Production Activity Essence and Producer’s Role in the Field of Project Management in the Creative Industries
DOI:
https://doi.org/10.31866/2709-846X.2.2023.291246Keywords:
producer, production, creative industries, film industry, entrepreneurship, competences, production modelsAbstract
Introduction. The emergence of the cultural and creative industries market as a full-fledged business sector has given rise to new mechanisms for interaction between business entities in the cultural sector. This led to the emergence of a new type of manager – the producer. Its emergence in the cultural sphere necessitated a theoretical understanding of the production activity essence. However, today there is no single definition of the terms “producer” and “production”, and no coherent system of understanding the essence of production as a special type of management activity. Purpose and methods. The purpose of the article is to provide a comprehensive analysis of the essence of production activity and the role of a producer in the field of project management in the creative industries. The theoretical and methodological basis of the study is the principles of the project app-roach to management and their implementation in the field of cultural economy and creative industries. Results. The essence and content of production activity in the context of creative project management are revealed. The article analyses the areas of producers' responsibility and their hierarchy in the organisational structure of a creative project. The list of personal qualities and professional competences of the producer is studied and recorded. Conclusions. The scientific novelty of the obtained results lies in the clarification of the production activity essence and the producer's role in the organisation of creative cultural and artistic projects and processes. The significance of the research results lies in the fact that they can be used in the educational process when developing a list of competencies and standards for the speciality “producer of creative projects” and curricula.
References
Afanasieva, K. O. (2011). Prodiuser v Audiovizualnomu Biznesi: Pravovi Aspekty Diialnosti [Producer in Audiovisual Business: Legal Aspects of Activity]. Teoriia i Praktyka Intelektualnoi Vlasnosti [Theory and Practice of Intellectual Property], 2, 47-53, Retrieved from http://nbuv.gov.ua/UJRN/Tpiv_2011_2_9 (in Ukr.).
Alforova, Z. I. (2021, April 4-5). Prodiusuvannia Audiovizualnykh Tvoriv v Ukraini: Evoliutsiia Modeli ta Perspektyvy Rozvytku [Production of Audiovisual Works in Ukraine: Evolution of the Model and Deve-lopment Prospects]. Challenges in Science of Nowadays: Proceedings of the 8th International Scientific and Practical Conference. Washington: EnDeavours Publisher, 618-624 (in Ukr.).
Bezruchko, O., & Anikina, O. (2021) Modern Audiovisual Art within the Space of Internet Network: New Aspects of Interaction. Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Arts and Production, 4(1), 43-51, doi: https://doi.org/10.31866/2617-2674.4.1.2021.235076.
Bordwell, D., & Thompson, K. (1985). Toward a Scientific Film History? Quarterly Review of Film Studies, 10(3), 224-237, Retrieved from https://www.davidbordwell.net/articles/Bordwell_Thompson_QuarterlyRevFilmStud_vol10_no3_summer1988_224.pdf.
Borysova, T. (2014). Osnovni Napriamky Formuvannia Osobystosti Prodiusera v Konteksti Kulturnoi Identychnosti [The Main Directions of the Formation of the Producer's Personality in the Context of Cultural Identity]. Diialnist Prodiusera v Kulturno-Mystetskomu Prostori XXI Stolittia: Dyskursy i Dyskusii: III Mizhnarodna Naukovo-Praktychna Konferentsiia [Activity of the Producer in the Cultural and Artistic Space of the 21st Century: Discourses and Discussions: III International Scientific and Practical Conference]. Kyiv: NAKKKiM, 258-260 (in Ukr.).
Doyle, G. (2016). Television Production, Funding Models and Exploitation of Content. Icono 14, 14(2), 75-96, doi: https://doi.org/10.7195/ri14.v14i2.991.
