Mobile version
spiked plus
About spiked
What is spiked?
Support spiked
spiked shop
Contact us
Summer school
Top issues
Arab uprisings
British politics
Child abuse panic
For Europe, Against the EU
Free speech
Jimmy Savile scandal
Parents and kids
View all issues...
special feature
The Counter-Leveson Inquiry
other sections
 Review of Books
 Monthly archive
selected authors
Duleep Allirajah
Daniel Ben-Ami
Tim Black
Jennie Bristow
Sean Collins
Dr Michael Fitzpatrick
Frank Furedi
Helene Guldberg
Patrick Hayes
Mick Hume
Rob Lyons
Brendan O’Neill
Nathalie Rothschild
James Woudhuysen
more authors...
RSS feed
a-b c-d e-h i-l m-n o-r s-u v-z index
Dr Emma French
author, visiting lecturer in theatre studies at London Metropolitan University, and freelance City headhunter

The greatest challenge facing us in the next two decades will be to bridge the divide between commerce, the arts and the media. The implications of the current split are wide-ranging and devastating. On the one hand there is the media’s failure to grant the role of the corporation, financial markets and financial regulation in shaping our everyday lives the prominence it deserves. On the other hand there is the assumption that for a work of art to be a huge financial success somehow detracts from its artistic and aesthetic achievement and value.

For too long British news and current affairs programmes have relied on Westminster gossip whilst ignoring the often far more important, both positive and negative, impact of commerce on our everyday lives. As a lecturer in the arts, it is fascinating to see that many of my students view the prospect of entering the financial world as anathema, preferring instead to focus on traditional media routes such as TV runner or trainee journalist. If the chasm in perception between finance and the arts can be bridged, it will provide a more flexible and compelling range of career choices to university leavers, encouraging them to think laterally about the range of jobs they might be suited to. In Britain it is easy to forget that the City’s role as a global financial powerhouse is as impressive as our national cultural output and that involvement in either can be a true vocation.

My recent book, Selling Shakespeare to Hollywood, specifically examines the tension between art and commerce, high and low culture, which marked the production of Hollywood filmed Shakespeare adaptations at the end of the last century. It is to be hoped that from the beginning of this century onwards the tension will become a more productive relationship, less a conflict and more a symbiosis.

Emma French is author of Selling Shakespeare to Hollywood: The Marketing of Filmed Shakespeare Adaptations from 1989 into the New Millennium (buy this book from Amazon (UK) or Amazon (USA))

Survey home
What we found
Survey responses
RSS feed
Anjana Ahuja
Michael Baum
Peter Cochrane
Richard Feachem
Frank Furedi
Michio Kaku
Ken MacLeod
Jonathan Meades
Munira Mirza
Matthew Parris
Ingo Potrykus
Roger Scruton
Ben Shneiderman
Lionel Shriver
Raymond Tallis
Peter Whittle
Josie Appleton
David Baulcombe
Claire Fox
William Higham
Paul Lauterbur
William Graeme Laver
Ken MacLeod
Fiona McEwen
Victor Stenger