In recent years research into creative labour and cultural work has usually addressed the politics of production in these fields, but the sociotechnical and aesthetic dimensions of collaborative creative work have been somewhat overlooked. This book aims to address this gap. Through case studies that range from TV showrunning to independent publishing, from the film industry to social media platforms such as Tumblr and Wattpad, this collection develops a critical understanding of the integral role collaboration plays in contemporary media and culture. It draws attention to diverse kinds of creative collaboration afforded via the intermediation of digital platforms and networked publics. It considers how these are incorporated into emergent market paradigms and investigates the complicated forms of subjectivity that develop as a consequence. But it also acknowledges historical continuities, not least in terms of the continued exploitation of ‘support personnel’ and of resulting artistic conflicts but also of alternative models that resist the precarious nature of contemporary cultural work. Finally, this volume attempts to situate creative collaboration in broader social and economic contexts, where the experience and outcomes of such work have proved more problematic than the rich potential of their promise would lead us to expect.

Reflecting proactively on a growing industry 'dilemma', this book explores how publishing businesses can and do successfully experiment and innovate in digital publishing through collaboration. Many sectors of publishing are still structured around print production, with digital innovation in the consumer arena generally focused on different book formats, such e-books and audiobooks, rather than on brand-new types of products. Publishers need to innovate around different sorts of content and digital formats as consumers change their media habits. However, their pricing, business and risk models, and workflows are reflective of a legacy of print publishing; and as print commands so much revenue, publishers do not want to derail their main business as they experiment. Drawing on an analysis of collaboration and network theory and four in-depth qualitative case studies in different sectors, this research suggests that collaboration, particularly engaging with the wider creative sector, is key to the sustainable development of new types of products. It points to the characteristics of a successful digital collaboration and explains how to manage publishing innovation alongside the existing business, through para-organisations. Considering novel approaches to innovation, such as iterative software-style approaches and agile project management, as well as new business models, such as those employed in games development, the author shows how introducing new people – from software developers to competitors – can help instill a collaborative mindset within the organisation and facilitate constructive experimentation. Managing Digital Innovation in Publishing will be of interest to upper-level students and researchers of (digital) publishing and related creative industries.

This book documents the rise in youth creativity, entrepreneurship, and collective strategies to address systemic barriers and discrimination in the creative industries and create an expanded, more diverse, inclusive, equitable, and caring field. Although the difficulties of entering and making a living in the creative industries—a field which can often perpetuate dominant patterns of social exclusion and economic inequality—are well documented, there is still an absence of guidance on how young creatives can navigate this environment. Foregrounding an intersectional approach, Reimagining the Creative Industries responds to this gap by documenting the work of contemporary youth collectives and organizations that are responding to these systemic barriers and related challenges by creating more caring and community-oriented alternatives. Mobilizing a care ethics framework, Miranda Campbell underscores forms of care that highlight relationality, recognize structural barriers, and propose new visions for the creative industries. This book posits a future where creativity, collaboration, and community are possible through increased avenues for co-creation, teaching and learning, and community engagement. Anyone interested in thinking critically about the creative industries, youth culture, community work, and creative employment will be drawn to Campbell's incisive work.

This book constitutes the refereed proceedings of the 20th IFIP WG 5.5 Working Conference on Virtual Enterprises, PRO-VE 2019, held in Turin, Italy, in September 2019. The 56 revised full papers were carefully reviewed and selected from 141 submissions. They provide a comprehensive overview of major challenges and recent advances in various domains related to the digital transformation and collaborative networks and their applications with a strong focus on the following areas related to the main theme of the conference: collaborative models, platforms and systems for digital revolution; manufacturing ecosystem and collaboration in Industry 4.0; big data analytics and intelligence; risk, performance, and uncertainty in collaborative networked systems; semantic data/service discovery, retrieval, and composition in a collaborative networked world; trust and sustainability analysis in collaborative networks; value creation and social impact of collaborative networks on the digital revolution; technology development platforms supporting collaborative systems; collective intelligence and collaboration in advanced/emerging applications; and collaborative manufacturing and factories of the future, e-health and care, food and agribusiness, and crisis/disaster management.

We are now at a point where 'analytical advances' permit researchers to theoretically and empirically formulate, model, and test many of the ideas pertaining to the working of Richard Florida's 'creative class' in interesting and new ways. The kind of advances we have in mind include, but are not limited to, recent developments in growth theory in economics, improvements in statistics and in regional science that permit researchers to analyze data in novel ways, and progress in computer science that allows researchers to take advantage of, for instance, natural language processing. The objective of this book is to demonstrate how new analytical advances permit one to have a richer and more nuanced understanding of the ways in which the creative class has functioned and the ways in which its abilities can be harnessed for the betterment of society at large.

