Media and creative cultures 2700-M-MCC2-FAK-ANG
The course treats media and creative cultures as a network of people, institutions, technologies, policies, labour and audiences. It considers how projects are conceived and produced, whose stories receive support, how cultural value is defined, and what helps audiovisual works reach audiences in different contexts. Selected studies of cultural industries, production and platforms are discussed alongside current reports on European cinema, young audiences, public value and international circulation, including results from the REBOOT project.
Metamodernism offers a lens for discussing contemporary narrative tensions, such as sincerity and irony or hope and doubt. Industry 5.0 opens questions about the place of human creativity, inclusion, sustainability and responsibility in production. Neither perspective prescribes the style or topic of a team project. Students examine the usefulness and limits of these ideas through examples and discussion.
Teams begin developing a feasible audiovisual or media proposal in the course. They use desk research, critical reading of reports and, where appropriate, a small audience or media test to inform a narrative premise, script excerpt, production choices and pitch. Short lectures, discussion, studio work, interim presentations and peer critique support successive revisions. Teams mix disciplinary and cultural perspectives. Members take working roles in research, writing, creative direction, production or communication; a coordinator organizes the process, and roles may rotate. The exact examples, readings and sequence of exercises can respond to the class and emerging projects.
The final package consists of a concise pitch deck (about 8–10 slides), a short script or scene extract (about 1–2 pages), an evidence note, a production plan, a modest prototype or equivalent proof of concept, and a brief record of feedback and revision. A filmed scene, teaser or trailer is optional if useful and feasible. Later entry into a competition is also optional; it is not a condition of course completion.
Koordynatorzy przedmiotu
Efekty uczenia się
Knowledge. Students explain how cultural industries, creative labour, film institutions, platforms and audiences shape the development and circulation of media works. They recognise the social and ethical stakes of representation, access and production, and can discuss metamodernism and Industry 5.0 as critical perspectives.
Skills. Students find and compare scholarship and sector reports, assess the scope and limits of evidence, and translate a researched social question into a clear narrative premise, audience proposition, script excerpt and feasible production concept. They test an idea on a modest scale, use feedback and document revisions.
Social competences. Students collaborate across disciplinary and cultural perspectives, take responsibility for a defined role while sharing creative decisions, communicate and critique ideas constructively, and reflect on accessibility, ethics and potential international circulation.
Kryteria oceniania
Assessment is based on a team concept package and the documented process of its development, together with an individual account of contribution and learning. Interim pitches and peer critique provide formative feedback. Team coordinators may participate in a feedback panel but do not grade their own teams; the instructor determines final grades.
Story, script and clarity of concept-35%; production design and prototype-25%; research, social relevance and ethical judgment-15%; testing, feedback and documented revision-15%; individual contribution and reflection on role-10%.
The quality of the concept, evidence, collaboration and revision matters more than equipment or visual polish. Filming and contest submission are optional.
Literatura
Research and theory
Banks, M. (2017). Creative Justice: Cultural Industries, Work and Inequality. Rowman & Littlefield.
Batty, C., & Waldeback, Z. (2019). Writing for the Screen: Creative and Critical Approaches. Red Globe Press.
Bowen, G. A. (2009). Document analysis as a qualitative research method. Qualitative Research Journal, 9(2), 27–40. https://doi.org/10.3316/QRJ0902027
Braun, V., & Clarke, V. (2022). Thematic Analysis: A Practical Guide. SAGE.
Caldwell, J. T. (2008). Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. Duke University Press.
Cunningham, S., & Craig, D. (2019). Social Media Entertainment: The New Intersection of Hollywood and Silicon Valley. NYU Press.
Duffy, B. E., Poell, T., & Nieborg, D. B. (2019). Platform practices in the cultural industries: Creativity, labor, and citizenship. Social Media + Society, 5(4). https://doi.org/10.1177/2056305119879672
Havens, T., Lotz, A. D., & Tinic, S. (2009). Critical media industry studies: A research approach. Communication, Culture & Critique, 2(2), 234–253. https://doi.org/10.1111/j.1753-9137.2009.01037.x
Hesmondhalgh, D. (2019). The Cultural Industries (4th ed.). SAGE.
Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. NYU Press.
Lobato, R. (2019). Netflix Nations: The Geography of Digital Distribution. NYU Press.
Mayer, V. (2011). Below the Line: Producers and Production Studies in the New Television Economy. Duke University Press.
McRobbie, A. (2016). Be Creative: Making a Living in the New Culture Industries. Polity.
Sarikakis, K., Dâmaso, M., Lähdesmäki, T., Ramos Arenas, F., & Vlassis, A. (Eds.). (2026). The Governance of Competitiveness in the European Film Industry: A Reader. Palgrave Macmillan.
Vermeulen, T., & van den Akker, R. (2010). Notes on metamodernism. Journal of Aesthetics & Culture, 2(1), 5677. https://doi.org/10.3402/jac.v2i0.5677
REBOOT project reports
Reports and downloads: https://www.thereboot-project.eu/research/ and https://www.thereboot-project.eu/publications/
Lähdesmäki, T., Hiltunen, K., Sarikakis, K., Chatziefraimidou, A., & Haslauer, S. (2025). Report on Young People’s Preferences. REBOOT.
Ramos Arenas, F., Corredoira, L., Waszkiewicz-Raviv, A., Zawisza, A., Sidyk-Furman, D., & Benaissa, S. (2025). Cross-National Report on European VOD Platforms. REBOOT.
Ramos Arenas, F., Glowacki, M., Hiltunen, K., Benaissa Pedriza, S., Caballero Ruiz de Martín-Esteban, L., Mikucki, J., & Zawisza, A. (2025). Comparative Analysis Report on National Film Agencies. REBOOT.
Biltereyst, D., Ramos Arenas, F., Willems, E., & Caballero Ruiz de Martín-Esteban, L. (2025). Lessons from the Past: Report on the European Film Industry. REBOOT.
Rossato Fernandes, M., Vlassis, A., Bissot, P., & Houard, S. (2025). Report on International Market in the European Film Industry. REBOOT.
REBOOT. (n.d.). Child-Friendly Film Industry. Project report.
REBOOT. (n.d.). Governance and Public Value Report: Producing Value through the Moving Images: An Analysis of Public Value and Its Cultural Contribution to the Strength and Competitiveness of the European Film Sector. Project report.
Policy and sector evidence
European Commission, Directorate-General for Research and Innovation. (2021). Industry 5.0: Towards a Sustainable, Human-Centric and Resilient European Industry. https://research-and-innovation.ec.europa.eu/knowledge-publications-tools-and-data/publications/all-publications/industry-50-towards-sustainable-human-centric-and-resilient-european-industry_en
UNESCO. (2026). Re|Shaping Policies for Creativity: We Share, We Act, We Build. https://www.unesco.org/creativity/en/publications
European Audiovisual Observatory. (2026). Key Trends 2026. https://www.obs.coe.int/en/web/observatoire/industry/key-trends
European Audiovisual Observatory. (2026). FOCUS 2026: World Film Market Trends. https://www.obs.coe.int/en/web/observatoire/-/focus-2026-world-film-market-trends
Statistics Poland. (2026). Przemysły kultury i kreatywne w 2024 r. [Cultural and creative industries in 2024]. https://stat.gov.pl/obszary-tematyczne/kultura-turystyka-sport/kultura/przemysly-kultury-i-kreatywne-w-2024-r-,21,8.html