Summary
Excerpt
Table Of Contents
- Cover
- Title
- Copyright
- About the editors
- About the book
- This eBook can be cited
- Table of Contents
- List of Abbreviations
- Foreword
- An Introduction to the Main Concepts of Creative Industries (Şafak Şahin)
- Chapter 1 Investigation of Gamification and Its Effects on Marketing in Turkey (Çakır Aker)
- Chapter 2 It Is So Good, It Cannot Be Turkish: A Case Study of Local Video Game Producers versus Local Gamer Communities (Sercan Şengün, Güven Çatak, and Mustafa Feyyaz Sonbudak)
- Chapter 3 The Evolution of Role-Playing Game Communities in Turkey and Their Effects on Creative Industries (Ertuğrul Süngü, Barbaros Bostan)
- Chapter 4 The Recent Horror Film Boom in the Cinema of Turkey (Kaya Özkaracalar)
- Chapter 5 A Market on the Rise and “The Fall”: The Distribution in the Turkish Film Industry (Tolga Hepdinçler, Tuna Tetik)
- Chapter 6 The Flora of Film Festivals in Istanbul: From Mainstream to Counter-Festivals (Funda Kaya)
- Chapter 7 The Universe of Fashion Film in Turkey (Nilay Ulusoy)
- Chapter 8 Women of Animation in Turkey: animasyonunkadinlari.org (Nazlı Eda Noyan)
- Chapter 9 Dubbing as a Creative Industry in Turkey (Ömer Vatanartıran)
- Chapter 10 Turkish Independent Music Industry in the Last Decade (Burak Tamer, Barkın Engin)
- Chapter 11 Hip-Hop Culture in Turkey (Ali Çağıl Ömerbaş)
- Chapter 12 An Overall Picture of Creativity in Turkish Public Relations Industry (Idil Karademirlidağ Suher, Çisil Sohodol, and Nilüfer Geysi)
- Chapter 13 Understanding Hallmark Events: Case of Şeb-i Arus (Burcu Eker Akgöz, Elif Engin)
- Chapter 14 Digital News Media as a Creative Industry: Tracking the Changes of Content Production (Tirşe Erbaysal Filibeli, Sinan Aşçı, and Elif Cerrahoğlu)
- Chapter 15 Virtual Reality as a Creative Industry and Its Progress in Turkey (Güven Çatak, Cenk Köknar, and Ecehan Akan)
- List of Figures
- List of Tables
- Notes on Contributors
2D: |
Two dimensional |
3D: |
Three dimensional |
AI: |
Artificial Intelligence |
API: |
Application Programming Interface |
AR: |
Augmented reality |
ASVOFF: |
A Shaded View on Fashion Film |
AVOD: |
Audio/Video on Demand |
AWAL: |
Artists Without a Label |
B2B: |
Business to Business |
BAU: |
Bahçeşehir University |
BFF: |
Boğaziçi Film Festival |
BKM: |
Beşiktaş Cultural Center |
CAVE: |
Cave Automatic Virtual Environment |
CEO: |
Chief Executive Officer |
CNN: |
Cable News Network |
DAW: |
Digital Audio Workstation |
DCMS: |
Department for Culture, Media, and Sport |
DJ: |
Disc Jokey |
DM: |
Dungeon Master |
DMC: |
Doğan Music Company |
DVD: |
Digital Versatile Disc |
CNBC-e: |
Consumer New and Business Channel-Entertainment |
EWA: |
European Women’s Audiovisual Network |
FF: |
Film Festival |
FIAPF: |
International Federation of Film Producers Associations |
FIFA: |
International Federation of Association Football |
FIPRESCI: |
International Federation of Film Critics |
FPS: |
Frame-per-second |
FRP: |
Fantasy Role Playing |
GM: |
Game Master |
GWA: |
Golden Awards Excellence |
HMD: |
Head-Mounted Display |
HR: |
Human Resources |
HTC: |
Huawei Technologies, Co. |
IAAF: |
International Association of Athletics Federations |
IDA: |
Communication Consultancies Association of Turkey |
IFPI: |
International Federation of the Phonographic Industry |
IIFF: |
International Istanbul Film Festival |
IKSV: |
Istanbul Foundation for Culture and Arts |
IPRA: |
International Public Relations Association |
ITFA: |
International Documentary Film Festival Amsterdam |
KRS-ONE: |
Knowledge Reigns Supreme over Nearly Everyone |
LAN: |
Local Area Network |
LP: |
Long Play |
M4NM: |
Music for Non-musicians |
MC: |
A Master Of Ceremonies |
MESAM: |
Musical Work Owners’ Society of Turkey |
MIAM: |
Centre for Advance Studies in Music |
MR: |
Mixed reality |
MSG: |
Musical Work Owners’ League of Turkey |
MTV: |
Music Television |
MÜYAP: |
Turkish Phonographic Industry Society |
MÜYORBİR: |
Association of Music Interpreters |
NGO: |
Nongovernmental Organization |
NLTR: |
News Lab Turkey |
NTV: |
Nergis Television |
P2P: |
Peer-to-Peer |
PC: |
Personal Computer |
PCM: |
Pulse Code Modulation |
PR: |
Public Relations |
PSA: |
Public Service Announcement |
RIAA: |
Recording Industry Association of America |
