CREATe has appointed Industry Fellows in a scheme established to further develop and deepen connections between CREATe and its industrial partners and stakeholders. Emma Barraclough, Richard Paterson and Jeremy Silver will each work in collaboration with CREATe over a period of several months. CREATE will disseminate their outputs. The call for participation required applicants to submit a short project proposal that involved a reflection on and analysis of a topic of pressing importance or of future significance for the creative economy.
Emma Barraclough is a business and legal journalist. She spent more than a decade as a writer and editor at Managing IP, a leading journal for intellectual property owners, users and their lawyers, including three years as the magazine’s Asia editor in Hong Kong. She has a background in politics and Chinese studies and qualified as a solicitor before beginning her career in legal publishing. She recently completed an MA in Globalisation and Multinational Corporations at SOAS.
Academic research has traditional ways of dissemination, such as research journals and academic conferences, avenues which are not readily accessible to the general public or even strategic stakeholders such as industry groups and policy makers. Emma brings to the fellowship a wealth of experience in trade journalism. She will act as a bridge between academia and industry by applying her journalistic skills to bring academic research to a wider readership. The fellowship will also provide a wider visibility to CREATe research through industry journals as well as other specialist dissemination outlets (although more mainstream than academic publications).
Richard Paterson is currently Head of Research and Scholarship at the BFI responsible for developing the BFI’s research collaborations with universities as well as the development of much of the BFI’s policy work in relation to IPR, broadcasting and new media. He has published widely in the field of film and television studies including many articles based on a pioneering longitudinal study on careers and creativity in the television industry – the Industry Tracking Study – funded by the ESRC in the late 1990s.
Richard’s contribution entitled Modelling the Evolution of the TV Drama production sector in the UK will extend and develop his earlier work, involving an analysis of the evolution of the independent production sector in the UK, with a specific focus on drama production companies in order to model how firms adapt their business models and operations to changing market conditions and regulatory interventions. Richard aims to identify what factors influence the success of television drama production companies, exploring why only some companies achieve sufficient scale, why some entrepreneurially-driven independent companies fail to continue to expand and the extent of differences in the profile of commissions before and after acquisition for companies focusing on drama. He’ll then reflect on the policy implications. Given the acknowledged impact of the broader context and in particular regulatory changes and other interventions on the business model of these firms are there measures that might be adopted to forestall acquisition by foreign companies?
Jeremy Silver is an entrepreneur, author and strategic advisor. He is a member of the UK Creative industries Council. He is Chairman of MusicGlue and SupaPass. He was Executive Chairman of Semetric (recently acquired by Apple). He is advisor to InnovateUK, Bridgeman Art Library and Growth Intelligence. He was a strategic advisor to Shazam. He was CEO of Sibelius Software (acquired by Avid) and Worldwide Vice-President of New Media for EMI Group in Los Angeles. His book “Digital Medieval: the first twenty years of music on the web …and the Next Twenty” is available in paperback and electronically.
Variants of so-called block-chain technology have been the subject of much discussion recently as a potential new enabler of “transparent, equitable and non-discriminatory” transactions in the music industry. Jeremy is inquiring into whether the technology presents an opportunity to solve several of the music industry’s challenges, offering a new business model that is better than subscription, a means to produce a publicly accessible global repertoire database that would contain both publishing and recording rights data and be updated regularly and accurately, and a new means of music discovery that would allow consumers to navigate music creatively and intuitively. Jeremy will explore in a series of interviews with key technology and business stakeholders the latest thinking surrounding block-chain technologies, considering business model implications, rights, IP and licensing issues associated with its potential adoption by the music industry. Furthermore, he will compare block-chain with existing market alternatives and seek to identify challenges associated with its adoption by the music industry.
In May 2016, CREATe sponsored the Music Ally event ‘Blockchain Music Without The Middlemen‘ which served as the launch for Jeremy’s “Blockchain or the chaingang?” report – the first ever in-depth report on what blockchain really means for the music industry. The event also provided a forum to help build a practical consensus around the next steps to enable the industry to take full advantage of blockchain technologies.
Bob Last has vast experience in the creative industries, starting in the business as an independent record label owner, producer and manager. He subsequently produced feature films and documentaries, including Sylvain Chomet’s multi award-winning and Oscar-nominated The Illusionist, Terence Davies’s critically-acclaimed Sunset Song, and BAFTA-winning children’s animated series OOglies. For a decade he has been actively engaged with public policy issues that impact on creative businesses and was Chair of the Board of Cultural Enterprise Office from 2009-2014. His report was published under the auspices of CREATe’s Industrial Fellowship scheme.
Bob authored Connecting creativity, value and money. Bob undertook the research for this paper when he chaired the CEO Board, and was then particularly interested in the question of access to finance for those engaged in creative work. The study itself, financed by the Scottish Government, mutated in the course of investigation to become an analysis of the tensions between economic and aesthetic calculations made by those working across a range of art forms and evolved into an argument for rethinking the bases of creative industries policy. The paper was published in July 2016 in collaboration with the Cultural Enterprise Office (CEO).