Written by leading scholar David Hesmondhalgh, The Cultural Industries remains the definitive text for understanding the ever-evolving world of culture, creativity, and commerce. This textbook provides a coherent and accessible analysis of cultural industries, combining clarity with comprehensive coverage on an international scale. In this new edition, David provides incisive updates to reflect today's pressing issues, including: The emerging impact of generative Artificial Intelligence on cultural production and consumption; Problems surrounding the use of automated, AI-based systems and human curation to recommend cultural products to users; The increasing importance of social media creators and influencers; Refreshed and internationalised case studies, offering a more inclusive and diverse perspective. Packed with real-world examples, The Cultural Industries equips readers with practical insights and critical frameworks to navigate this complex field. From students and educators to industry professionals, this text is an essential resource for anyone seeking to understand the forces shaping cultural production in the modern era.
David Hesmondhalgh is Professor of Media, Music and Culture in the School of Media and Communication at the University of Leeds. He is the author of The Cultural Industries (SAGE, 2019); Culture, Economy and Politics: The Case of New Labour (Palgrave, 2015, co-written with Kate Oakley, David Lee and Melissa Nisbett); Why Music Matters (Wiley-Blackwell, 2013); and Creative Labour: Media Work in Three Cultural Industries (Routledge, 2011, co-written with Sarah Baker). He is also editor or co-editor of eight other books or special journal issues on media, music and culture, including a special issue of Popular Communication (co-edited with Anamik Saha) on Race and Cultural Production; The Media and Social Theory (Routledge, co-edited with Jason Toynbee, 2008) and Media and Society, 6th edition (Bloomsbury, co-edited with James Curran, 2019). He was born and raised in Accrington, Lancashire, did his first degree in English Language and Literature at the University of Oxford, and received his PhD from Goldsmiths University of London in 1996. He lives in Yorkshire with his partner, the philosopher Helen Steward, and they have two adult children, Rosa and Joe.
Chapter 1: Change and Continuity, Power and Creativity Chapter 2: The Cultural Industries Approach: Distinctive Features of Culture-Producing Businesses Chapter 3: Theories of Culture, Theories of Cultural Production Chapter 4: Cultural Industries in the Twentieth Century: Key Features Chapter 5: Why the Cultural Industries Began to Change in the Late Twentieth Century Chapter 6: Policy Change in Media and Telecommunications: Marketing and Copyright Chapter 7: Cultural Policy: Creative Cities, Creative Industries, Creative Economies Chapter 8 Ownership (1): Concentration, Conglomeration and Corporate Power, 1980-2010 Chapter 9: Ownership (2): Concentration, Conglomeration and Corporate Powe, 2010 Onwards Chapter 10: How the Claims of Digital Optimists Were Contradicted by the Rise of Digital Culture Chapter 11: The Effects of Digital Networks on Individual Cultural Industries Chapter 12: Creativity, Commerce and Organisation Chapter 13: Working Conditions and Inequalities in the Cultural Industries Chapter 14: Internationalisation: Neither Globalisation nor Cultural Imperialism Chapter 15: Texts: Diversity, Quality and Social Justice Chapter 16: Conclusions: A New Era in Cultural Production?
