Browsing Creative Encounters (ICM/IKL) by Title
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The Portraval of Beauty in Woman's Fashion MagazinesMoeran, Brian (Frederiksberg, 2009)[More information][Less information]
Abstract: The primary contents of women’s fashion magazines are fashion, beauty and health. This paper sets out to explore the ways in which international fashion magazines such as Elle, Vogue and Marie Claire portray feminine beauty in textual and advertising matter and how their readers react to such portrayals. Beauty is analysed as grooming practice, and make-up as the prime symbol of the self and its many facets in social interaction. The paper looks at the different kinds of ‘face’ that magazines invite their women readers to put on and suggests that they – and their advertisers – adopt a ‘technology of enchantment’ as a means of exercise control over them. Magazine and advertising language is imbued with ‘magical’ power, and the paper shows how the structure of advertisements closely parallels that of magical spells used in certain healing rituals. It concludes by using magazine reader interviews to learn the extent to which women do or do not believe in such ‘spells’ and whether they are encouraged to buy into the ‘beauty myth’. URI: http://hdl.handle.net/10398/7817 Files in this item: 1
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Christensen, Bo T.; Kristensen, Tore; Reber, Rolf (, 2009)[More information][Less information]
Abstract: The literature in consumer psychology has tended to lack a clear separation between theoretical models of creativity and beauty evaluations of products. The present study examined whether creativity and beauty affected willingness to pay jointly or separately. In three experiments using paintings, wrist watches and designer lamps as stimuli, the present study shows how creativity and beauty both positively influence consumer willingness-to-pay for the product, but each explains different parts of the variance. Further, product complexity differentially affects consumer judgments of creativity and beauty. The results show that it is essential to develop separate models of creativity and beauty evaluations in consumer psychology, in that they seem to be distinct factors, explaining different parts of the variance in their consequences on willingness to pay, and are affected differentially by antecedent factors, such as complexity. URI: http://hdl.handle.net/10398/7940 Files in this item: 1
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Moeran, Brian (, 2009)[More information][Less information]
Abstract: This working paper examines the role of international book fairs in the global publishing industry, and in particular their relation to the publishing cycle, chain and field. It outlines some relevant historical features, as well as main functions, of fairs, before describing in detail the daily activities of an independent academic publisher at the Frankfurt Book Fair. Analysis of the book fair takes place at two levels. The first focuses on the importance of visibility in a fair’s timing and location, as well as in the location and size of participants’ stands, inclusion in the fair catalogue, business deals, and social gatherings. The second examines the book fair as a tournament of values, or ritual tournament, in terms of its framing, membership and currency. The argument presented is that the currency of copyright is not dissimilar to a form of gift exchange and that, as a result, a book is both commodity and gift. It is in the shadow of the gift that the commodity of the book is produced, distributed, sold and read. URI: http://hdl.handle.net/10398/7795 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: This working paper examines the role of international book fairs in the global publishing industry, and in particular their relation to the publishing cycle, chain and field. It outlines some relevant historical features, as well as main functions, of fairs, before describing in detail the daily activities of an independent academic publisher at the Frankfurt Book Fair. Analysis of the book fair takes place at two levels. The first focuses on the importance of visibility in a fair’s timing and location, as well as in the location and size of participants’ stands, inclusion in the fair catalogue, business deals, and social gatherings. The second examines the book fair as a tournament of values, or ritual tournament, in terms of its framing, membership and currency. The argument presented is that the currency of copyright is not dissimilar to a form of gift exchange and that, as a result, a book is both commodity and gift. It is in the shadow of the gift that the commodity of the book is produced, distributed, sold and read. URI: http://hdl.handle.net/10398/7779 Files in this item: 1
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Hilger, Jan (, 2008)[More information][Less information]
Abstract: The Apparel Industry was one of the first globally operating industries. Already in the early 1970ies did European fashion companies extend their manufacturing workbenches into lower cost neighbouring countries, making it one of the first industries to have a globally distributed network. In the first decade of the 21st century, the conditions for clothes manufacturing has changed considerably. The Sourcing Share of Asia increased dramatically especially since Chinas participation in the WTO in 2005 which led to the abolition of quotas. India, Vietnam, Bangladesh, Malaysia and the Philippines also play a major role in the Asian Textile and Garment Market. But even so, West Europe, the Mediterranean Rim and the East European Countries still play an important role on the global textile and apparel market, maybe no longer from the volume perspective but in terms of variety, complexity and product quality, particularly for the more demanding markets. Latin America has seen a significant decline over the last decade but is developing similar strategies like Europe to compete through quality and specialty niche rather than volume. Does this mean that the West European Apparel Industry is dead? The European Textile and Garment industry has undergone a severe decline since 1970 which nearly made it extinct in some of the EU founding economies. The labour intensive manufacturing segment which is almost not existent in Western Europe today particularly suffered. The only uncritical area where specifically one country in Western Europe is still defending its share, possibly due to changed sourcing practices and a recently increased presence on the global marketplace is the textile sector in Italy, which has even seen a rise in both volumes and employees over the last decade. URI: http://hdl.handle.net/10398/7771 Files in this item: 1
