property”.
As of 2006 the DCMS definition recognizes twelve creative sectors,
namely: advertising, architecture, arts and antique markets, crafts, design,
designer fashion; film, video and photography; software, computer games
and electronic publishing; music and the visual and performing arts,
publishing, television, radio.
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To this list John Howkins would add toys and games, also including
the much broader area of research and development in science and
technology.
The various fields of engineering do not appear on this list, that
emerged from the DCMS reports. This was due, probably, to the fact that
engineers occupy relevant positions in “non-cultural” corporations,
performing activities of project, management, operation, maintenance, risk
analysis and supervision, among others. However, historically and
presently, several tasks of engineers can be regarded as highly creative,
inventive and innovative. The contribution of engineering is represented
by new products, processes and services.
Hesmondhalgh reduces the list to what he terms “the core cultural
industries” of advertising and marketing, broadcasting, film, internet and
music industries, print and electronic publishing, and video and computer
games. His definition only includes those industries that create “texts” or
“cultural artefacts” and which engage in some form of industrial reproduction.
The DCMS list has proven influential, and many other nations have
formally adopted it. It has also been criticized. It has been argued that the
division into sectors obscures a divide between lifestyle business, non-profits,
and larger businesses, and between those who receive state subsidies (e.g., film)
and those who do not (e.g., computer games). The inclusion of the antiques
trade often comes into question, since it does not generally involve production.
According to Caves, creative industries are characterized by seven
economic properties:
Nobody knows principle. Demand uncertainty exists because the
consumers’ reaction to a product are neither know beforehand, nor easily
understood afterward.
Art for art’s sake. Workers care about originality, technical
professional skill, harmony, etc. of creative goods and are willing to settle
for lower wages than offered by ‘humdrum’ jobs.
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Motley crew principle. For relatively complex creative products
(e.g., films), the production requires diversely skilled inputs. Each skilled
input must be present and perform at some minimum level to produce
a valuable outcome.
Infinite variety. Products are differentiated by quality and
uniqueness; each product is a distinct combination of inputs leading to
infinite variety options (e.g., works of creative writing, whether poetry,
novel, screenplays or otherwise).
A list / B list. Skills are vertically differentiated. Artists are ranked
on their skills, originality, and proficiency in creative processes and/or
products. Small differences in skills and talent may yield huge differences
in (financial) success.
Time flies. When coordinating complex projects with diversely
skilled inputs, time is of the essence.
Ars longa. Some creative products have durability aspects that invoke
copyright protection, allowing a creator or performer to collect rents.
The properties described by Caves have been criticized for being too
rigid. Not all creative workers are purely driven by ‘art for art’s sake’. The
‘ars longa’ property also holds for certain noncreative products. The ‘time
flies’ property also holds for large construction projects. Creative
industries are therefore not unique, but they score generally higher on
these properties relative to non-creative industries.
There is often a question about the boundaries between creative industries
and the similar term of culture industry. Culture industry is best described as an
adjunct-sector of the creative industries. Culture industry includes industries
that focus on cultural tourism and heritage, museums and libraries, sports and
outdoor activities, and a variety of ‘way of life’ activities that arguably range
from local pet shows to a host of hobbyist concerns. Thus, culture industry is
more concerned about delivering other kinds of value — including cultural
wealth and social wealth — rather than primarily providing monetary value.
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III. Read the text again answer the following questions.
1. What is the definition of creative industries?
2. Can education industry be considered creative? Why?
3. Why are creative industries increasingly important to economic
well-being?
4. Why don’t the various fields of engineering appear in the list of
creative industries?
5. What according to Hesmondhalgh are the core cultural industries?
6. Why has the DCMS model been criticized?
7. What are the seven economic properties that characterize creative
industries? Explain each.
8. Why have the properties of creative industries described by Caves
been criticized?
WATCHING
Watch a short presentation by Tim Harford: “How messy problems
can inspire creativity” https://designitplease.com/video/how-messy-
problems-can-inspire-creativity/ and answer the following questions:
1. What was wrong with the piano the Cologne Opera House had
provided for Keith Jarrett’s performance?
2. What gave the piece that Jarrett performed in concert a soothing,
ambient quality?
3. What does the moral of the story Tim Harford tell at the
beginning of his talk?
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4. According to the cognitive psychology theory, what makes people
improve their performance? In other words, what makes us think outside
the box?
5. In the context of complexity science, how do people solve a really
complicated problem?
6. What according to social psychology theorists helps solve
problems even more effectively?
7. What strategies in Tim Harford’s opinion made Brian Eno the
catalyst behind some of the greatest rock-n-roll albums of the last
40 years?
8. At the end of his talk the speaker says: “… we need to sit down
and try and play the unplayable piano”. What does he mean?
TALKING POINT
In group, discuss the following questions.
1. Do you consider yourself to be a creative person? Why?
2. How do you express your creativity? What was your last creation?
3. What inspires you to create?
4. Do you agree with the statement that creative people are often
inspired by challenges and problems? Explain your answer.
5. What are the biggest barriers to creativity at work?
WRITING
Write a description of creative job or person or place.
