
Culture and Entertainment Industries
Code: 104803Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Communication in Organisations | OP | 4 |
Contact lecturer
- Name :
- Alba Torrents Gonzalez
- Email :
- alba.torrents@uab.cat
Group languages
You can consult this information at the end of the document.
Prerequisites
No specific prior knowledge is required to take this course. However, students are expected to have an interest in the critical analysis of contemporary culture, the cultural and entertainment industries, digital platforms, cultural policies, forms of representation and the social transformations linked to cultural production.
Students should be willing to read academic texts, general-interest press, opinion articles, institutional reports and materials related to current cultural, media and digital issues. The ability to relate these materials to the debates addressed in class will also be valued.
Students must have a sufficient command of English to understand academic texts and documents written in this language.
Catalan is the vehicular language for oral and written expression in the course. For this reason, students are expected to use the language correctly, especially with regard to discursive clarity, argumentative ability, spelling and grammar, and the adequacy, coherence and cohesion of written texts and oral contributions.
Objectives
General course objectives
- Critically analyse the cultural and entertainment industries from a materialist, feminist and ecosocial perspective.
- Understand culture not only as a sphere of symbolic representation, but also as a space for the production of value, subjectivity and desire within advanced capitalism.
- Study the cultural industries as material, technological, institutional and ideological structures.
- Situate contemporary culture within the context of the knowledge society, digital capitalism and the ecosocial crisis.
- Reflect on the relations between culture and power, with particular attention to social, gender and territorial inequalities.
- Analyse the material and symbolic conditions that shape the production, circulation and reception of contemporary culture.
Specific objectives
- Analyse the main theoretical and critical frameworks for understanding the cultural and entertainment industries.
- Identify the contemporary transformations of the cultural industries in the digital environment.
- Situate the cultural and entertainment industries as spaces of economic, technological and symbolic production.
- Recognise the main actors, circuits, forms of governance and inequalities involved in cultural production.
- Develop a critical perspective on neoliberal discourses around creativity, innovation, entrepreneurship and self-expression.
- Question the paradigm of the creative industries and its forms of legitimation.
- Analyse the conditions of contemporary cultural labour, including precarity, vocation, self-exploitation, affective economies and symbolic recognition.
- Integrate contributions from feminist theory, gender studies, critical cultural studies and ecocriticism.
- Denaturalise dominant narratives about culture, progress, creativity and development.
- Investigate forms of grassroots cultural agency, such as fan cultures, user communities, practices of narrative reappropriation and affective archives.
- Understand these practices as spaces of resistance, symbolic struggle and collective production of meaning.
Learning outcomes
- Submit high-quality coursework on time, which requires attention to both individual and group work.
- Display knowledge of the structure of the cultural industries, in order to develop critical thinking and produce original ideas on the social, political and economic context in which these industries operate.
- Work independently , on the basis of the knowledge acquired, solve problems and carry out the assignments on the cultural industries.
- Explain the structure of the cultural industries in the context of the knowledge society and the globalised world within the framework of a general economy.
- Explain how a cultural or entertainment industry should be organised from a technological, a professional and an economic perspective.
- Accept that the creation, organisation and management of cultural businesses must take account of the geographical and cultural setting in which they operate and must show respect for variety in ideology, ethnic origin, religion etc.
- Propose projects and actions that are in accordance with the principles of ethical responsibility and respect for fundamental rights and obligations, diversity and democratic values.
- Propose projects and actions that incorporate the gender perspective.
- Communicate using language that is not sexist or discriminatory.
- Identify situations in which a change or improvement is needed.
- Analyse the sex- or gender-based inequalities and the gender biases present in one's own area of knowledge.
Contents
Topic 1. Culture, subjectivity and power
- Conceptions of culture and contemporary critical approaches.
- The culture industry, advanced capitalism and the production of subjectivity.
- Taste, distinction, symbolic domination and cultural inequalities.
- Capitalist realism, global markets and cultural homogenisation.
Topic 2. Institutions, cultural policies and working conditions
- Cultural governance, institutions and management models.
- Public policies, private intervention, funding and regulation.
- Culture, communication, rights, access and territory.
- Cultural work, precarity, professionalisation and alternative forms of organisation.
Topic 3. Gender, body and representation
- Culture, gender and performativity.
- Representation, otherness and social inequalities.
- Affects, identities and the commodification of difference.
- Feminist, queer and trans perspectives in cultural analysis.
Topic 4. Platform culture and technological transformations
- Digitalisation, platforms and new forms of cultural consumption.
- Platform capitalism, data and algorithmic governance.
- Metrics, visibility and the precarisation of cultural work.
- Digital commons, participation and private appropriation.
Topic 5. Participatory cultures and dissident practices
- Fan cultures, fan fiction and narrative reappropriation.
