Marketing and the Creative Industry

1) do a case study ( using the resources and the internet ) on the marketing of life on mars.
use images and examples to support your case study.
2) explore the link to BBC pres pack note the links and features, relate to TA.
3) note the links at the bottom of the page to BARB, TV LISCENCE and OFCOM have a quike look at these to see what information is there
Why does the BBC have links to these?
4) contrast this to marketing in the 1970s

5) David Hesmondhaigh task:
condence his ideas and relate them with examples back to life on mars.

 Marketing and the growth of the creative industry
industry use these techniques to minimise risk and maximise profit (example ashes to ashes and other spin offs)
this stifles creativity
people who are truly creative are corrupted and exploited by the big companies

"those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property" (DCMS 2001, p. 04)

Iindependents rely on the industry and are manipulated and subverted in created terms by the large companies.measures of how healthy the creative industry is flawed:

The DCMS ( DCMS (2001), (2 ed.), Creative mapping document - London, UK: Department of Culture, Media and Sport, retrieved 2007-05-26)

classifies enterprises and occupations as creative according to what the enterprise primarily produces, and what the worker primarily does. Thus, a company which produces records would be classified as belonging to the music industrial sector, and a worker who plays piano would be classified as a musician.

The primary purpose of this is to quantify – for example it can be used to count the number of firms, and the number of workers, creatively employed in any given location, and hence to identify places with particularly high concentrations of creative activities.

It leads to some complications which are not immediately obvious. For example, a security guard working for a music company would be classified as a creative employee, although not as creatively occupied.

The total number of creative employees is then calculated as the sum of:

• All workers employed in creative industries, whether or not creatively occupied (e.g. all musicians, security guards, cleaners, accountants, managers, etc. working for a record company)
• All workers that are creatively occupied, and are not employed in creative industries (for example, a piano teacher in a school). This includes people whose second job is creative, for example somebody who does weekend gigs, writes books, or produces artwork in their spare time

Hesmondhalgh reduces the list to what he terms "the core cultural industries" of advertising and marketing, broadcasting, film, internet and music industries, print and electronic publishing, and video and computer games. His definition only includes those industries that create "texts"' or "cultural artifact's" and which engage in some form of industrial reproduction (Hesmondhalgh 2002, pp. 12–14).