Creative Economy: A Literature Review on Relational Dimensions, Challanges, and Policy Implications (original) (raw)
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Conceptualizing Creative Economy
Toruńskie Studia Międzynarodowe, 2018
Aim: In the present papers, the authors analyse the new phenomenon in the global economy, which is creative economy. It is only since 1998, when the Ministry of Culture of Great Britain announced "the map" of creative industries in Great Britain, the worldwide professional economic literature has launched intensive studies over the entirety of creative economy, the foundation of which were cultural industries. Creative industries constitute a sharply delineated economic structure, referred to by the authors as a structural entity which yield itself to structural analysis. The aim of the paper is an attempt to define creative economy as a structural entity, which would entail certain consequences in an economic theory as well as in the practices of both domestic and global economy.
Introduction to A Modern Guide to Creative Economies
Edward Elgar Publishing eBooks, 2022
The proposal and initial idea behind A Modern Guide to Creative Economies coincided with the start of a new project for the four editors. In 2019 we received a Horizon 2020 European award 1 titled 'Developing Inclusive and Sustainable Creative Economies' (DISCE). From the offset, it was clear that while much research has been undertaken and published in the last 20 years on the creative economy, there were still many challenges in defining, understanding and supporting the sector. The two most visible challenges identified through extensive literature reviews during the project (Comunian et al., 2020; Wilson et al., 2020; Dent et al., 2020) were that the creative economy was often not inclusive and sustainable. Inclusivity and sustainability were identified as the joint focus of the research project, but also a way in which the project was tasked to contribute to a new perspective on growth-beyond gross domestic product (GDP)-for the future of the European creative economy (see Gross, Chapter 14 in this book). While the DISCE project is still ongoing and the findings will be disseminated later in 2022, this Modern Guide edited collection has provided an invaluable instrument for the editors to reflect and critically engage with our understanding and approaches to this field of research. During the project, it was clear our understanding of the 'creative economy'-that is, creativity and cultural activities as a sector of the economy-was not enough. We opted for the use of the plural term 'creative economies'. This builds on the view presented by the United Nations Development Programme and United Nations Educational, Scientific and Cultural Organization (UNDP and UNESCO, 2013: 12) that the 'creative economy is not a single superhighway, but a multitude of different local trajectories found in cities and regions in developing countries'. While the UNDP and UNESCO (2013) here are trying to address concerns of inclusivity in relation to developing contexts, from our
Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019), 2019
This article discusses the theoretical Genesis of the concept of innovative economy of culture and creativity, analyzes the main tools to describe and measure its economic activity. The dynamics of the volume of world exports and imports of the culture and creativity industry reached 4.9 trillion dollars in 2016, accounted for the third of the value of commodity exports. In recent decades, about 70 percent of the GDP of developed countries is produced in the services sector, with growth rates of this sector (up to 16 percent per year) much higher than the growth rate of trade (7 percent per year). Trends in the modern development of society-globalization, post-industrialization, transnationalization, softization, information and innovation affect the economy and society, provide a quantitative and qualitative impact on the relationship between their sectors and industries, act as new and significant factors of economic development, and support the competitiveness of countries in the modern economy. The process of deindustrialization and economic growth, which has begun, is mainly focused on the development of the service sector, which has begun to progress faster than industry in all countries. As a result of these processes, the service sector has taken a leading position in economically developed countries. Currently, the underdevelopment of organizational and economic forms and insufficient development of mechanisms to support and strategic development of the cultural industry hinders the development of this sphere, and the structure of sources of investment of socio-cultural projects of the Russian Federation reveals the imbalance between the public and private sectors and the asymmetry between the needs and funding opportunities of these projects. Keywords-culture and creativity industry; global experience in the development of creative industry; management impact; mechanisms of support and strategic development of the culture industry I. *The article is executed within the grant of the Russian Foundation for Basic Research No. 19-010-01004\19 "Development of organizational, economic and financial mechanisms of support and strategic development of the cultural industry in the regions of Russia"
Essay on Areas of Economic Life in Creative Economies
The emergence of digital and creative economies is a distinguishing feature of contemporary economic life. It is characterised by the formation of a knowledge economy where non-traditional modes of production reign creative markets, access and distribution has changed, and modern infrastructure imparts new systems of economic activity. I will look specifically into the digital economy as; the platform for these changes, a marketplace for economic actors and a contingent site for arguments from varied economic frameworks. Furthermore, a look into the forms "tangible" capital that contribute to the new creative economy will illustrate the overlapping nature of culture, creativity, knowledge in economic, political and social spheres. Made possible by the 'informatisation' of society, that is associated with the production and distribution of information and communication, and by the generalised use of information and communication technologies (ICTs) in all areas of economic activity. (Flew, 2005, pg9) New Media: Digitization The old, "industrial" media model is typified by its narrow, scarce channels of distribution, expensive nature, and traditional media forms of broadcast in newspaper, TV and radio. By contrast, the new media captures both the development of unique forms of digital media, and the remaking of more traditional media forms to adopt and adapt to the new media technologies (Flew, 2005, p3). The new digital/creative industry is distinguished by its disruptiveness, messiness and informality. It is a site where economic actors; are producers and consumers in the digital industry, and gather increasing power in the new economy. The emergence of a global knowledgebased and creative economy has been driven by the rise of virtual cultures, S3329529
Creativity, culture and economy
2014
The debate around creativity gained a growing visibility over the last decades. The term has taken root in various technical and scientific fields and assumes today a central role in the "agenda" of urban, economic and sociocultural policies.
