CREATIVE CLUSTERS IN THE CZECH REPUBLIC – STRATEGY FOR LOCAL DEVELOPMENT OR FASHIONABLE CONCEPT? (original) (raw)

Cultural industries and the creative economy- Vague but useful concepts.

Geography Compass 3(4): 1483-1498., 2009

For those new to it, the literature on cultural industries can be confusing. While some authors refer to cultural industries, others refer to cultural-products industries or creative industries. Collectively, this heterogeneous group of industries comprises the cultural economy or the creative economy. Four typologies are presented, enabling one to more easily compare and contrast the essential features of commonly used definitions. The paper then discusses how this vague bundle of concepts is still useful as a lens on contemporary trends in industrialized economies.

Exploring the concept of Cultural and Creative industries

Abstract. Innovation is a main economy driver in the 21st century and in recent years has shifted from a primarily technological ‘information society’ mantra to one describing broader non-technological innovation and intellectual capital. In any case this current approach is more suitable for a service-based sustainable society. The creative and cultural economy in the digital environment is a growing part of the global economy. Trade based on creativity, knowledge and information generates jobs, wealth and cultural engagement. According to a UNDP report Cultural and Creative Industries (CCI) contribute up to 7% of GDP and is the fastest growing sector of many economies. In Latvia the term Creative Industries (CI) has been used since 2005 and similarly to other Baltic States Latvia has accepted the CI definition provided by the British Department of Culture, Media and Sports (DCMS). Despite that, broader entrepreneurship policy support for CCI is used very little. In spite of the lack of attention by economic policy makers, creative industries in Latvia exist, therefore it makes sense to talk about them and analyze their economic condition as a means of understanding more deliberately their economic potential. The aim of this paper is to explore the concept of CCI with the method of literature review and to establish an understanding of the describing terms and theories. This is crucial because the amount of literature is large and many sources express policy formulations which could be questioned with respect to their academic strength. This research paper has three main themes – (a) key descriptions of CCI and related concepts; (b) statistical perceptions and the limitations of existing statistical frameworks; and (c) some interesting theories of how to perceive CCI.

Introduction – Creative Industries in Europe: Drivers of (New) Sectoral and Spatial Dynamics

Springer eBooks, 2017

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Post-Crisis Spatial Development of Creative Industries: Evidence from Czechia

Creative Industries in Europe, 2017

The concept of the creative industries 'arrived' to Czechia approximately a decade ago. The later it arrived, the faster it ranked among other terms often associated with a positive impact on innovation and growth (Cikánek 2009; Kloudová and Chwaszcz 2014). Similar to, for example, the UK (see Campbell 2014), the creative industries are, according to the dominant discourse, an inevitable path to economic prosperity but also could bring other benefits: 'The inclusion of the concept of creative industries in the governmental agenda of Czechia can primarily mean the way out of the land of assembly and transshipment points, the country's current label, and can also be an effective remedy for a rather low political and cultural standard, with which Czechia has been dealing with for a long time' (Cikánek 2011, p. 159). However, empirical evidence (Slach et al. 2013) suggests that the nature of creative industries is somewhat different than this 'idealised' concept. This paper aims to critically evaluate within a wider context the development of creative industries in the post-crisis period between 2009 and 2013. An emphasis is placed, in particular, on changes in the spatial reorganisation of the creative industries in the monitored period. The first part discusses the possible scenarios of the response of creative industries to the crisis and the factors that may affect the probability of accomplishing the discussed scenarios. Subsequently, the data and methods are described. The paper also analyses the impacts of the crisis on the creative industries from an international perspective. Since we have considered the national context to be an important factor in modifying the nature and role of the creative sectors, we pay attention to this in the introductory chapter of the empirical part of the study. The analysis of the development of creative industries in the post