Policy for cultural and creative industries in India: the issue of regulation through digital policy

ABSTRACT

This article examines the evolution of public policy for cultural and creative industries in the context of building India as a digital nation. How has the rise of digital industries in the building of the country permeated policies related to cultural industries, and what have been the consequences of this trend? It will also explore the tensions regarding the evolution of the role of the State in shaping and regulating such industries in the broader context of culture being increasingly associated with national identity. This article starts by showing that in a context where cultural policies remain centered on heritage, the support to culture by the state has remained limited, both in financial terms as well as regarding the implementation of specific regulations which would require protection from traditional market forces. Then, it analyzes several action plans that have been developed as part of the Digital India government initiative and assesses emerging issues for the cultural and creative industries, which are increasingly associated with the functioning of digital devices and operators. Finally, it discussed recent modalities of state intervention through the transfer of the role of cultural operator to digital platforms and the attempts to control expressions.

KEYWORDS:

• Cultural and creative industries
• digital policy
• India
• regulation
• heritage
• audiovisual
• platforms

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 Government of India, Ministry of Information and Broadcasting, https://mib.gov.in/about-us/about-the-ministry

2 One hundred per cent FDI is allowed in film, advertising, TV broadcasting (except news), and cable networks; investment in DHT by broadcasters continues to be capped at 20% (FICCI-EY 2018).

3 See, for example, Kong L. and O’connor J. 2009. “Creative economies, creative cities, Asian-European Perspectives.” The Geojournal Library, Vol. 98, Springer.

4 The official list of areas falling within the scope of competence of the Ministry of Culture is as follows: World Heritage, Museum and Antiquities, Built Heritage, Libraries and Manuscripts, Archives, Science, Literature & Folklore, Festivals, Music & Dance, Visual Arts, Anthropology, Project Mausam (Source : Ministry of Culture, Government of India, https://www.indiaculture.nic.in/).

5 We can also mention the program ‘Creative India, Innovative India’ launched in 2016, with the aim ‘to foster creativity and innovation through the enforcement of IPR’ and thereby, ‘promote entrepreneurship and enhance socio-economic and cultural development’.

6 For more information, see the UNESCO official page : https://en.unesco.org/news/conversation-unesco-and-netflix-promoting-indias-culture-heritage

7 For instance, the partnership with the Education and Culture Ministry in Indonesia in 2020, or with the Kenyan Ministry of ICT, Innovation & Youth Affairs strengthened the Kenyan creative industry and supports a new generation of storytellers.

8 UNWTO and Netflix have partnered on the publication of the report Cultural Affinity and Screen Tourism—The Case of Internet Entertainment Services, released in 2021 in Madrid. The report ‘ explores how screen tourism, particularly through online distribution of films and TV series, can contribute to building bridges between communities across cultures while fostering tourism ’. Executive Summary, p.4

9 This is the case for instance in European model of Cultural Policy and especially French model of cultural exception.

Additional information

Funding

The authors received the financial support for their research of LabSIC (Paris 13 University) and LabEx ICCA in France.

Notes on contributors

Philippe Bouquillion

Philippe Bouquillion is a Professor of Communication at the University Sorbonne Paris Nord. He is the director of the Laboratory of Information and Communication Sciences (LabSIC) and of the Laboratory of Excellence ‘Cultural Industries and Artistic Creation’ (Labex ICCA). Inspired by the political economy of communication, his work focuses on cultural and creative industries, and especially on the issues of concentration and financialization, transnationalization and the transformations of public policies in the cultural and creative industries. His most recent research deals with audiovisual digital platforms in Europe and India. His recent monographs include Vivendi. A Global Media Giant (Routledge, 2021).

Christine Ithurbide

Christine Ithurbide is a research fellow at the French National Centre for Scientific Research (CNRS / Passages UMR 5319). Her research focuses on the social and spatial reconfigurations of cultural industries in India in the context of globalization and digital transition. After a PhD on the geography of contemporary art in Mumbai (ENS Editions, 2022), she has studied the deployment of global technology players and their consequences in local dynamics of music, audiovisual and craft sectors in India. She is coordinator of the International Research Network ‘ SOUTH-STREAM’ (2023–2027). Her recent publications include articles in Global Media and Communication and SAMAJ.