Creativity vs Commerce in the Cultural Industries

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CREATIVITY VS.COMMERCE IN THE CULTURAL INDUSTRIES One of the main principles of capitalism is that the human being, as a rational economic agent, sees opportunities in his surroundings and exploits them in search of a benefit (Kaletsky, 2012). The Cultural Industries - “those institutions that are most directly involved in the production of social meaning…including radio, cinema, newspaper, magazine and book publishing, the music recording and publishing industries, advertising and the performing arts”(Hesmondalgh, p.12)- have been no exception. Consequently, nowadays, from China to Peru, and from Australia to the United States, most youngsters are dancing to the rhythm of the same songs, have grown up watching the same Disney movies, came home from school to watch the same cartoons and series, watch the Academy Awards every year and have or want smartphones, tablets and laptops. The great distance that separates their countries as well as the disparities between their cultures, religions and customs does not seem to have affected the fact that they all have access to the same texts of cultural industries, which in the majority of the cases come from the United States. Should we attribute this phenomenon to globalization or to the advances in technologies? Actually, to neither of them. During the 20th century, the cultural industries have become increasingly important in national economies and global businesses, because as Hesmondhalgh states they “came to be seen as a prestigious form of making profits as the entertainment industries came to be perceived as a key economic sector” (p. 92) which has resulted in an impressing decline in the creative side of the industry. According to Marx, one of the principal reasons why human beings are different than animals is not only because they are creative, but also because this creativity forms part of their needs.
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