- Remix, counter-archives and forms of collective creativity.
- Affective economies and unpaid labour in digital environments.
- Media spectacularisation, community and market.
Topic 6. Ecology, ecosocial crisis and future imaginaries
- Culture, ecosocial crisis, Anthropocene and Capitalocene.
- Aesthetics of exhaustion, collapse and future imaginaries.
- Non-human agencies, multispecies relations and interdependence.
- Regenerative, ecosocial and transformative cultural practices.
Cross-cutting topic. Creativity, cultural work and neoliberal subjectivity
- The ideology of creativity and the knowledge society.
- From counterculture to the creative industries.
- Vocation, passion, enthusiasm and self-exploitation.
- Innovation, entrepreneurship and neoliberal governance.
- Precarity, inequalities of access and critique of the meritocratic promise.
Note: The course content will be sensitive to issues related to gender perspective and the use of inclusive language.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Seminar readings | 40 | 1.6 | 1, 3, 4, 9 |
| Exercises and practices in class, analysis of practical cases, presentation of works. | 15 | 0.6 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 |
| Study of the syllabus of the subject | 12 | 0.48 | 2, 3, 4, 5 |
| Master classes, lectures, viewing of audiovisual pieces, presentation of cases. | 30 | 1.2 | 1, 2, 3, 9, 11 |
| Reading and preparation of texts that will be the subject of seminars | 25 | 1 | 1, 2, 3, 4, 5, 6, 9 |
| Preparation and writing of works | 15 | 0.6 | 1, 3, 4, 5, 6, 8, 9 |
| Individualized follow-up tutorials and in small groups | 6 | 0.24 | 1, 3, 7, 8, 9, 10, 11 |
This course is worth 6 ECTS credits, which means that students are expected to devote a total of 150 hours to it, distributed across directed, supervised, autonomous and assessment activities.
- Directed activities (30% and 45 h): classroom-based activities carried out with the presence and guidance of the teaching staff. They include theoretical sessions, seminars for the discussion of compulsory readings, guided debates, work on practical cases related to the course contents and occasional activities for conceptual application. These activities aim to introduce the main critical frameworks of the course and relate them to specific examples from the cultural and entertainment industries.
- Supervised activities (30% and 46 h): activities carried out by students outside the classroom according to a work plan guided and supervised by the teaching staff. They include the monitoring of the final project, the preparation of the dissertation on an agreed topic or text, individual or group tutorials, and other course follow-up activities, either face-to-face or online. These activities support the process of defining the case study, formulating analytical questions, selecting sources and articulating the concepts worked on in class.
- Autonomous activities (35% and 52 h): activities carried out independently by students in accordance with the requirements of the course. They include reading basic and complementary texts, studying class materials, preparing seminars, searching for bibliography and documentary sources, developing activities linked to the final project and any other tasks that complement the work carried out in the classroom.
- Assessment activities (5% and 7 h): activities linked to the monitoring and evaluation of the learning process. Assessment is conceived as continuous and combines active participation in seminars, the dissertation on an agreed topic or text, and the development of an individual or group final project. Particular value will be given to the ability to apply the course concepts to specific cases, the quality of argumentation, the critical use of readings, the coherence of the analysis and the incorporation of perspectives sensitive to social, gender, technological and ecosocial inequalities.
The detailed calendar with the contents of the different sessions will be presented on the first day of the course and will be available on the Virtual Campus. There, students will find the teaching materials, readings, rubrics, activity guidelines and all the information needed to follow the course properly.
In the event of a change in teaching modality due to force majeure, in accordance with the instructions of the competent authorities, the teaching staff will inform students of any changes to the course schedule and teaching methodologies.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Active participation in seminars | 20% | 1 | 0.04 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 |
| Individual or team work | 50% | 3 | 0.12 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 |
| Dissertation on an agreed topic or text | 30% | 3 | 0.12 | 2, 3, 4, 8, 10, 11 |
Continuous assessment
The continuous assessment of the course will be distributed as follows:
- Course project: 50%
- The project may be carried out individually or in groups of up to 3 people.
- The topic and case study must be proposed by the students and agreed with the lecturer.
- The project will consist of the analysis of a case related to the cultural and entertainment industries.
- The analysis must incorporate the concepts, readings and thematic axes covered throughout the course.
- The project must be submitted during the final sessions of the course.
- This project will not have to be presented orally in class.
- Active participation in seminars: 20%
- Attendance and active participation in seminar sessions will be assessed.
- Prior preparation of readings and materials will be taken into account.
- The quality of contributions, the ability to formulate critical questions and the connection between readings, concepts and case studies will be assessed.
- This activity is excluded from the reassessment process.