The Industrialization of Creativity and Its Limits: Introducing Concepts, Theories, and Themes
2020
In this introduction we explore how creativity, loosely referring to activities around the visual arts, music, design, film, and performance, is mobilized by states and governments as a "resource" for economic growth. The creative economy discourse emphasizes individuality, innovation, self-fulfillment, career advancement, and the idea of leading exciting lives as remedies to social alienation. Drawing on the chapters in this volume, this introduction questions this discourse, exploring how political shifts and theoretical frameworks related to creative economy in different parts of the world at a time when the creative industries become more and more "industrialized." We present the interdisciplinary contributions of volume that navigate a variety of geographical contexts, ranging from the United Kingdom, France and Russia to Greece, Argentina, and Italy, and explore issues around art biennials, museums, DIY cultures, technologies, creative writing, copyright laws, ideological formations, craft production, and creative coops .
Cultural and Creative Economy in depth Analysis of the Main Trends
2018
Measuring the role of the cultural and creative sectors and their socio-economic performance is a relatively recent trend. For many, the arts are perceived as marginal in terms of economic contribution and should therefore be confined to the realms of public intervention. To an extent, it explains the lack of a common statistical framework and shared tools compared with other industrial sectors. The present study attempts to identify the main theoretical backgrounds that underlie the most used methodological approaches in the assessment of the Creative and Cultural Industries (CCIs). Once identified, it tries to quantify the major economic-related trends at the global and European level: trade in cultural and creative goods and services, employment, turnover by sector, intellectual property dimension, business demography, by relying on statistical tools and databanks such as those provided by UNCTAD, EUROSTAT, UNESCO, OECD, WIPO, World Bank. A special section is dedicated to the concept and involvement of the so-called global cities in providing the ground for creativity and innovation to meet and grow. Creativity, in return, may shape the fortune of a city from many perspectives: urban architecture, design, cultural venues and events, tourism attraction, talent retention and job creation, building up human capital, innovation of products and methods, technological advancement are some of the important contribution of the Cultural and Creative Economy to the economic and social growth of a city that dedicates resources to this sector. This topic covers the last part of this work, where it is presented a very recent and comprehensive attempt of delineating a ranking of the best performing cities in terms of CCE, made at the European level by the Cultural and Creative Cities Monitor (a European Commission initiative). This part provides an in-depth presentation of this 2017 initiative, and of the methodologies and results that it brought. Furthermore, it also makes an explorative attempt to interpret relationships that have not been investigated yet, given the newness of data and analysis made on this topic. It does not seek for a cause-consequence finding, rather it is aimed at making the first research step towards the relationship between the cultural and creative content of a city and its growth relative to the broader economic environment. The ultimate question that could be answered only by a complex econometric model, refers to whether cultural and creative commitment (in financial, social and policy terms) could be a strong driver for growth or just one of the many, and if wealth is an inescapable starting condition for a city, a region or a country to obtain positive results from investments in CCIs. The end of the chapter provides a showcase of some examples of public/private involvement into projects to raise the creativity content of the exemplified cities. It especially aims at underlying the variety of approaches, targets, budgets and results, depending on the intrinsic historical, social, economic, territorial and resource endowment features of each creative city.
Creative economy: thematic perspectives addressed and research methodologies adopted
Brazilian Journal of Science and Technology, 2017
Background The subject of creative economy has been at the focus of discussions in international organizations and communities in recent decades, highlighting itself as strategic for the economic and social development and growth of both developed and developing countries. The academic community has expanded this debate beyond fundamental reflections in an effort to achieve a greater understanding of the concepts involved, their impacts, and their limits within each country's historical, political, economic, social and cultural contexts. Emerging in the last decade of the twentieth century, the concept of creative economy-an economic system based on the synthesis between economics, culture, science and technology-has gradually gained recognition as an increasing number of individuals and organizations come to understand creativity as a motor that fuels development processes (UNCTAD 2010). From a sectorial perspective, creative economy is understood by many as an expansion of cultural economy because, in addition to encompassing the traditional cultural sectors (music, dance, circus, visual arts etc.), creative
Role of creative industries in the post-socialist urban transformation
Over the past two decades the cities in Central and Eastern Europe have witnessed a wide-ranging transformation in many aspects. The introduction of a market-oriented economy after half a century of socialism has brought about deep social, economic, cultural and political changes. The first stage of the changes, the 1990s, involved the patching up of structural holes left by the previous system. The post-socialist city had to face challenges of the future while carrying the ballast of the past. Rapid progress in catching up with the West transformed the city a great deal. Later on, the advent of the 21st century brought a new wave of development processes based, among other things, on creativity and innovation. Hence our contribution aims to explore the role of creativity and creative industries in the post-socialist urban transformation. The article consists of three basic parts. In the first we present the concept of a 'creative post-socialist city' and define the position of creative industries in it. We also indicate some similarities to and differences from the West European approaches to this issue. In the second part, examples from Central and Eastern Europe are used in an attempt to elucidate the concept of a 'creative post-socialist city' by identifying some basic features of creative actions /processes as well as a creative environment, both exogenous and endogenous. The former is embedded in different local networks, both formal (institutionalised) and informal, whereas the structure of the latter is strongly path-dependent. In the third part we critically discuss the role of local policies on the development of creative industries, pointing out some of their shortcomings and drawing up recommendations for future policy measures.