Introduction Change and Continuity, Power and Creativity PART ONE ANALYTICAL FRAMEWORKS Approaches to Culture Assessing the Cultural Industries Explaining the Cultural Industries PART TWO: POLICY CHANGE Marketisation in Telecommunications and Broadcasting Cultural Policy and Copyright Law PART THREE: CHANGE AND CONTINUITY IN THE CULTURAL INDUSTRIES, 1980 ONWARDS Ownership, Structure and Size Organisation and Cultural Work Internationalisation, Globalisation and Cultural Imperialism New Media, Digitalization and Convergence Texts Diversity, Quality and the Serving of Interests Conclusions A New Era in Cultural Production?
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.
The first edition of The Cultural Industries moved us irrevocably past the tired debates between political economy and cultural studies approaches. This second edition takes on new and vital targets, for example claims that the Internet is replacing television in everyday media consumption... In the process, Hesmondhalgh provides us with an essential toolkit for making critical sense of the digital media age, and our places within it Nick Couldry Goldsmiths College, University Of London This book sets a valuable standard for communication studies. Hesmondhalgh integrates cultural research with political economy, organizational sociology with public communication policy studies, global with comparative analysis, and intellectual property law with technology changes. I've successfully taught graduate and undergraduate courses in the USA and France using the first edition, and this one is better still John D.H. Downing Global Media Research Centre, Southern Illinois University