- Individual dissertation on a course reading, topic or text: 30%
- Students must prepare an individual dissertation on a course reading, topic or text previously agreed with the lecturer.
- This activity will include an oral presentation in class.
- Assessment will take into account the understanding of the selected text or topic, clarity of presentation, analytical ability and the connection with the general contents of the course.
- The ability to generate debate and respond to questions related to the reading or topic presented will also be assessed.
Students will be entitled to reassessment if they have been assessed on a set of activities whose weight is equivalent to at least two thirds of the total course grade. The activity excluded from the reassessment process is active participation in seminars.
If a student commits any irregularity that may lead to a significant variation in the grade of an assessment activity, that activity will be graded as 0, regardless of any disciplinary proceedings that may be initiated. If several irregularities occur in assessment activities within the same course, the final grade for the course will be 0.
Use of artificial intelligence and plagiarism prevention
The use of generative artificial intelligence tools and LLMs (Large Language Models), such as ChatGPT or similar tools, is permitted in this course, provided that students clearly indicate which parts of the work or activity have been carried out with their support and properly cite the tool used.
At the beginning of the course, students will be provided with a detailed rubric specifying in which activities and how AI may be used, as well as the corresponding citation and transparency rules.
Any use of AI that does not comply with these instructions, or any failure to cite its use, may be considered a breach of academic integrity and, in the most serious cases, plagiarism.
Single assessment
The single assessment of the course will be distributed as follows:
- Final written project: 50%
- The project will be individual.
- The topic and case study must be proposed by the student and previously agreed with the lecturer.
- The project will consist of the analysis of a case related to the cultural and entertainment industries.
- The analysis must incorporate the concepts, readings and thematic axes covered throughout the course.
- The project must be submitted on the date established for the single assessment.
- This project will not have to be presented orally in class.
- Text commentary: 30%
- Students must write a commentary on a course reading or text.
- The text may be proposed by the lecturer or previously agreed with the student.
- Assessment will take into account understanding of the text, conceptual precision, analytical ability and the connection with the general contents of the course.
- Clarity of argumentation and appropriate use of course readings and materials will also be assessed.
- Oral examination: 20%
- Students must give an oral presentation on a course reading, topic or text previously agreed with the lecturer.
- Assessment will take into account understanding of the selected topic, clarity of presentation and the ability to relate it to the main axes of the course.
- The ability to answer questions and justify the analysis presented will also be assessed.
If the student does not pass the single assessment, they will be entitled to a reassessment process, provided that they have been assessed on at least two thirds of the planned activities. Reassessment will consist of a new written or oral activity replacing the activity that has not been passed, in accordance with the lecturer’s instructions and the centre’s regulations. The final written project will not be reassessable, except in duly justified cases and at the lecturer’s discretion, in accordance with the centre’s regulations. Reassessment will take place within the official period established in the teaching schedule.
Bibliography
Basic bibliography
Adorno, T. W., & Horkheimer, M. (2007). Dialéctica de la Ilustración: Fragmentos filosóficos. Trotta. (Obra original publicada el 1944)
Bourdieu, P. (1988). La distinción: Criterio y bases sociales del gusto. Taurus. (Obra original publicada el 1979)
Fisher, M. (2016). Realismo capitalista: ¿No hay alternativa? Caja Negra. (Obra original publicada el 2009)
Hesmondhalgh, D., & Baker, S. (2011). Creative labour: Media work in three cultural industries. Routledge.
Marx, K. (2011). El capital: Crítica de la economía política. Libro I: El proceso de producción del capital. Siglo XXI. (Obra original publicada el 1867)
McRobbie, A. (2016). Be creative: Making a living in the new culture industries. Polity Press.
Srnicek, N. (2018). Capitalismo de plataformas. Caja Negra.
Zafra, R. (2017). El entusiasmo: Precariedad y trabajo creativo en la era digital. Anagrama.
Zuboff, S. (2020). La era del capitalismo de la vigilancia: La lucha por un futuro humano frente a las nuevas fronteras del poder. Paidós.
Complementary bibliography by thematic blocks
Culture, subjectivity and power
Benjamin, W. (2007). L’obra d’art a l’època de la seva reproductibilitat tècnica. Edicions 62. (Obra original publicada el 1936)
Wark, M. (2014). The long counter-revolution. Public Seminar.
Williams, R. (1981). Cultura: Sociología de la comunicación y del arte. Paidós.
Institutions, cultural policies and cultural labor
Ateca, V., & Villarroya, A. (2023). Condicions laborals i de vida dels artistes i professionals de la cultura després de la pandèmia. Observatori Social de la Fundació “la Caixa”.
Federici, S. (2018). El patriarcado del salario: Críticas feministas al marxismo. Traficantes de Sueños.
