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An undisputed classic, the Fourth Edition of this bestselling media studies text offers an unparalleled analysis of the cultural industries.

Bringing together a huge range of research, theory and key concepts, David Hesmondhalgh provides an accessible yet critical exploration of cultural production and consumption in the global media landscape. This new edition:

Analyses the influence of IT and tech companies like Google, Apple, Amazon and Facebook on the cultural industries.

Discusses the impact of digital technologies on industries such as music, TV, newspapers, books and digital games.

Explores the effects of digitalisation on culture, discussing critical issues like participation, power, commercialism, surveillance, and labour.

Examines the changing conceptions of audiences, and the increasing influence of market research, audience tracking and advertising.

As one of the most read, most studied and most cited books in the field, this Fourth Edition is an essential resource for students and researchers of media and communication studies, the cultural and creative industries, cultural studies and the sociology of the media.

David Hesmondhalgh is Professor of Media, Music and Culture in the School of Media and Communication at the University of Leeds. He is the author of The Cultural Industries (4th edition, 2019, previous editions 2002, 2007 and 2013); Culture, Economy and Politics: The Case of New Labour (Palgrave, 2015, co-written with Kate Oakley, David Lee and Melissa Nisbett); Why Music Matters (Wiley-Blackwell, 2013); and Creative Labour: Media Work in Three Cultural Industries (Routledge, 2011, co-written with Sarah Baker). He is also editor or co-editor of seven other books on media, music and culture, including Media and Society (with James Curran, 6th edition, Bloomsbury, 2019) The Media and Social Theory (Routledge, with Jason Toynbee, 2008) and Western Music and its Others (University of California Press, with Georgina Born, 2000).

PART ONE: INTRODUCING THE CULTURAL INDUSTRIES
Chapter 1 Change and Continuity, Power and Creativity
Chapter 2 The Cultural Industries Approach: Distinctive Features of Culture-Producing Businesses
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PART TWO: ANALYTICAL FRAMEWORKS
Chapter 3 Theories of Culture, Theories of Cultural Production
Chapter 4 Cultural Industries in the Twentieth Century: The Key Features
Chapter 5 Why the Cultural Industries Began to Change in the 1980s
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PART THREE: POLICY CHANGE
Chapter 6 Policy Change in Media and Telecommunications: Marketisation and Copyright
Chapter 7 Cultural Policy: Creative Cities, Creative Industries, Creative Economies
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PART FOUR: CHANGE AND CONTINUITY IN THE CULTURAL INDUSTRIES, 1990-2017
Chapter 8 Ownership (1): Concentration, Conglomeration and Corporate Power, 1980-2010
Chapter 9 Ownership (2): Concentration, Conglomeration and Corporate Power, 2010 onwards
Chapter 10 How the Claims of Digital Optimists were Contradicted by the Rise of Digital Culture
Chapter 11 The Effects of Digital Networks on Individual Industries
Chapter 12 Creativity, Commerce and Organisation
Chapter 13 Working Conditions and Inequalities in the Cultural Industries
Chapter 14 Internationalisation: Neither Globalisation nor Cultural Imperialism
Chapter 15 Texts: Diversity, Quality and Social Justice
Chapter 16 Conclusions: A New Era in Cultural Production?
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Glossary
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