Thesis (M.A.) - Carleton University, 2005. / Includes bibliographical references (p. 235-243). Also available in electronic format on the Internet.

Thesis (Ph. D.)--Freie Univ, Berlin, 2007. / Includes bibliographical references (p. 126-140).

Thesis (Ph. D.)--Michigan State University. Dept. of English, 2008. / Title from PDF t.p. (viewed on Aug. 19, 2009) Includes bibliographical references (p. 189-196). Also issued in print.

Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-252). Also available for download via the World Wide Web; free to University of Oregon users.

This study presents insights on career management in the creative and cultural industries in Scotland with detailed exploration into practices and strategies employed by cultural workers. Following a phenomenological approach, the study has used subjective data of individual career experiences and interpreted them into objective patterns of career management. Using qualitative research interviews and thematic analysis, the doctoral study explored the career management experiences of thirty six cultural workers and identified particular strategies adopted in the self-management of precarious and unpredictable careers. Employment in the creative and cultural industries is with precarious which constitutes a specific environment for career management and career progression. Not enough is known about the ways in which cultural workers manage their careers in these circumstances. The aim of this study was to understand the realities of contemporary career management in the creative and cultural industries and to identify particular practices and strategies in which creative careers might be managed. Beyond the scholars in this field, this research is of interest to cultural workers, policy makers in the creative and cultural industries more broadly and higher education institutions preparing graduates for work in the creative and cultural industries. The empirical evidence gathered can better inform cultural workers of effective career management strategies and propose policy interventions that would facilitate effective career management and career management education. Key findings focus on the use of online / social media within creative careers and how such activity takes place; the development of a new harmony between art and economic logics and the application of development based career strategies in creative careers, with cultural workers being more managerial than they even recognise themselves. The findings from this study offers confirmation to what is already known about careers in the creative and cultural industries, greater depth and detail to what is already known and extend understanding about the relationship disconnect between individual career Career Management in the Creative and Cultural Industries Abstract management strategies and the policies designed to support cultural workers – policies which focus on growth and development of the industry but not those individuals who make up the industry. Exploration of the phenomenon of career management in the creative and cultural industries requires further research, which could include: alternative methodologies to elicit perceptions based on the findings from this study, deeper exploration into both the difference in career management within the creative and cultural industries and the emerging relationship between art and economic logic.

La médiatisation des pratiques et goûts cinéphiles sur Internet semble se développer dans un temps où l'idéologie du « Web 2.0 » place l'acte collaboratif en son centre. Quelle est la place actuelle des amateurs au sein de la filière cinématographique et audiovisuelle ? Comment s'opère la rencontre entre cinéphiles ordinaires et professionnels sur Internet ? Afin de répondre à ces questions, la recherche s'appuie sur l'analyse des pratiques, usages, représentations, stratégies et logiques d'action intervenant dans le recours aux blogs de cinéphiles ordinaires, tant du point de vue des blogueurs que de celui des professionnels. Elle propose ainsi d'envisager les blogs de cinéma au cœur d'un entrelacs d'enjeux à la fois sociaux, économiques et organisationnels. D'un côté, les cinéphiles créent des blogs dans un contexte où l'individualisation et la crise de représentation des ordres légitimes cinéphiles se font croissants. De l'autre, les professionnels voient en ces amateurs spécifiques une opportunité d'élargir leurs stratégies marketing et de se positionner dans de nouveaux marchés. Les uns et les autres, enfin, tissent des relations et organisent leurs échanges, dans la volonté de garder la main mise sur cette situation, en apparence, de « co-production collaborative ». Tous ces enjeux éclairent sur l'ajustement des sphères d'action entre cinéphiles blogueurs et professionnels. En effet, ils soulignent comment, dans un contexte en mutation, les amateurs sont un vivier composé de passionnés cinéphiles dans lequel les professionnels du segment distribution/diffusion de la filière, qu'ils soient traditionnels (éditeurs vidéo et opérateurs VOD) ou émergents tels les pureplayers spécialisés (AlloCiné, Vodkaster, Cinefriends, Cinetraffic), puisent pour étendre leurs activités promotionnelles commerciales. / The mediatization of the fan practices and tastes on the Internet seems to develop when the ideology of " Web 2.0" places the collaborative act in its center. What is the current place of the ordinary fanfilms within the film and broadcasting sector? How takes place the meeting between ordinary fansfilms and professional on the Internet? To answer these questions, the research leans on the analysis of the practices, the uses, the representations, the strategies and the logics of action occurring in the recourse to the ordinary fanfilms blogs, both from the point of view of the bloggers and of the professionals. The research suggests envisaging the blogs of cinema in the heart of an interlacing of at the same time social, economic and organizational stakes. On one side, the cinema enthusiasts create blogs in a context where the individualization and the crisis of representation of the filmgoing justifiable orders make increasing. Of other one, the professionals see in these specific amateurs an opportunity to widen their marketing strategies and to position in new markets. Both, finally, weave relations and organize their exchanges, in the will to keep the hand put on this situation, seemingly, of " collaborative coproduction ". All these stakes enlighten on the adjustment of the spheres of action between cinema enthusiasts bloggers and professionals. Indeed, they underline how, in a context in transformation, the amateurs are a fishpond consisted of film enthusiasts in which the professionals of the segment distribution / difusion of the sector, which they are traditional (video publishers and VOD operators) or emergent such specialized pureplayers (AlloCiné, Vodkaster, Cinefriends, Cinetraffic), draw to spread their commercial promotional activities.