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UNIT 2. ENTERTAINMENT INDUSTRY
LEAD-IN
“I would rather entertain and hope that people
learned something than educate people and
hope they were entertained.”
(Walt Disney Company)
“A window — it’s more entertaining than TV.
Just ask a cat looking out, or a man looking in
on a life he desires.”
(Jarod Kintz)
“We are in the same tent as the clowns and the
freaks — that’s show business.”
(Edward R. Murrow)
In group, discuss the following questions.
1. Do you agree with the statement that entertainment can educate
people? Is it possible to learn through entertainment? Why?
2. Do you think that looking through the window is more
entertaining than TV? Explain your answer.
3. Why does Edward R. Murrow, an American broadcast journalist,
compare people in TV and radio with clowns and freaks? What does he
mean by such a comparison?
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VOCABULARY
I. Match the halves of the sentences.
1.
The only certainty in today’s
fast-moving home
entertainment industry …
A.
… in the way they do in
Britain or in the United States.
2.
Another problem was that the
show business element …
B.
… entertainment of Hilversum
and is well recommended for
its grade.
3.
Museums are part of an
educational …
C.
… is that advances in product
technology will occur at an
even faster rate.
4.
The George Street precinct is
a great place to pause, enjoy
the frequent street …
D.
… entertainment and watch the
world go by.
5.
We divide our entertainment
into two …
E.
… attracted a different kind of
spectator.
6.
The gutter press and the
entertainment industry do not
yet exist here …
F.
… system, and part of the
entertainment industry.
7.
He will be a huge loss to …
G.
… able to contaminate the
mind of the public.
8.
In his thirty-first year in show
business, Cliff Richard …
H.
… parts, television and
attractions
9.
The hotel is centrally situated
in the town near to the
restaurants and …
I.
… was the top of the UK pops
for Christmas 1988.
10.
He expresses extreme concern
about how the entertainment
industry is …
J.
… show business and to his
millions of fans.
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II. Study the collocations with the word entertainment in the
block below and match them to the definitions.
1. A type of entertainment relating to, characteristic of, directed at,
or attended by a large number of people — ______________________
__________
2. Entertainment appealing to the general public — _____________
_____________
3. Entertainment that appeals to one who is somewhat cultured, with
conventional tastes and interests — _______________________________
4. The broad range of usually televisual performances, including
comedies, variety shows, quiz / game shows, sketch shows and people /
surprise shows — ________________________________
5. Absolute, complete entertainment without restriction
or qualification — ________________________________
6. The entertainment available to aircraft passengers during
a flight — ________________________________
7. Entertainment that appeals to people of scholarly or erudite
taste — ________________________________
8. Entertainment that is nothing more nor better than what is
specified — ________________________________
9. Entertainment that appeals to a person who is not cultivated or
does not have intellectual tastes — _______________________________
sheer entertainment mere entertainment light entertainment
in-flight entertainment mass entertainment popular entertainment
high-brow entertainment middle-brow entertainment low-brow
entertainment
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III. Complete the sentences below with the entertainment
collocations from the box.
1. The idea of _____________________ most certainly has been
around since the gladiators fought in front of thousands of people as
a form of leisure for rich and poor alike.
2. The continued popularity of his plays in general, and Private
Lives in particular, points to something deeper than
____________________. Traditional attitudes toward sexual morality held
more force when Coward first wrote, and his plays were denounced by
conservatives as sensationalizing serious moral issues.
3. We can take care all of your _____________________ needs for
embedded, portable and wireless systems to guarantee a fantastic
experience for your passengers.
4. American comic book adaptations featuring superheroes are like
many other blockbusters. It is true to say that they are just ____________
_________ and they are intended to be so.
5. Alongside the developments in “legitimate” theatre, the last
decades of the 19th century saw the rise of several forms of ____________
_________ that often reached much larger audiences and created a new
range of star performers. In these traditions lay the seeds of the
20th century’s most popular theatrical genre, the musical comedy.
sheer entertainment mere entertainment light entertainment
in-flight entertainment mass entertainment popular entertainment
high-brow entertainment middle-brow entertainment
low-brow entertainment
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6. _____________________ is the broad range of usually televisual
performances. These include comedies, variety shows, quiz / game shows,
sketch shows and people / surprise shows.
7. Television became the realm of what was called ______________
_______. It appealed to the large middle class whose tastes were mostly
conventional.
8. Sam Eagle often rallied against the _____________________
he claimed was on the show, and often tried to bring ‘dignity and class’
to the performances, usually without any real success. During the first
season, Sam would introduce two Muppet characters named Wayne and
Wanda who would often sing various songs that were considered by Sam
to be ‘normal’ and ‘highbrow’ when compared to the rest of the show
and its cast.
9. Literature has mostly been an elitist art form, perhaps the most
inclusive and aristocratic, mostly enjoyed in closed halls of ____________
_________.
READING
I. Read the text about entertainment industry and find out the
meaning of the term “entertainment”.
Entertainment Industry
Entertainment is any activity which provides a diversion or permits
people to amuse themselves in their leisure time, and may also provide
fun, enjoyment and laughter. People may create their own entertainment,
such as when they spontaneously invent a game; participate actively in an
activity they find entertaining, such as when they play sport as a hobby;
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