In this essay I’ve had the purpose of examining if digital games are cultural heritage, to my aid I’ve had questions redarding if it’s important that games are based on reality, what cultural heriage is and what the process for becoming a heritage looks like. I’ve used texts that describe cultural heritage and the process, theories about gamification where games illustrate stories that carry our identitites, image analysis focusing on games that are based on reality, and storytelling based on what values are created and the purpose of said storytelling. My material has been surveys, both in english and swedish, images and texts. In earlier research, the subject is somewhat limited and the focus has been on games as culture or based on the gaming industry. I have used the definition that culture is about expressing more or less aware performances through language, gestures, actions and clothing. Cultural heritage is about stories of meaning to our identity, and gamification has been intepreted as the illustration of stories that carry identities. I also discuss mods in the text, which is a tool with which the player can change the game experience through modifying or adding stories, music or graphical elements. The first chapter contains discussions about the history of cultural heritage and how it’s valued. In Sweden there’s been cultural politics since the 15th and 16th century, and today the cultural politics focuses on promoting a living cultural heritage that’s preserved, used and further developed. The focus point in the value of cultural heritage is the story and the knowledge that’s preserved for future generations. The value can be composed of actions and affection. The process for something becoming a cultural heritage is about someone seeing the value in preserving something and starting a collection, most often through museums or private actors. The next chapter discusses how existing cultural heritages are illustrated in games, and that it’s important to do it correctly so that a fair representations of the heritage is presented. Both in museums and in games, the thing that’s presented can be illustrated in a way that makes the image different from reality. That which represents the heritage is chosen, and when something is chosen the image of what it represents changes. In this chapter the role of the player is also discussed and how they can interact and be anchored in the game world. Following is a part about the value of games based on the value of cultural heritage, and the consensus is that the value comes from the illustration of stories, that the stories are made alive through, for example, modding. The value in digital games also lies in that they mean a lot for many people. Thereafter follows a discussion about the border between games and reality, and what can happen when reality is gamified. The following chapter contains discussions about how games work with portrayal through, among other things, designing and affecting emotions. In games the narrativity funcions as a structural base and leads the player further into the story. Then there’s a discussion about the different roles a player can hold in games, for example as a reinstator and establisher of order. Games are a unique form of culture where the player actively interacts with the story. Following that is a part about if it’s important that games are based on reality, where many players considers it not at all important, but when it’s based on reality it’s important that it’s done correctly. Games are about escaping reality, because of this it can be a disservice to try to recreate something far too real. Then follows a discussion about identity, where games have the opportunity to give people the ability to explore and try out identities, and challenge norms. Thereafter follows a part about the effects digital games have outside the game world through for example movies, books, fanart and music, and what can happen if the relation between fan and creator is inexplicit. The chapter concludes with a discussion if games are cultural heritage, and there are som ambiguities, but it its possible to conclude that at least some games are heritage. However, the act of playing a game is a definite cultural heritage.

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The purpose of the study is to examine similarities between the role as a songwriter with the role as an entrepreneur, as well as the conceptions about working with songwriting. To examine this three questions was asked: What similarities are there between the role as a songwriter and the role as an entrepreneur? What characteristics are described as important to succeed as a songwriter compared to those of an entrepreneur? What conceptions are there about working with songwriting? As a foundation for the thesis the history of the music industry is depicted in its own chapter with focus on the sales of music from the 15th century until today. The chapter describes how the music industry for a long time used sheet music as the main way to distribute new music. In the end of the 19th century the record industry started to emerge with the development of record players. During the 20th century the industry went through a lot of changes where new technology like the radio and the TV became important channels to reach a bigger audience. In the beginning of the 21st century the record sales plummeted as the music market became more and more dominated by different streaming services. The thesis empirical data is based on eight interviews, including a group interview, conducted in Los Angeles with four Swedish and seven American informants. It is also based on a forum thread from a Swedish music forum on the internet. The results from the interviews are first described in an overview and then divided into three categories; aspiring songwriters, songwriters in the music industry and informants working with songwriters. The results from the interviews shows that a songwriter should be a good person to collaborate with, be good at establishing important contacts in the music industry, and pay attention the administrative work of accounting, contracts and agreements. From the forum thread of the music forum disappointment is expressed about how DJ’s do not single handedly write and produce all the music they are attributed to in the media.   The analysis shows that professional songwriters have much in common with entrepreneurs because they both need to take risks, be creative, and start business. The similarities between the conceptions of what is required to succeed as a professional songwriter with what it takes to succeed as an entrepreneur includes having a good idea, having a supportive environment as well as being involved in marketing, sales and administration. Furthermore, the analysis shows that the work of songwriting is often glorified or overlooked, which creates misleading representations of what the work of a songwriter actually consists of.

The aim of this paper is to investigate dominant beliefs and approaches to the "cultural entrepreneur" both within a public context, and also among business owners within the cultural field. What happens when ideas and attitudes in the public sector towards culture driven businesses meets the perspective of individual cultural entrepreneurs? This study is based on analysis of political documents about the cultural and creative industries (CCI) from the European union, national level and regional level. Interviews with six business owners in the field of culture and one representative of the Swedish region with the fictive name “Alma” has been conducted. The research is also based on participant observation in public seminars and conferences about the creative industries in Sweden. The paper mainly uses Queer phenomenological theory (Sara Ahmed) to analyze the informants life worlds and how they are oriented in the same. The study is also based on poststructuralist discourse analysis and the logics approach, developed by Jason Glynos and David Howarth when analyzing political documents. This research shows there is a complex and contradictory approach towards the CCI and the cultural entrepreneur based on idealized images about the artist and the businessman, idealized images thats been existing in the discourses over a long time and which created deep structures. The cultural entrepreneurs are being described as the hope and future of the economy and welfare in Europe and its regions and at the same time as something very costly which no one really have faith in. This dual approach is a contributing factor to change being prevented.