Creative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate.
This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. “Production” collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. “Participation” explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. “Pedagogies” explores how education impacts inclusion and visibility in creative industries.
Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.
FEATURES
provides an intersectional perspective of current creative industries in Canada, critiquing how diversity, inclusion, and equity impact the field
broadens the scope of Canadian creative industries by exploring underexamined fields like podcasting, gaming, comedy, education, performance art, and more
pedagogically rich, with a glossary of terms, outlines of core concepts, and suggested activities for each chapter
Introduction, by Cheryl Thompson and Miranda Campbell
Part I: Production: Meaning Making in the Creative Industries
Chapter 1: Creativity Policies and Districts: The Ambiguous Meaning of Creativity as a Source of Local Tensions in Montréal, by Joëlle Gélinas and Anouk Bélanger
Chapter 2: Race and Representation in Canadian Public Podcasting: A CBC Study, by Jeff Donison
Chapter 3: Institutional Production of Heritage within the Culture Sector in Canada, by L. T. Ashley
Part II: Participation: Working and Community Building in the Creative Industries
Chapter 4: Laughter from the Sidelines: Precarious Work in the Canadian Comedy Industry, by Madison Trusolino
Chapter 5: Film in Canada’s Creative Industries: Old Barriers and New Opportunities, by George Turnbull
Chapter 6: Inclusion, Access, and Equity: Diversity Initiatives in Canada’s Game Industry, by Matthew E. Perks and Jennifer R. Whitson
Chapter 7: Creative Hubs: Sites of Community and Creative Work, by Mary Elizabeth (M.E.) Luka
Part III: Pedagogies: Teaching and Learning through the Creative Industries
Chapter 8: Don Cherry’s “You People” Rant: A Critical Race Approach to Understanding Corporate Nationalism, Audience Commodification, and Cultural Citizenship, by Ryan J. Phillips
Chapter 9: When Black History Month Media Posts Double as Pedagogical Tools: Appraising Existing BHM Coverage and Proposing Future Directions, by Selina Linda Mudavanhu
Chapter 10: Applying Critical Creativity: Navigating Tensions Between Art & Business in the Creative City, by Brandon McFarlane
Chapter 11: Transforming Industry Standards: Tensions between Social Change and Media Production Education, by Ki Wight
Glossary
Contributor Biographies
Biography
Dr. Miranda Campbell is an Associate Professor, Creative Industries at The Creative School. She is the author of Reimagining the Creative Industries: Youth Creative Work, Communities of Care (2022) and How to Care More: Seven Skills for Personal and Social Change (2022). Her book, Out of the Basement: Youth Cultural Production in Practice and in Policy (2013) was shortlisted for the Donner Prize for the best public policy book by a Canadian. Her involvement with creative communities includes coordination and Board of Director roles with Rock Camp for Girls Montreal and with WhipperSnapper Gallery, an artist-run centre focusing on emerging artists in Toronto.
Dr. Cheryl Thompson is an Assistant Professor in the School of Performance at The Creative School, Toronto Metropolitan University. She previously held a Banting postdoctoral fellowship at the University of Toronto. Dr. Thompson has published two books, Uncle: Race, Nostalgia, and the Politics of Loyalty (2021) and Beauty in a Box: Detangling the Roots of Canada’s Black Beauty Culture (2019).
“This collection is a welcome contribution to the rich critical discourse on Canadian creative industries and cultural policy. Thoughtfully curated by Thompson and Campbell, the chapters encompass a wide range of cultural forms and provide timely intersectional analysis of key issues in creative production, participation, and pedagogy, to the great benefit of researchers, teachers, and students alike.”
—Dr. Felan Parker, Associate Professor, Teaching Stream, Books & Media Studies, St. Michael’s College in the University of Toronto
“Thompson and Campbell have edited a book that is essential reading for creative industries scholars and students. Taking a broad and expansive view of the meaning of creative industries, along with the academic disciplines that are relevant to understanding them, the book introduces key issues and case studies to show the difference between the promise and the reality of creative industries in Canada. Most significantly, the book acts as a rallying call for creative industries scholarship globally, to go beyond the usual starting points of British, Australian, and American literature and sources.”
—Dave O’Brien, Professor, Cultural and Creative Industries, University of Sheffield, United Kingdom
“Creative Industries in Canada provides a progressive social and philosophical perspective on Canada’s ever expanding and increasingly important creative industries. From game design to podcasting, museums to film and television, creative communities and so forth, the book’s many diverse voices challenge our colonial cultural policies and past business practices that still continue to influence how we tell our Canadian stories, and who our creative industries speak for. This is an important book raising issues Canadian artists, activists, entrepreneurs, and educators should confront.”
—Jean Desormeaux, Professor, Creative Industries Management, Sheridan College, Canada
“This is fascinating and necessary work! Each chapter interrogates “givens” from Canada’s creative sector, inviting the reader to consider multiple perspectives on many issues. My Humber College post-graduate arts management learners will rely on this text to bring rigour to our consideration of some of Canada’s prime examples of creative industries’ roles, functions and challenges. In a post-pandemic era of porous national borders, arts managers worldwide can also learn from these well-articulated examples of Canadian creative industries’ conundra.”
—T. Anne Frost, Program Coordinator, Arts Administration and Cultural Management, Faculty of Media and Creative Arts, Humber Institute of Technology & Advanced Learning
eBooks cannot be downloaded to your device/desktop outside of the RedShelf e-Reader App, and cannot be printed in full.
All purchases of digital products are non-refundable.
To learn more about our digital products please view our Customer Support page.
What is a Reflowable ebook?
Reflowable eTextbooks respond to the size of the device they are viewed on, much like a typical website. This causes them to look different from a traditional book. They may also contain embedded audio, video, or interactive components in addition to the RedShelf Reader’s standard study tools.
What is a Fixed Layout eBook?
A fixed layout eTextbook maintains the look and the feel of a printed textbook. The text is fixed, and the screen size determines the size of the text. These eTextbooks work best on large-screen devices and do not contain any embedded media or interactive content.
Auto Renew
Auto renew allows e-book rentals to be automatically renewed after the initial rental duration.
If enabled, you will automatically be charged and your rental will renew for the same duration as purchased. Auto renew is set to off by default. If auto renew is off, you lose access to the e-book after the rental duration.
Hi there!
The digital eBook you have selected is a Rental and may expire when the selected duration runs out. If you would like to purchase lifetime access to this eBook, please select a Purchase option instead.
eBooks cannot be downloaded to your device/desktop outside of the RedShelf e-Reader App, and cannot be printed in full.
All purchases of digital products are non-refundable.
To learn more about our digital products please view our Customer Support page.
