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Reports on a scenario exercise regarding the impact of digitisation on European media content industries, focusing on employment trends and changing skills. Concludes that the Internet will profoundly restructure but not destroy, existing industries. Highlights the needs for multidisciplinary and multimedia training programmes for the new digital age.

IF you're so used to the tropics that you've got nothing in your wardrobe you're likely to be in trouble when it snows.

Purpose – This chapter discusses the criminalization of sharing music on peer-to-peer (p2p) networks. Taking the Italian situation into consideration, it aims to introduce a socio-legal reflection about the processes of construction of this deviance.

Design methodology/approach – Adopting a constructionist approach, this chapter first explores the ways in which the social problem of music piracy was built in Italy. The choice of the legislator to place this practice within the category of criminal behaviour was analysed and examined. In the second section, the points of view of other participants involved in the practice of file sharing are taken into account.

Findings – Placing file sharing within the jurisdiction of criminal law does not seem to respond to the needs to counter the infringement of a shared social value, but it rather seems to reflect the protagonists’ involvement into the process of legislative decision about piracy conception and idea of the damage caused by this phenomenon, promoted and conveyed by the music business. The way in which piracy is conceived by Italian legislation emerges here in its partial understanding of the effects of this practice. Sharing music on digital networks appears as a highly conflicted crime, whose harmfulness is scarcely perceived by the society. Furthermore, file sharing repression policy seems to give shape to a new victimless crime, whose harmful effects do not seem to actually fall back on artists or consumers.

Originality/value – Sharing music on the net and violating copyright is little studied from the perspective of the sociology of crime. Using this approach, this chapter contributes to a better understanding of the phenomenon.

The tremendous growth of the audio visual industry over recent years, coupled with the sheer complexity of the aids now being marketed, has made it imperative for the user to obtain authoritative, unbiased advice on what aids best suit his needs. So to whom can he turn for help? This article brings to light some of the founts of information on the subject and explains how the busy lecturer can keep an eye on the fast expanding audio visual scene.

This paper aims to describe a working routine for the analysis of audio‐visual documents for serving the needs of television journalists.

A description in the form of a synthesis is given of the process by which television information must be put at the user's disposal with a response that is both fast and exhaustive.

In television, there is a need to adapt the habits and methods of documentation to the productive processes of journalists in order to attain the common goals of information retrieval and reuse of the documents.

The main drawback of using this working method lies in the intensive use of large numbers of personnel with knowledge in specific areas.

Well‐designed hypermedia management based on knowledge of the creation processes in television will allow the construction of an information management system that adds value to the documents that have been analysed and facilitates the organisation's creation of future audio‐visual products.

It is hoped that readers use this paper in a critical spirit to adapt it to their own particular requirements, and to serve as a guide both for setting up a document/information system and for organising such departments within the TV industry.

The main purpose of this chapter is to interrogate the regulatory environment in Africa by exploring trends and developments within key intellectual property rights agencies and highlighting some of the challenges revolving around contracts enforcement and royalty payments. In many developing countries, the performance and competitiveness of the creative industries have suffered from weak institutional capacity and a spate of copyrights infringement. This chapter highlights a few case illustrations drawing upon the World Intellectual Property Organisation surveys covering a selection of African countries between 2011 and 2020.

Peter Vernon, editor of Visual Education, takes a personal look at the forthcoming INTERNAVEX 70

The history of audio‐visual training packages over the last 21 years is examined. Little has changed with respect to subject matter or interactivity but there is now less government sponsorship and less industrial production of specialist educational films. Today′s scene is overwhelmingly commercial and there is much competition to exploit the growing training market.

This paper seeks to examine the career patterns and labour mobility of managers in the convention and exhibition industry in Australia, an example of a new emerging industry within the service sector.

Through the use of the technique of life and work history analysis, career information was gathered from a sample of individuals employed within the various sectors of this industry in Australia. The information was then analysed using a range of descriptive and evaluative statistical tests.

Results indicated the emergence of a new career pattern – “butterfly” progress. This could be identified as an extension and development of the boundaryless career model, where the individual is clearly in charge of his/her career but where he/she “flutters” between sectors in order to build up human capital and progress his/her career.

Though the research was undertaken in a specific industry sector the results indicate that the concept of “butterfly” progress may be part of the developments in contemporary career patterns or a gender issue. Further research in other industries dominated by women is suggested.

Outcomes from this study have implications for management development in relation to a different pattern of job progression and subsequent staff development opportunities. This may require the development of alternative strategies for the successful recruitment and retention of managers within the convention and exhibition organisation.

This is the first time such a research study has been undertaken in the convention and exhibition industry. The paper provides practical outcomes for potential entrants and managers in this sector.

The purpose of this paper is to develop a more comprehensive understanding of why social inequalities and discrimination remain in the creative industries.

The paper synthesizes existing academic and industry research and data, with a particular focus on the creative media industries.

The paper reveals that existing understanding of the lack of diversity in the creative industries’ workforce is conceptually limited. Better understanding is enabled through an approach centred on the creative industries’ model of production. This approach explains why disadvantage and discrimination are systemic, not transitory.

The findings suggest that current policy assumptions about the creative industries are misguided and need to be reconsidered. The findings also indicate how future research of the creative industries ought to be framed.

The paper provides a novel synthesis of existing research and data to explain how the creative industries’ model of production translates into particular features of work and employment, which then translate into social inequalities that entrench discrimination based on sex, race and class.