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Poulsen, Nina (, 2008)[More information][Less information]
Abstract: Presenting empirical material from the making of the exhibition “This is Not Fiction” at the Milk Wall Gallery in the autumn 2007, I will in this paper introduce some of the themes and characteristics that are central to the notion of art and to the ethnographic study of it. URI: http://hdl.handle.net/10398/7780 Files in this item: 1
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Ooi, Can-Seng; Stöber, Birgit (, 2008)[More information][Less information]
Abstract: This paper compares the branding strategies of Berlin and Singapore. The respective authorities in these cities are actively marketing, branding and transforming their cities, so that these locations will be perceived as culturally vibrant, technologically advanced and attractive for investors, tourists and creative workers. While Berlin and Singapore share the same goals, they also share similar problems – how can they convince a world that is critical and cynical about the commercial images presented through their place brands? How can they convince the world that their cities are really exciting and truly creative? The arts and culture – both popular and high – are used in place branding to address some of these challenges. This paper also concludes that place branding and its authenticity must be understood in context. The emerging reality of the place means that the brand should also reflect the local entangled social, economic and political issues; the brand, in order to be authentic, should also communicate the commercial and the vision of the place. URI: http://hdl.handle.net/10398/7773 Files in this item: 1
Creative Encounters Working Papers 6.pdf (250.3Kb) -
Ooi, Can-Seng (København, 2007)[More information][Less information]
Abstract: Tourism is entwined in economics, politics, culture, and social life. Despite Denmark’s attempt to re-brand itself as a modern, trendy and vibrant destination, the Danish tourism authorities is still selling the country’s historical sights and Hans Christian Andersen fairy tales to attract a growing number of Chinese tourists. While tourism authorities want to please the Chinese, other Danish authorities are concerned with overstaying tourists who may end up as illegal immigrants. On the Chinese side, the Chinese government is concerned with the image of China and its travelling citizens; they are trying to socially engineer the Chinese into better behaved tourists. The growing China outbound tourism market offers avenues for researchers to re-evaluate some aspects of tourism studies. Earlier studies have concentrated on the domination of tourist-receiving Third World countries by tourist-supplying First World countries. Other studies have focused on tourism impacts on host societies, ignoring how tourists themselves are being socialized and managed. This article, in the case of China, shows that a class of tourists from the developing world is capable of shaping destinations but they themselves are being shaped for the global tourism market. branding Denmark, place branding, tourism impact, tourism strategy, tourism politics URI: http://hdl.handle.net/10398/6577 Files in this item: 1
wp5-2007.pdf (207.7Kb) -
Career-making among cinematographers and film editors in the Danish film industryMathieu, Chris; Stjerne, Iben Sandal (Frederiksberg, 2011)[More information][Less information]
Abstract: This chapter analyzes subjective and objective dimensions of developing a career to a large extent based on one or several strong dyadic relationships to directors who invariably overshadow editors and cinematographers, and the personal and professional advantages (maybe even necessity) and dilemmas encountered in this process. We focus on processes of reputation, but above all, association. With regard to association we examine its two-fold dimensions. On the one hand we look at dynamics inherent in the dyadic relationship (relationship-internal dynamics) as these are central to both subjective experience of one’s career (i.e. meaningfulness, quality of working life, ambitions, and accomplishments), as well as its more objective trajectories. URI: http://hdl.handle.net/10398/8445 Files in this item: 1
Mathieu_ Stjerne_#67.pdf (175.3Kb) -
The case of CopenhagenOoi, Can-Seng; Strandgaard Pedersen, Jesper (, 2009)[More information][Less information]
Abstract: The stakeholder and bottom up approach is advocated by many researchers in the place branding literature. In order for a place brand to be successful, it must be supported by the various stakeholders. Moreover, it is an ethical issue. While studies have shown how place brands fail because of the lack of consultation with stakeholders, building up consensus amongst stakeholders is easier said than done. Models are plentiful but the practice can be a different story. How should these models translate into actual practices? We looked at the Copenhagen International Film Festival and the branding of Copenhagen. URI: http://hdl.handle.net/10398/7939 Files in this item: 1
