The negotiated creative autonomy in the organization-based TV labor market

Authored by: Chairin An

Routledge Handbook of Cultural and Creative Industries in Asia

Print publication date:  December  2018
Online publication date:  December  2018

Print ISBN: 9781138959927
eBook ISBN: 9781315660509
Adobe ISBN:

10.4324/9781315660509-9

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Abstract

Historically, most cultural theorists and cultural sociologists have assumed that the power of the market decreases the level of creative autonomy available to creative workers during the cultural production process. In describing the ‘culture industry’, Adorno and Horkheimer (1992) presumed that the commercialization of the cultural industry would bring about standardization of cultural products because creative workers would be forced to follow market demands and trends to ensure commercial success. Meanwhile, Bourdieu (1993) made the distinction between two types of cultural production and contended that the ‘field of restricted production’ creates ‘pure’ cultural products and producers are able to enjoy a high level of autonomy; in contrast, producers involved in the ‘field of large-scale production’ are unable to maintain their own principles during the production process. Similarly, DiMaggio (1977) assumed that large media conglomerates tend to produce standardized products lacking in creativity, while relatively small cultural companies produce more innovative outcomes. If such a perceived dichotomy between the arts and commerce is accepted, some may argue that discussing the autonomy of creative laborers in the context of the largely commercialized environment is an unworthy pursuit as the conclusion must be obvious: that is, there is no such thing as creative autonomy in this context.

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