It is widely believed that creative and media organisations should loosely control employees during the creative production process by offering them a certain level of creative autonomy, but the these organisations should tightly monitor and manage the distribution and reproduction process of creative products (Hesmondhalgh, 2009). Recently, academic interest in cultural work and creative labour has increased, but the concept of creative autonomy remains largely dependent on the images of traditional artistic labour. In reality however, the creative industries are now typically a commercialised market environment and many believe it seems very unlikely that contemporary creative labourers will have true creative autonomy. Due to the tendency to use traditional approaches when considering the creative
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For Bourdieu, creative workers well recognise the fact that they are not fully autonomous but by maintaining the superficial image of autonomous artistic labour they understand that this in turn brings financial rewards (Bourdieu & Nice, 1980). From this perspective, a good level of creative autonomy (whether or not it is superficial) is believed to be beneficial to both the industry and cultural workers themselves, as it produces a ‘belief’ in art, which conceals the bare face of commercialism.
To date, these three approaches to cultural work have been primary foundation upon which the possibility of true creative freedom within the cultural industry has been denied. From such structural perspectives, it is believed that workers are implicitly guided to work more effectively and productively as their identities are constructed by reflecting the given social orders and values (Du Gay, 2007; Prichard, 2002). Furthermore, it seems that such negative views are very closely related to the traditional images of artistic workers.
Beyond Artistic
For Bourdieu, creative workers well recognise the fact that they are not fully autonomous but by maintaining the superficial image of autonomous artistic labour they understand that this in turn brings financial rewards (Bourdieu & Nice, 1980). From this perspective, a good level of creative autonomy (whether or not it is superficial) is believed to be beneficial to both the industry and cultural workers themselves, as it produces a ‘belief’ in art, which conceals the bare face of commercialism.
To date, these three approaches to cultural work have been primary foundation upon which the possibility of true creative freedom within the cultural industry has been denied. From such structural perspectives, it is believed that workers are implicitly guided to work more effectively and productively as their identities are constructed by reflecting the given social orders and values (Du Gay, 2007; Prichard, 2002). Furthermore, it seems that such negative views are very closely related to the traditional images of artistic workers.
Beyond Artistic