Cultural Industries in the Digital Age: Some Provisional Conclusions

8715 WordsJan 14, 201135 Pages
Media, Culture & Society http://mcs.sagepub.com Cultural industries in the Digital Age: some provisional conclusions Enrique Bustamante Media Culture Society 2004; 26; 803 DOI: 10.1177/0163443704047027 The online version of this article can be found at: http://mcs.sagepub.com/cgi/content/abstract/26/6/803 Published by: http://www.sagepublications.com Additional services and information for Media, Culture & Society can be found at: Email Alerts: http://mcs.sagepub.com/cgi/alerts Subscriptions: http://mcs.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.co.uk/journalsPermissions.nav Citations http://mcs.sagepub.com/cgi/content/refs/26/6/803 Downloaded from…show more content…
This is because the singularity of global culture lies precisely in its capacity to recruit and absorb, to domesticate the local repertoires of any country, to indigenize its production by establishing branches and even to bring about a decontextualized ‘globalized reconstruction’, such as ‘world cinema’, ‘world music’ and an international literary style (Garc´a Canclini, 1999). ı Nevertheless, concentration and commercialization bring about other farreaching mutations in the selection of creative products and their consumption. This has attracted little attention, given its transcendent consequences at the threshold of the Digital Age. Hence, the pressures generated by high profit rates have provoked the general use of marketing and promotional tools designed to guarantee maximum returns and profitability. On the launch of new products that are tested on a more and more to ensure their success (Mi` ge, 2000), we can observe the multiplication of strategies of e distribution and intensive promotional spending in order to guarantee the success of blockbusters. Managers have to take fundamental account of how they maximise the value of their rights portfolios (Achille, 1997; Negus, 1998). But the final objective is still ‘not to sell what is produced, but to produce what can be sold’ (Achille, 1997). This path to an authentic ‘clone culture’ which replicates past successes can only increasingly standardize

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