Dubchynskyi, V. V. (2009). Suchasnyi Tlumachnyi Slovnyk Ukrainskoi Movy: 100, 000 Sliv [Modern Explanatory Dictionary of the Ukrainian Language: 100,000 Words]. Kharkiv: Shkola (in Ukr.).
Finkel, R., Jones, D., Sang, K., & Stoyanova Russell, D. (2017). Diversifying the Creative: Creative Work, Creative Industries, Creative Identities. Organization, 24(3), 281-288, doi: https://doi.org/10.1177/1350508417690167.
Fullerton, T. (2018). Game Design Workshop: A Playcentric Approach to Creating Innovative Games, 4th ed. New York: A K Peters/CRC Press, doi: https://doi.org/10.1201/b22309.
Hesmondhalgh, D. (2005). Media Production. Maidenhead: Open University Press.
Hung, J. (2020). Mass Culture. The Oxford Handbook of the Weimar Republic (N. Rossol, & B. Ziemann, Eds.). Oxford: Oxford Academic, 609-628, doi: https://doi.org/10.1093/oxfordhb/9780198845775.013.25.
Kryeziu, D. (2019). The Process of Creating a Cinematographic Work. ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies, 8(2), 56-60, doi: https://doi.org/10.5281/zenodo.2582145.
Lavreniuk, S. V. (2021a). Modeli Prodiusuvannia v Ekrannii Kulturi [Models of Production in Screen Culture]. Knowledge, Education, Law, Management, 8(44), 1, 68-73, doi: https://doi.org/10.51647/kelm.2021.8.1.10 (in Ukr.).
Lavreniuk, S. V. (2021b). Prodiuser u Kulturi Audiovizualnoho Vyrobnytstva [Producer in the Culture of Audiovisual Production]. Kultura i Suchasnist [Culture and Contemporaneity], 1, 80-86, doi: https://doi.org/10.32461/2226-0285.1.2021.238549 (in Ukr.).
Li, F., Zhu, Y., Zhang, X., Fu, R., & Deng, L. (2019). Discussion and Practice of Film and Television Production: Innovation with Big-data. Proceedings of the 3rd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2019). Amsterdam: Atlantis Press, 396-400, doi: https://doi.org/10.2991/emehss-19.2019.80.
Likhuta, I. L. (2021). Prodiuserska Diialnist u Rynkovykh Umovakh: Osoblyvosti ta Shliakhy Optymizatsii [Production Activities in Market Conditions: Specifics and Ways of Optimization]. Mystetstvoznavchi Zapysky [Notes on Art Criticism], 40, 166-172, doi: https://doi.org/10.32461/2226-2180.40.2021.250384 (in Ukr.).
Melnychuk, O. S. (Ed.). (1974). Slovnyk Inshomovnykh Sliv [Dictionary of Foreign Words]. Kyiv: Holovna Redaktsiia Ukrainskoi Radianskoi Entsyklopedii Akademii Nauk Ukrainskoi RSR (in Ukr.).
Ovsiannikova, N. Yu. (2018). Funktsionalni Aspekty Diialnosti Kreatyvnoho Prodiusera [Functional Aspects of the Activity of a Creative Producer]. Diialnist Prodiusera v Kulturno-Mystetskomu Prostori XXI Stolittia: Vyklyky ta Kontseptsii Sohodennia: VII Mizhnarodna Naukovo-Praktychna Konferentsiia [Activity of the Producer in the Cultural and Artistic Space of the 21st Century: Challenges and Concepts of the Present: VII International Scientific and Practical Conference]. Kyiv: NAKKKiM, 104-106 (in Ukr.).
Pohrebniak, H. P. (2020). Avtorckyi Kinematohraf u Kulturnomu Proctori Druhoi Polovyny XX – Pochatku XXI Ctolittia [Author's Cinematography in the Cultural Sphere of the Second Half of the 20th – the Beginning of the 21st Century]. Kyiv: NAKKKiM (in Ukr.).