RPG: |
Role-Playing Game |
RTÜK: |
The Supreme Board of Radio and Television |
SIYAD: |
Film Critics Association |
SPSS: |
Statistical Package for the Social Sciences |
SVOD: |
Subscription Video on Demand |
TRT: |
Turkish Radio Television |
TÜBİTAK: |
Scientific and Technological Research Council of Turkey |
TUHID: |
Turkish Association of Public Relations |
TURSAK: |
Turkish Cinema and Audiovisual Culture Foundation |
TV: |
Television |
UGC: |
User-Generated Content |
UIP: |
United International Pictures |
UK: |
United Kingdom |
UNCTAD: |
United Nations Conference on Trade and Development |
UNDP: |
United Nations Development Programme |
UNESCO: |
United Nations Educational, Scientific and Cultural Organization |
USA: |
United States of America |
VFX: |
Visual Effects |
VMVPD: |
Virtual Multi-channel Video Programming Distributors |
VOD: |
Video on Demand |
VR: |
Virtual Reality |
VR1: |
Virtual Reality First |
WB: |
Warner Bros. |
WIA: |
Women in Animation |
WIPO: |
World Intellectual Property Organization |
YÖK: |
Council of Higher Education |
ZORLU PSM: |
Zorlu Performing Arts Center |
Tolga Hepdinçler
Creative industries have become frequently expressed in academic studies in recent years. In the 2000s, new fields of study added to traditional media studies seem to require the adoption of the concept. In particular, the media transformed by new media technologies and the newly emerging areas of media applications difficult to define within the framework of the traditional media or cultural industries have required the use of creative industries as a new concept. On the other hand, cultural and artistic activities that are not included in the definitions of media have led to the use of the concept effectively in the last two decades. It is viable to say that the definitions of the creative industry are evaluated in different frameworks. If we make an evaluation in academic circles, Tab. 01 represents how creative industries are defined in different research areas such as creativity and content production (Pratt, 2004, 2008; Florida, 2010; Drake, 2003; Lazetti et al., 2008; Banks, 2010, McKinley & Smith 2009; Eikhof & Haunschild, 2006), creative economies (Howkins, 2001; Cave, 2002; Cunningham, 2002, 2008; Potts et al., 2008, Banks & Hesmondhalgh, 2009) and consumption of the creative contents (Deuze, 2007; Gill & Pratt, 2008; Evans, 2009; Shorthose, 2004). In this book, we tried to redefine and develop current definitions and debates in this framework.
Creative industries encompass a wide range of industrial activities covering film, television, broadcasting and advertising which are also traditional sectors of the media industries, as well as video games, design, music, visual arts, the UK’s Department of Culture, Media and Sport (DCMS), who first defined the field, added industrial areas such as architecture, the art and antiques market, crafts, interactive leisure software and fashion (DCMS, 2001). More recently, United Nations Development Programme and United Nations Conference on Trade and Development report on Creative Industries in 2010 defined a classification relies on enlarging the concept of “creativity” from activities having a strong artistic component to “any economic activity” producing symbolic products with a heavy reliance on intellectual property and for as wide a market as possible (UNDP & UNCTAD, 2010, p. 7). In this context, the report defines a classification of creative industries with their distinctive characteristics such as heritage, arts, media and functional creations.
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UNDP and UNCTAD have also set the benchmarks that are effective in identifying creative industries. The framework cited by the report is an important step in defining the boundaries of creative industries. Thus, it is a basic framework for understanding potential creative industries:
Details
- Pages
- 320
- Year
- 2020
- ISBN (PDF)
- 9783631823897
- ISBN (ePUB)
- 9783631823903
- ISBN (MOBI)
- 9783631823910
- ISBN (Softcover)
- 9783631811764
- DOI
- 10.3726/b17040
- Language
- English
- Publication date
- 2020 (March)
- Published
- Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2020. 320 pp., 32 fig. b/w, 23 tables.
