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As digital media lead to the blurring of edges beteen different creative forms, from books to film, games to visual archive, it is becoming more important to understand the way publishing fits within the wider creative industries. Organisations like the United Nations Conference on Trade and Development (UNCTAD) clearly position publishing alongside other activities in their models for creative industries and as such it plays a key role in government agendas for developing creative economies.

This paper outlines the position of publishing in this wider context by exploring the characteristics of creative industries and showing how publishing fits such definitions. This includes analysis of themes of creativity and collaboration as well as industry structures and behaviours. The paper aims to show that although publishing can at times be regarded as a traditional, legacy-bound industry, the advent of participatory technologies that break down the old publishing value chains are leading to new ways of working. The challenges that digital developments bring face other creative industries similarly. By aligning with the wider experience of creative industries, publishing can seek to define itself in a broader context of digital convergence.

The paper is based mainly on thinking developed from a literature survey undertaken for a piece of primary research I shall be conducting. The paper introduces this proposed research, which will look at the way new collaborations are forming and how publishers are managing these creative partnerships. The research will examine how publishers facilitate collaborations, what they learn from other creative industries, and how this activity may be fundamentally changing the structure of the industry.

In: Logos
Fake, mods, gaming, remix... these terms refer to modes of access, linked to digital convergence, but above all to capacities for action on cultural content, as well as on creative capacities, made possible thanks to ICTs. The media cultures of the audiovisual era are thus succeeded by the techno cultures of the digital era, in which the smartphone is becoming the first cultural terminal. These changes have a profound influence on the ways in which young people build their lives, but also on social ties. What do fansubbing and media activism have in common? What education do these changes require? These are some of the questions Youth Technoculture: From Aesthetics to Politics tries to answer.

service broadcasting. Bearing in mind these various perspectives, the rest of the paper explores the implications of EU audiovisual policy for service public, 96 Peter Humphreys through an examination of two specific lines of EU policy: namely the EU’s policy response to the digitalconvergence’ of

In: Media and Cultural Policy in the European Union


The article is concerned with the impact on public service broadcasting of the European Union (EU). It begins by explaining that, for various reasons, EU audiovisual policy is biased towards ‘negative integration’, namely market liberalisation and the direct exercise of extensive competition powers. This ‘de-regulatory’ bias has been seen by some as a threat to public service broadcasting. The paper examines the implications for public service broadcasting of two important lines of EU policy: 1) the EU’s policy response to the digital ‘convergence’ of broadcasting, telecommunications and IT; and 2) the EU’s handling of competition complaints from the commercial sector against public service broadcasters about their involvement in new media markets (including Internet).

In: Media and Cultural Policy in the European Union

communications markets. Long Range Planning, 34(4): 489-506. Yoffie, D.B., 1997. Competing in the age of digital convergence. Harvard Business School Press, Boston, MA, USA, 464 pp.

Open Access
In: Journal on Chain and Network Science

vs. Command-Control Consumption Recently, resourceful hackers transformed the spectacularly worthless CueCat UPC scanner into a cheap and useful tool for reading barcode. Thousands of the handheld devices were distributed free of charge in 2000 by a company called Digital Convergence. The idea was

In: Visions of the Human in Science Fiction and Cyberpunk

linked across actual and virtual village communities globally, to become an archipelago of communities linked by storylines sharing similar issues and problems, and their potential strategies for solutions. Coupled with this concept is the need to harness digital convergence in a learning

In: At the Edge of the Rift

Jennifer H. Meadows. Oxford: Focal. Burnett, Robert and Marshall, David. 2003. Web theory. London: Routledge. Cavazza, Marc. 1999. Cultural objects in digital convergence. In Digital Convergence: The information revolution. Edited by John Vince and Rae Earnshaw London: Springer. Chen, Wen Hong and Wellman

In: East-West Identities

focus on interconnections of film and literature, hypertext narratives, print and digital convergence. Audronė Daubarienė is a lecturer in the Center of Foreign Languages at Kaunas University of Technology. Her research interests include language and technologies, computer-mediated communication

In: Riding the Hype Cycle: The Resurgence of Virtual Worlds

and it experts and refers, in both cases, to a sequence of instructions that must be applied… 3 Digital Convergence In addition to the difficulties illustrated so far, the identification of a discipline for the Web, both of domestic and international law, is made even more complex by the fact

Open Access
In: The Italian Review of International and Comparative Law