Prodiuser [Producer]. (n.d.). Velyka Ukrainska Entsyklopediia [Great Ukrainian Encyclopedia]. Derzhavna Naukova Ustanova "Entsyklopedychne Vydavnytstvo", Retrieved from http://surl.li/ezmss (in Ukr.).
Rae, A. (2017). The Role of the Music Producer: A Critical and Comparative Account of Two Eras – 1950's and 2000's. The Music Industries. Glasgow: University of Glasgow, Retrieved from https://www.academia.edu/33305961/The_Role_of_the_Music_Producer_A_Critical_and_Comparative_Account_of_Two_Eras_1950s_and_2000s_Rae_A_2017_.
Rodnianskyi, O. Yu. (2016). Vykhodyt Prodiuser [The Producer Comes Out]. Kyiv: Brait Buks (in Ukr.).
Rosenthal, A. (2002). Writing, Directing, and Producing Documentary Films and Videos, 3rd ed. Carbondale; Edwardsville: Southern Illinois University Press.
Rousset-Rouard, Y. (1975). Profession: Producteur [Profession: Producer]. Paris: Calmann Levy (in Fr.).
Schatz, T. (1996). The Genius of the System: Hollywood Filmmaking in the Studio Era. New York: Henry Holt and Company.
Smyrnov, A. I. (2019). Pravovyi Status Prodiusera yak Subiekta Prav na Audiovizualnyi Tvir [The Legal Status of the Producer as the Subject of the Rights to an Audiovisual Work]. Vcheni Zapysky Tavriiskoho Natsionalnoho Universytetu Imeni V. I. Vernadskoho. Seriia: Yurydychni Nauky [Scientific Notes of V. I. Vernadsky Taurida National University. Series: Legal Sciences], 30(69), 4, 72-75, doi: https://doi.org/10.32838/1606-3716/2019.4/13 (in Ukr.).
Stohnii, O. M. (2018). Rol Prodiusera v Konteksti Yevropeiskykh Tsinnostei [The Role of the Producer in the Context of European Values]. Diialnist Prodiusera v Kulturno-Mystetskomu Prostori XXI Stolittia: Vyklyky ta Kontseptsii Sohodennia [Activity of the Producer in the Cultural and Artistic Space of the 21st Century: Challenges and Concepts of Today] (S. Sadovenko, Ed.). Kyiv: NAKKKiM, 60-65 (in Ukr.).
Verkhovna Rada of Ukraine (1993, December 23). Zakon Ukrainy No 3792-XII "Pro Avtorske Pravo i Sumizhni Prava" [A Law of Ukraine No 3792-XII is "On Copyright and Related Rights"], Retrieved from https://zakon.rada.gov.ua/laws/show/en/3792-12?lang=uk#Text (in Ukr.).
Verkhovna Rada of Ukraine (1998, January 13). Zakon Ukrainy No 9/98-BP "Pro Kinematohrafiiu" [A Law of Ukraine No 9/98-BP is "On Cinema-tography"], Retrieved from https://zakon.rada.gov.ua/laws/show/en/9/98-%D0%B2%D1%80?lang=uk#Text (in Ukr.).
Ward, L., Glancy, M., Bowman, S., & Armstrong, M. (2020, September 11-15). The Impact of New Forms of Media on Production Tools and Practices. International Broadcast Convention Conference, Retrieved from https://www.researchgate.net/publication/344770412_the_impact_of_new_forms_of_media_on_production_tools_and_practices.
Yutsevych, Yu. Ye. (2003). Muzyka. Slovnyk-Dovidnyk [Music. Dictionary-Reference]. Ternopil: Bohdan (in Ukr.).
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
The authors retain copyrights to the work and at the same time grant the magazine the right to first publish it under the terms of theCreative Commons Attribution License, which allows other persons to freely distribute the published work with a mandatory reference to its authors and its first publication.
The author of the published article has the right to distribute information about it and to post references to work in the electronic repository of the institution.