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영국 창조산업 정책의 부상 - 개념들의 변천에 관한 고찰 -

The Rise of the British Creative Industries Policy - A Study on the Conceptual Shift -

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한국문화관광연구원 (Korea Culture & Tourism Institute)|2013.01|문화정책논총 (The Journal of Cultural Policy)|제27권 제1호|pp. 123-145|DOI 10.16937/jcp.27.1.201301.123

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참고문헌

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creativity문화산업창조산업창조성cultural industries창조경제creative economycreative industries창조적 전회creative turn
주제분류정책학

초록

이 논문은 1997년 신노동당이 정권을 잡은 후 영국 문화정책 현장에서 발생한 창조적 전회(the creative turn), 즉 개인의 창조성에 입각하여 창조산업․창조경제․창조도시․창조교육 등과 연관된 새로운 정책 비전을 제시하고, 이로써 기존의 국가 단위 문화정책을 총체적으로 구조조정하려는 야심찬 시도를, 이 정책의 근간을 이루는 개념들의 변천을 고찰함으로써 이해해보고자 한다. 이를 위해서 프랑크푸르트학파가 고안한 문화산업(Culture Industry) 개념, 런던광역시의회가 제시한 문화(적) 산업(cultural industries) 개념, 영국 문화부가 확산시킨 창조산업(creative industries) 개념을 순차적으로 살펴보면서, 영국에서 ‘창조산업’ 정책이 부상한 계기와 과정을 자세히 서술할 것이다. 이로써 영국에서 창조산업 개념과 관련 정책의 부상은 문화계를 넘어서는 더욱 넓은 의미의 국가 구조조정의 하나로 기획․실행되었다는 점, 그것은 특정 산업군에 대한 강조를 넘어서서 국가 단위 문화정책의 재구조화로 이해해야 한다는 점, 나아가 이 새로운 정책이 고대 그리스 이후 여타 기술과 분리되어온 순수예술 또는 고급문화가 19세기 대중사회의 도래와 함께 이전 자리로 돌아가는 경향 속에서 상당히 의미심장한 문화사적 징후로 읽힐 수 있다는 점 등을 강조할 것이다.

Abstract

This article examines how the creative industries as a concept arrived within the UK cultural policy arena, focusing on the conceptual shift from the Culture industry (Frankfurt School) via the cultural industries (GLC) toward the creative industries (DCMS). This is because the term, ‘creative industries’ can be regarded as a part of a family of concepts that resulted from the re-marriage of culture and industry in the 19th century. While ‘Culture industry’ was coined in the 1940s as a reflection of the censure over the re-marriage of culture and industry, the phrase ‘creative industries’ was coined in the late 1990s to promote the re-marriage not only between culture and industry, but also between the arts, the cultural industries and even ICT. What the DCMS attempted to achieve with this new concept was the promotion of a discourse of creativity as embodied in the creative industries. Such a discourse was seen as operating in parallel with the emergent new economy under the zeitgeist of Cool Britannia or Creative Britain. This ‘creative turn’ was part of New Labour’s efforts to realize the Third Way in the cultural policy arena and to move beyond debates between Old Labour’s egalitarianism and the Conservative’s neo-liberalism. There is no doubt that the policymakers were eager to lay equal stress on both notions of ‘access’ and ‘education’ as well as those of ‘excellence’ and the ‘creative economy’. Indeed, the hallmark of New Labour and the Third Way it pioneered was the way it managed to achieve the ‘integration of social and economic policies’. Nevertheless, it remains difficult to deny that what made the ‘creative industries’ fashionable both nationally and internationally was that the stress was primarily laid on the latter, rather than on the former. Indeed, that the British discourse of the creative industries was readily adopted and benchmarked by foreign policymakers owes a great deal to the functional resonance it offered as a mediating force between cultural restructuring and the rise of the new economy or, more broadly, post-industrialization.

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