- The Oxford Handbook of Creative Industries
- List of Figures
- List of Tables
- List of Contributors
- Creative Industries: A Typology of Change
- The Creative Mind
- Creativity in Teams: Processes and Outcomes in Creative Industries
- Creativity in Social Networks: A Core-Periphery Perspective
- Creativity in the City
- ‘The Market for Symbolic Goods’: Translating Economic and Symbolic Capitals in Creative Industries
- Trading Places: Auctions and the Rise of the Chinese Art Market
- The Market for Creative Labour: Talent and Inequalities
- Stars and Stardom in the Creative Industries
- Creative Entrepreneurs: The Business Models of Haute Cuisine Chefs
- Entrepreneurship in Creative Industries and Cultural Change: Art, Fashion, and Modernity in India
- Performance in the Creative Industries
- Projects and Project Ecologies in Creative Industries
- Managing Project-Based Organization in Creative Industries
- Organizing Events for Configuring and Maintaining Creative Fields
- User Innovation in Creative Industries
- User Innovation in the Music Software Industry: The Case of Sibelius
- Niches, Genres, and Classifications in the Creative Industries
- Sunk Costs and the Dynamics of Creative Industries
- Creative Industries and the Wider Economy
- Brokerage, Mediation, and Social Networks in the Creative Industries
- Digitizing Fads and Fashions: Disintermediation and Glocalized Markets in Creative Industries
- Copyright, the Creative Industries, and the Public Domain
- Copyright and its Discontents
- Public Policy for the Creative Industries
- Global Production Networks in the Creative Industries
- Creative Industries and Development: Culture in Development, or the Cultures of Development?
- Author Index
- Subject Index
Abstract and Keywords
Copyright has emerged as the Intellectual Property currency of the creative industries, to the extent that they are sometimes referred to as ‘the copyright industries’. Extending beyond copyright’s perceived role of protecting creators, this chapter considers how copyright law may not only reflect, but shape the creative industries as well as the content of cultural works. This ‘production of culture’ perspective is discussed against alternative views—the ‘abstract work’ concept associated with idealism, and the ‘romantic author’ hypothesis, explaining in effect authorial entitlements as analogous to ‘real property’. The chapter scans the horizon for reform of these proprietary principles in the contemporary context of the Internet. Where the distinction between production and consumption becomes fluid, copyright law may no longer be able to force a space for transactions based on exclusive rights.
Martin Kretschmer is Professor of Intellectual Property (IP) Law at the University of Glasgow, and Director of CREATe, the RCUK Centre for Copyright & New Business Models in the Creative Economy (www.create.ac.uk). Educated at Freie Universität Berlin, London School of Economics and University College London, Martin has held a postdoctoral ESRC fellowship at Cass Business School (1996-99), directed the Centre for IP Policy and Management at Bournemouth University (2000-12), and was seconded under an ESRC knowledge exchange fellowship to the UK IP Office (2010/11). Prior to academe, he was German Consultant Editor at BBC Music Magazine. With Prof. Lionel Bently, Martin is the general editor of the AHRC funded digital archive Primary Sources on Copyright (1450-1900) (www.copyrighthistory.org).
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