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On the authority and role of place brand image rankingsCsaba, Fabian Faurholt; Stöber, Birgit (Frederiksberg, 2011)[More information][Less information]
Abstract: This paper discusses the practice of ranking linked to the issue of place branding focusing on two cases from Denmark, one the national level, the other on the local level, namely the city of Copenhagen. Rankings of places have increased, and – as we shall argue – so have their influence on identity negotiation and public policy. Drawing on experiences with rankings in other fields (corporate reputation and higher education) and critical work on polling, we examine their growing influence, unanticipated consequences and claims to represent places and people. We analyze how media and various audiences represent and use place image survey results. URI: http://hdl.handle.net/10398/8243 Files in this item: 1
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Abstract: To edit is to make a choice, or series of choices. Will I write a rough draft of this essay in longhand, or hammer it out on my computer? If the latter, what font shall I use? Times New Roman, Book Antiqua, or Garamond? Once I get started, what style shall I adopt: realistic, confessional or impressionistic; or a combination of all three (Van Maanen 1988)? Should I try to impress with ‘learned scholarship’, or should I merely outline in conversational English a few thoughts based on my own experiences?... URI: http://hdl.handle.net/10398/8337 Files in this item: 1
61 - BM The craft of editing (2).pdf (156.8Kb) -
Content, Cost, Chance, and CollectionLorenzen, Mark (København, 2007)[More information][Less information]
Abstract: This Working Paper argues that the film industry is a paradigmatic example of how the organization of the cultural economy is shaped by balancing creativity with contextual issues. In the film industry, organization is far from determined only by creative concerns for content production: Issues of cost, chance and collection also play important roles. Through analyzing creativity and its context in the film industry, the paper explains the industry’s organization, and opens up for understanding its significant national and regional differences. The paper carries out a literature study of economic, socioeconomic and economic geography literature on the film industry, analyzing the importance of creativity, cost, chance and collection in the film industry, and exemplifies how these issues are balanced differently in different clusters. The analytical framework presented in the paper may be used to understanding different "models” of filmmaking. Creativity, film industry, organization, innovation, transaction costs URI: http://hdl.handle.net/10398/7244 Files in this item: 1
wp03-2007.pdf (289.7Kb) -
Film festival prize juriesMathieu, Chris; Bertelsen, Marianne (Frederiksberg, 2011)[More information][Less information]
Abstract: This case focuses on juries that award prizes at film festivals. Prize juries usually award a preordained set of prizes to a preselected slate of films, but on grounds or criteria that are usually up to the actual jury itself to formally or informally establish and administer. The consequences of film festival prize jury allocations can accrue to many different groups and individuals. The most obvious beneficiaries are the persons associated with the films and roles that win prizes, though what the tangible benefits of winning prizes are depend both on what prize at what festival and still is a matter of debate. The film festivals themselves and their leadership also are impacted by the jury and its decisions, as these build or erode legitimacy and publicity for the festival. Likewise, the jury members themselves may receive a number of benefits from their jury work, as elaborated on below. URI: http://hdl.handle.net/10398/8661 Files in this item: 1
#69_Mathieu_Bertelsen.pdf (352.9Kb) -
The Careers, Survival Functions and Income of ArtistsBille, Trine; Jensen, Søren; Vestergaard, Trine (Frederiksberg, 2011)[More information][Less information]
Abstract: Many studies on the creative labor market have been done with the purpose to get knowledge on the creative workers employment, working conditions, income etc. (e.g. Alper and Wassall (2006), Throsby (2001), Throsby and Hollister (2003), Heian, Løyland and Mangset (2008), Abbing (2002). Most studies have been based on interviews and this approach has of course its pros and cons. Very few studies are based on true longitudinal data making it possible to study artists income development and survival in the professions (one exception is Coulangeon et al., 2005) The aim of this study is to analyze, comparatively for different groups of artists, the factors that affect 1) the income of artists, and 2) the probability of an artist exits the artists labor market. The paper compares different groups of artists, by looking at income functions and survival functions concerning risks to exit the labor market, using event history techniques (survival functions and Cox regressions). URI: http://hdl.handle.net/10398/8378 Files in this item: 1
Trine Bille_ Creative Encounters_63.pdf (308.9Kb) -
Ooi, Can-Seng (, 2008)[More information][Less information]
