文化產(chǎn)業(yè)外文翻譯-文庫吧
2025-04-17 01:16 本頁面
【正文】 ale cultural entrepreneurs, around a strengthening of copyright protection. The software industry was pushing for the contentious widening of intellectual property protection of software. The major media conglomerates wanted an extension of copyright protection and its reinforced policing. In all cases, this involved the undermining of existing public use provisions and also, according to some analysts, a break on innovation rather than its encouragement. It suited these interests to sell the extension of copyright as a defence of the interest of “creators” with all the moral prestige associated with the “creative artist”. Whether recent intellectual property reforms in the Millennium Copyright Act in the United States or the Information Society Copyright Directive in the European Union do in fact foster creativity or protect the economic interest of artists is in fact highly dubious. (For a general review of these arguments that accepts the “creative industries” agenda, see Howkins 2020.) The Artist as Creative Worker The second consequence of the choice of the term “creative” and the inclusion of puter software in the definition of the “creative industries” was that it enabled the cultural sector to use arguments for the public support of the training of “creative workers” originally developed for the ICT industry. The original argument derived from socalled “endogenous growth” theory which attributed the relative international petitiveness of nations and industries to the institutional structures supporting innovation, part of which was the provision of suitably trained human capital. This was then translated into the claim that skill shortages in the ICT industries were a major drag on economic growth and relative petitiveness. Against this general policy background, the choice of the term “creative” enabled the cultural sector to claim that without public support there would be an inadequate supply of creative workers to ensure the United Kingdom’s international petitiveness in the supposedly highgrowth market for cultural products and services. This whole argument has very wide policy implications because it increasingly drives education policy. While there may be something in the general human capital argument, the skill shortage argument, and still less the response of attempts at micro manpower planning through the public education and training system, has never made much sense even within the ICT field. That the American dominance in global media is the result of superior education or training or that the United Kingdom is short of “creative” workers bears no serious examination. Indeed the Gorham Report (Gorham and partners 1996) argues for an export push in part to mop up aboveaverage levels of unemployment in the sector. At the general level of education policy there is an argument that the shift to the service sector – and this is supported by detailed labour market analyses of which types of jobs requiring which skills are growing – has meant not the growth in the requirement for hightech skills, but for inter human munication and relational skills and analyses of information of the type a humanistic
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