Titlebook: Creativity and Cultural Production; Issues for Media Pra Phillip McIntyre Book 2012 Palgrave Macmillan, a division of Macmillan Publishers

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Struktureller und inhaltlicher Ich-Bezug,es of journalism. The same can be said for the forms of television and the format of the station. This knowledge aids in the development of content that will connect with an audience. In doing so media practitioners often follow what has been termed ‘media logic’ (McQuail 1994, p. 265).

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Bemerkungen zur Input-Output-Analyser understands exactly what they mean. This assumption, that creativity is an unproblematic given, is rarely questioned. In fact it often never occurs to many media scholars or media practitioners, in particular, to question the cultural assumptions on which their understandings of creativity are based.

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Zum Verständnis der neueren Wachstumspolitikalist or structural approach (e.g. Barthes 1977, Foucault 1977) have called for a reconceptualisation of the way the initiators of the creative process are perceived. It is argued here that the most adequate reconceptualisation of creativity may lie not in any one of these single positions but in the confluence of a number of them.

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Reconceptualising Creativityalist or structural approach (e.g. Barthes 1977, Foucault 1977) have called for a reconceptualisation of the way the initiators of the creative process are perceived. It is argued here that the most adequate reconceptualisation of creativity may lie not in any one of these single positions but in the confluence of a number of them.

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Journalism: Structures and Motivationlar industries through to smaller social organisations such as work teams and the nuclear family unit, can both enhance and constrain the creative process. While this can be seen to be true for radio it can also be claimed to be true for journalism.

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