Hesmondhalgh, D., & Baker, S. (2011). A model of good and bad work. En Creative labour: Media work in three cultural industries. Routledge.
Hesmondhalgh, D., & Baker, S. (2011). The politics of good and bad work. En Creative labour: Media work in three cultural industries. Routledge.
Gender, body, affects and representation
Ahmed, S. (2015). La política cultural de las emociones. UNAM.
Butler, J. (2007). El género en disputa: El feminismo y la subversión de la identidad. Paidós. (Obra original publicada el 1990)
Hall, S. (2010). Sin garantías: Trayectorias y problemáticas en estudios culturales. Envión Editores.
Haraway, D. J. (1995). Manifiesto cyborg: Ciencia, tecnología y feminismo socialista a finales del siglo XX. En Ciencia, cyborgs y mujeres: La reinvención de la naturaleza (pp. 251–311). Cátedra.
Stryker, S. (2017). Historia de lo trans: Las raíces de la revolución de hoy. Continta Me Tienes.
Platforms, algorithms and digital culture
Gillespie, T. (2014). The relevance of algorithms. En T. Gillespie, P. J. Boczkowski, & K. A. Foot (Eds.), Media technologies: Essays on communication, materiality, and society (pp. 167–194). MIT Press.
Srnicek, N. (2018). Capitalismo de plataformas. Caja Negra.
Zuboff, S. (2020). La era del capitalismo de la vigilancia: La lucha por un futuro humano frente a las nuevas fronteras del poder. Paidós.
Participatory cultures, fandom and dissident practices
Busse, K. (2017). Framing fan fiction: Literary and social practices in fan fiction communities. University of Iowa Press.
Coppa, F. (2006). A brief history of media fandom. En K. Hellekson & K. Busse (Eds.), Fan fiction and fan communities in the age of the Internet (pp. 41–59). McFarland.
Galbraith, P. W. (2011). Fujoshi: Fantasy play and transgressive intimacy among “rotten girls” in contemporary Japan. Signs: Journal of Women in Culture and Society, 37(1), 211–232.
Turk, T. (2011). Metalepsis in fan vids and fan fiction. En K. Kukkonen & S. Klimek (Eds.), Metalepsis in popular culture. De Gruyter.
Ecology, ecosocial crisis and future imaginaries
Ghosh, A. (2016). The great derangement: Climate change and the unthinkable. University of Chicago Press.
Haraway, D. J. (2019). Seguir con el problema: Generar parentesco en el Chthuluceno. Consonni.
Tsing, A. L. (2021). La seta del fin del mundo: Sobre la posibilidad de vida en las ruinas capitalistas. Capitán Swing.
Creativity, cultural labor and neoliberal subjectivity
Espluga, E. (2021). No seas tú mismo: Apuntes sobre una generación fatigada. Paidós.
McRobbie, A. (2016). Be creative: Making a living in the new culture industries. Polity Press.
Zafra, R. (2017). El entusiasmo: Precariedad y trabajo creativo en la era digital. Anagrama.
Reports, cultural policies and institutional context
AA. DD. (2005). Comunicació internacional i polítiques de comunicació: XXV aniversari de l’Informe MacBride. Quaderns del CAC, 21.
AA. DD. (2018). Repensar las políticas culturales: Creatividad para el desarrollo. UNESCO.
Ateca, V., & Villarroya, A. (2023). Condicions laborals i de vida dels artistes i professionals de la cultura després de la pandèmia. Observatori Social de la Fundació “la Caixa”.
Civil i Serra, M., & López, B. (Eds.). (2021). Informe de la comunicació a Catalunya 2019-2020. InCom-UAB.
Consell de l’Audiovisual de Catalunya. (2001). La definició del model de servei públic al sector de l’audiovisual. CAC.
Consell de l’Audiovisual de Catalunya. (2017). Llibre blanc de l’audiovisual de Catalunya. CAC.
Consell de l’Audiovisual de Catalunya. (2021). Informe sobre l’audiovisual a Catalunya 2020. CAC.
Consell Nacional de la Cultura i de les Arts. (2018). Estat de la cultura i de les arts 06_2018: Dimensió social de la cultura. CoNCA.
Cuny, L. (2020). Libertad y creatividad: Defender el arte, defender la diversidad. UNESCO.
Departament de Cultura i Mitjans de Comunicació. (2010). Pla d’equipaments culturals de Catalunya 2010-2020. Generalitat de Catalunya.
Ministerio de Cultura y Deporte. (2023). Estatuto del artista: Medidas de desarrollo y protección de los profesionales de la cultura. Gobierno de España.
Software
The Virtual Campus platform, word processors, spreadsheets, social platforms and audiovisual.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 7 | Catalan | second semester | afternoon |
| (SEM) Seminars | 71 | Catalan | second semester | afternoon |