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T00:32:30Z (GMT). No. of bitstreams: 1 Muller_DanielGustavoMingotti_M.pdf: 836829 bytes, checksum: cb6bfcd56532a8291dd7005f24e24b0c (MD5) Previous issue date: 2005 / Resumo: O selo Som da Gente, ativo entre os anos de 1981 e 1992, foi criado e gerenciado pelo casal de compositores Walter Santos e Teresa Souza. A empresa produziu, ao todo, 46 discos exclusivamente instrumentais, que representam uma parte bastante significativa dos lançamentos daquele segmento, no período. A partir de um amplo levantamento bibliográfico e da realização de entrevistas com músicos e profissionais envolvidos na história do selo, procurou-se construir um extenso panorama da sua atuação, desde a escolha do cast até a divulgação e distribuição dos discos, no Brasil e no exterior, passando pela relação que se estabeleceu entre os artistas e os empresários. Analisando esses dados e incorporando-os em uma interpretação daquele momento específico do mercado fonográfico brasileiro, este trabalho pôde verificar o comportamento do selo num período de transição da estrutura de organização global desse mercado, no sentido da adoção de um sistema aberto de produção, em que a relação entre pequenas e grandes gravadoras tende a migrar de um cenário onde predomina a atuação autônoma ¿ a chamada produção independente ¿ para um cenário onde o predomínio é de uma atuação complementar entre elas ¿ as pequenas gravadoras produzindo estreitamente vinculadas às grandes / Mestrado / Mestre em Música

Orientador: Maria Clementina Pereira Cunha / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T18:30:40Z (GMT). No. of bitstreams: 1 Ferlim_UlianaDiasCampos_M.pdf: 2613377 bytes, checksum: 2a42e8925ae8c0f1401c275882b0e915 (MD5) Previous issue date: 2006 / Resumo: Este trabalho dedica-se a avaliar a produção e circulação de canções na cidade do Rio de Janeiro dentre o final do século XIX e o início do século XX. Foram utilizados cancioneiros produzidos por diferentes autores e editoras (o mais antigo deles foi publicado em 1871). Assim como catálogos da mais importante casa de comercialização de fonogramas, a primeira do país, fundada em 1902, a Casa Edison. Esta casa, propriedade do empresário Fred Figner, passou a contratar artistas para a gravação de músicas e posterior comercialização. As músicas gravadas tinham intensa circulação no mercado mais amplo das diversões musicais da cidade. Pessoas de variada origem econômica e social disputavam espaço como artistas e desenvolviam estratégias para o seu reconhecimento individual e profissional. Através da pesquisa podemos entender as discussões estéticas como parte de um quadro social que tem ligações mais profundas com a ordem social e econômica mais geral. As questões racial e da identidade nacional são acionadas neste jogo de embates da vida cotidiana que é essencialmente político / Abstract: The present work focuses on the production and circulation of songs in the city of Rio de Janeiro between the end of Nineteenth century and the beginning of Twentieth. The research is based on collection of songs (cancioneiros), produced by different authors and publishers (the oldest is from 1871). It also investigates catalogs of Casa Edison, the most important phonogram store, the first of this kind in the country, founded in 1902. This store, owned by Frederico Figner, hired artists for song recording and subsequent trading. These song circulated widely in Rio de Janeiro, in theaters, music halls, circus and on the streets. People of different economic and social origins fought for territories as artists and developed diverse strategies to be recognized individually and professionally. Through these research one can relate the aesthetic debates as part of a social context deeply linked with the economic and social order. The racial problem and the problem of the national identity are part of these daily fights, which were essentially political / Mestrado / Historia Social / Mestre em História

Cette thèse porte sur l’émergence d’une industrie musicale à Miami, spécialisée dans la production, la promotion et la distribution de la musique dite latino. Elle montre comment la ville floridienne s’est progressivement établie, à partir du début des années 1980, en un lieu central d’élaboration d’une catégorie musicale réifiée, co-construite par les industries culturelles, les médias et les musiciens. Cette recherche en sciences de l’information et de la communication s’inscrit dans une démarche au croisement de l’économie politique critique de la communication, de la socioéconomie des industries culturelles et des Latino studies. Elle a pour objectif de décrypter les mécanismes à l’œuvre dans la création de nouvelles formes musicales au sein d’environnements politiques et économiques spécifiques, la réappropriation et intégration de ces nouvelles esthétiques dans le circuit des industries culturelles, et, enfin, leur exploitation transmédiatique à des échelles multiples. / This thesis focuses on the emergence of a Miami music industry specializing in the Latin music production, promotion and distribution. It shows how the Floridian city has progressively been established as a central location for a reified musical category, co-constructed by cultural industries, media and musicians in the early 1980s. This research in information and communication sciences is at the crossroads of critical political economy and Latino studies approaches. It aims at describing the mechanisms that are at work in the creation of new musical forms, within specific political and economic contexts; the re-appropriation and integration of these new aesthetics in the cultural industries processes; and their transmedia exploitation on multiple scales.

The master's thesis focuses on self-sufficiency of NGOs in culture, especially on NGOs in performing arts. The thesis aims to analyze the current status of self-sufficiency of NGOs doing performing arts in the Czech Republic. The research was conducted by means of electronic questionnaires sent to NGOs managers or financial employees. The research has shown that NGOs doing performing arts generate a relatively high level of own funds and they diversify their sources successfully. NGOs do not draw much money from the private sector but they use foreign funds a lot. There is still room for improvement in strategic planning of NGOs fundraising and marketing activities.