This book offers the first international look at how script development is theorised and practiced. Drawing on interviews, case studies, discourse analysis, creative practices and industry experiences, it brings together scholars and practitioners from around the world to offer critical insights into this core, but often hidden, aspect of screenwriting and screen production. Chapters speculate and reflect upon how creative, commercial and social practices – in which ideas, emotions, people and personalities combine, cohere and clash – are shaped by the practicalities, policies and rapid movements of the screen industry. Comprising two parts, the book first looks ‘into’ script development from a theoretical perspective, and second looks ‘out from’ the practice to form practitioner-led perspectives of script development. With a rising interest in screenwriting and production studies, and an increased appetite for practice-based research, the book offers a timely mapping of the terrain of script development, providing rich foundations for both study and practice.

"In recent years research into creative labour and cultural work has usually addressed the politics of production in these fields, but the sociotechnical and aesthetic dimensions of collaborative creative work have been somewhat overlooked. This book aims to address this gap. Through case studies that range from TV showrunning to independent publishing, from the film industry to social media platforms such as Tumblr and Wattpad, this collection develops a critical understanding of the integral role collaboration plays in contemporary media and culture. It draws attention to diverse kinds of creative collaboration afforded via the intermediation of digital platforms and networked publics. It considers how these are incorporated into emergent market paradigms and investigates the complicated forms of subjectivity that develop as a consequence. But it also acknowledges historical continuities, not least in terms of the continued exploitation of 'support personnel' and of resulting artistic conflicts but also of alternative models that resist the precarious nature of contemporary cultural work. Finally, this volume attempts to situate creative collaboration in broader social and economic contexts, where the experience and outcomes of such work have proved more problematic than the rich potential of their promise would lead us to expect

In recent years research into creative labour and cultural work has usually addressed the politics of production in these fields, but the sociotechnical and aesthetic dimensions of collaborative creative work have been somewhat overlooked. This book aims to address this gap. Through case studies that range from TV showrunning to independent publishing, from the film industry to social media platforms such as Tumblr and Wattpad, this collection develops a critical understanding of the integral role collaboration plays in contemporary media and culture. It draws attention to diverse kinds of creative collaboration afforded via the intermediation of digital platforms and networked publics. It considers how these are incorporated into emergent market paradigms and investigates the complicated forms of subjectivity that develop as a consequence. But it also acknowledges historical continuities, not least in terms of the continued exploitation of 'support personnel' and of resulting artistic conflicts but also of alternative models that resist the precarious nature of contemporary cultural work. Finally, this volume attempts to situate creative collaboration in broader social and economic contexts, where the experience and outcomes of such work have proved more problematic than the rich potential of their promise would lead us to expect.

What is expertise? In the arts, or cultural work, the experts in this area are commonly regarded to be art critics, dealers or intermediaries. Why are they considered experts? What about the expertise of the artists or cultural workers themselves? The Politics of Expertise in Cultural Labour provides a much-needed account of the concept of expertise in cultural work, providing new insights into the individual experiences of cultural workers and the role of social media in their creative practice and development of expertise. It also explores the potential reasons for inequalities in the sector which centre not only on protected characteristics such as class, gender and race, but increasingly the digital divide. Drawing on interviews with cultural workers and an innovative social media analysis, this book highlights the characteristics of aesthetic expertise in production – the practical skills cultural workers hone and deploy over years of training and creative practice. This is a new take on aesthetic expertise, which is traditionally associated with those involved in the judgement of culture, such as critics, dealers and intermediaries. The book highlights how social media platforms both enable and constrain the development of practical aesthetic expertise, and the platforms’ role in the mediation of the cultural object online. Finally, Patel interrogates the power dimensions of expertise, focusing primarily on gender. Drawing on the work of Pierre Bourdieu, it explores how opportunities to develop aesthetic expertise, and the ability to use social media platforms to signal that expertise, are not available to everyone. In this sense, The Politics of Expertise in Cultural Labour adds new perspectives to the growing body of work on inequalities in the creative and cultural industries, as well as scholarship on social media and creative work. The book concludes with the argument that the term ‘expertise’ needs to be problematised and reclaimed by those who are not equally represented in the cultural industries, using gender as a case in point.

Based on new archival evidence and interviews, and setting out a new theoretical framework for music video analysis, Emily Caston presents a major new analysis of music videos from 1966-2016, identifying not only their distinctive British traits, but their parallels with British film genres and styles. By analysing the genre, craft and authorial voice of music video within the context of film and popular music, the book sheds new light on existing theoretical and historical questions about audiences, authorship, art and the creative industries. Far from being an American cultural form, the book reveals music video's roots in British and European film traditions, and suggests significant ways in which British video has impacted popular film and music culture.