| Abstract [eng] |
The aim of thesis is to reconstruct the Creative Industries field development and unique structure of Lithuanian Creative Industries, and to reveal the peculiarities of a good creative artist from the field point of view based on P. Bourdieu's field theory. The main problem of the research is how the young generation of creators, who started their creative work already in this century, witnessing a sufficiently experimental and incomplete study program, perceives their position in the field of Lithuanian Creative Industries, internal field structure and relationship with other agents of creative industries? How do young creators think they become creators? Who decides to regulate access to the field of Creative Industries? What makes creator a creator, and who decides on the value of their creative projects and products? The first part of the work considers the origins of creative industries in Europe and Lithuania. The concept and origins of the creative industries of J. Černevičiūtė and V. Žilinskaitė - significant agents in the field - in Lithuania are based here. It is discussed how the approval of the Strategy for the Promotion and Development of Creative Industries had given a boost to the creative industries in Lithuania. A statistical picture of the creative industries is drawn. P. Bourdieu's field theory is discussed in detail. The internal structure of the field of creative industries is further explored, various methods of classification of creative industries and explanations of significant concepts are presented. Finally, before discussing the results of the study, a critical approach to the creative industries is presented by representatives of the Frankfurt School, H. Marcuse and G. Mažeikis. The second part of the work presents the methodology and results of qualitative research. The study aimed to find out how becoming a creator is interpreted by the younger generation of creators. The younger generation of creators are interested in transforming cultural capital into appreciation and recognition. Recognized and active artists of the older generation are considered to be one of the most significant field agents that allow a young creator to establish himself in the field. Public recognition is seen ambiguously: on the one hand, one wants to be noticed by other creators, and on the other hand, public recognition is considered more important. Relationships with other creators, generation of ideas while still at university, organization of events and initiatives are beneficial in terms of accumulating social capital, development of creative activity and contribute to the illusio support (belief in the "game"). There are two branches of senior creators. One of them is senior teacher who teach theoretical subjects, and the other are teachers who not only teach but also work in those fields. The latter are slightly more significant than the former in terms of social capital accumulation. Engaging in work or practical activities is still considered an important attribute at university to establish oneself in the field of creative industries, as it is the easiest way to make meaningful acquaintances and gain the experience that will be so needed in modelling future profession. It is the creation of one's own workplace that is considered to be one of the characteristics of a creator. The creator is a freelancer. Social capital in the field of creative industries helps young creators to transform the cultural capital they have acquired into economic capital. |
