Already dealing with disruptive market forces, the Cultural and Creative Industries (CCIs) faced fundamental challenges resulting from the global health crisis, wrought by the COVID-19 pandemic. With catastrophic changes to cultural consumption, cultural organizations are dealing with short-, medium-, and long-term threats to livelihoods under lockdown. This book aims at filling the literature gap about the consequences of one of the hardest crises – COVID-19 – severely impacting all the fields of the CCIs. With a focus on European countries and taking into account the evolving and unstable context caused by the pandemic still in progress, this book investigates the first reactions and actual strategies of CCIs’ actors, government bodies, and cultural institutions facing the COVID-19 crisis and the potential consequences of these emergency strategies for the future of the CCIs. Solutions adopted during the repeated lockdowns by CCIs’ actors could originate new forms of cultural consumption and/or new innovative market strategies. This book brings together a constellation of contributors to analyze the cultural sector as it seeks to emerge from this existential challenge. The global perspectives presented in this book provide research-based evidence to understand and reflect on an unprecedented period, allowing reflective practitioners to learn and develop from a range of real-world cases. The book will also be of interest to researchers, academics, and students with a particular interest in the management of cultural and creative organizations and crisis management.

Offering a comprehensive understanding of the implications of the COVID-19 pandemic for the tourism and hospitality industry, this book discusses the topic from economic, sociological and psychological perspectives. Critical case studies are used to explore both micro impacts on individuals involved in the industry and governmental and international responses to issues posed by the pandemic more broadly.

Creative Justice examines issues of inequality and injustice in the cultural industries and cultural workplace. It first aims to ‘do justice’ to the kinds of objects and texts produced by artists, musicians, designersand other kinds of symbol-makers – by appreciating them as meaningful goods with objective qualities. It also shows how cultural work itself has objective quality as a rewarding and socially-engaging practice, and not just a means to an economic end. But this book is also about injustice – made evident in the workings of arts education and cultural policy, and through the inequities and degradations of cultural work. In worlds where low pay and wage inequality are endemic, and where access to the best cultural academies, jobs and positions is becoming more strongly determined by social background, what chance do ordinary people have of obtaining their own ‘creative justice’? Aimed at students and scholars across a range of disciplines including Sociology, Media and Communication, Cultural Studies, Critical Management Studies,and Human Geography, Creative Justice examines the evidence for – and proposes some solutions to - the problem of obtaining fairer and more equalitarian systems of arts and cultural work.

Studies of race and media are dominated by textual approaches that explore the politics of representation. But there is little understanding of how and why representations of race in the media take the shape that they do. How, one might ask, is race created by cultural industries? In this important new book, Anamik Saha encourages readers to focus on the production of representations of racial and ethnic minorities in film, television, music and the arts. His interdisciplinary approach combines critical media studies and media industries research with postcolonial studies and critical race perspectives to reveal how political economic forces and legacies of empire shape industrial cultural production and, in turn, media discourses around race. Race and the Cultural Industries is required reading for students and scholars of media and cultural studies, as well as anyone interested in why historical representations of 'the Other' persist in the media and how they are to be challenged.