Abstract: Singapore has embarked on an ambitious program to make the city-state into a significant player in the global creative economy. The country is being re-branded as a creative city. The government agrees that in the creative economy, the environment must be conducive to experimentation and innovation. As a result, more social and political spaces have been opened up to spur Singapore’s fledging creative economy and also to signal that the nation has become more transparent and tolerant. The authorities, however, still limit the freedom of public expression on political, ethnic and religious issues. The current state of ethnic-religious harmony and political status quo is to be preserved. Singapore remains a soft-authoritarian state. Can such a country then be branded as a place conducive to creativity and innovation? This paper shows how the Singaporean government: 1) introduces and implements a set of comprehensive policies to develop the creative economy; 2) brands and re-images the city-state as an exciting creative nation; 3) communicates the new creative vision and eventually engineers local acceptance of the creative economy; and 4) promotes the image of an open society and yet maintain tight social and political control. The re-making and re-imaging of Singapore are two sides of the same coin. URI: http://hdl.handle.net/10398/7774 Files in this item: 1
Creative Encounters Working Papers 7.pdf (222.9Kb) -
The ideological symbiosis of ‘auteur’ and ‘craftsperson’Mathieu, Chris (Frederiksberg, 2011)[More information][Less information]
Abstract: This chapter explores some of the central cultural tenets of career and film making among elite members of the Danish film industry, or what is less than elegantly and somewhat grammatically incorrectly referred to as ‘the cultural of production and career’ in the title of this chapter. The theoretical reasons for this formulation is to train focus on the ideational dimensions of culture in the Danish film industry, especially as refracted through reflections on work and career by film workers. In this sense the approach, though less inclusive and ambitious, resembles Caldwell’s interest in ‘indigenous interpretive frameworks in Production Culture.i The chapter also argues that production and career decisions and actions are inextricable intertwined. Sometimes the two are consciously and manifestly related to each other, in terms of deliberating the implications that working on a given film, with given persons, in a given manner, etc. will have on one’s further work possibilities; or the reverse, how career considerations impact how films get made in terms of who works on them and what resources, skills, tastes, and perspectives are brought into and realized in a production. Sometimes the interrelation of these considerations remains latent. This chapter explores how certain cultural underpinnings support these mutually intertwined considerations. URI: http://hdl.handle.net/10398/8446 Files in this item: 1
Mathieu_#68.pdf (141.6Kb) -
Moeran, Brian (, 2009)[More information][Less information]
Abstract: This paper draws on extensive fieldwork in a wide range of creative industries to argue that creativity itself is under-theorised, and should be considered as both enabled and inhibited by numerous constraints guiding the choices made by creative personnel during the course of their work. Six sets of constraints are outlined in the context of different forms of cultural production: material, temporal, spatial, social, representational and economic. It is argued that the performance of creative work is similar in part to Turner’s concept of ‘communitas’, when an aura of individual creativity is passed to other participants. This kind of liminal space is also found in creative industry ritual events, which enable participants to communicate on an equal footing, and gain knowledge and connections that they can then use at work in their normal everyday lives. These in turn may have a long-term effect on cultural production, creativity and constraints. URI: http://hdl.handle.net/10398/7951 Files in this item: 1
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Melchior, Marie Riegels (, 2008)[More information][Less information]
Abstract: In terms of dress and fashion Denmark is an example of a West European peripheral country within the international fashion system. Since the Middle Ages, new fashions have found their way to Denmark through the internationally oriented royal family, the purchases of well-traveled citizens, various international and national fashion reports, and the international purchases by local retailers. With varying speed new cuts, colors and styles have impressed themselves upon both the everyday and festive fashions of the Danish wardrobe. The same foreign influence applies to local fashion production. Design, craftsmanship and technology has through time been shaped under influences from abroad. But these international influences have not undermined the recurring idea of a particular Danish dress and fashion culture. In the middle of the 19th century the prevailing view was that the peasants’ festive dress represented specific national dress. By the beginning of the 21st century discussions in the Danish fashion industry and industry policy concern Denmark’s status as a fashion nation and Copenhagen as a possible new global fashion center. This is due to the growing Danish fashion culture, the textile and clothing industry’s export success, and not least the fact that Denmark is a world-leading fur exporter. URI: http://hdl.handle.net/10398/7769 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: This essay examines embedded structural tensions in the organization of Japanese advertising production. Tensions arise from the fact that an advertising campaign, like many other creative products, is produced by motley crews of personnel from both within an agency contracted to carry out the campaign (an account team) and freelance professionals hired to assist in the creative work required (a production team). The structuring of advertising account teams in Japan, Europe and the USA depends on how accounts are distributed by advertising clients. The amount and kind of creativity displayed by photographers depends on advertising and the structure of fashion magazine publishing. Creativity itself thus depends on an unspoken set of institutional power relations that enables individuals to compete for recognition as being creative . URI: http://hdl.handle.net/10398/7777 Files in this item: 1
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