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White paper on creativity - ebla center

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Chapter 10flags in the past). But as a segment of communicati<strong>on</strong>, this world <strong>on</strong>ly began to beacknowledged relatively late <strong>on</strong>, especially by the public system. The tourist sector, forexample, with its “area brands” began to discover the value of branding (and recentlyoften to misuse it). Tourism arguably also triggered off the process of branding foratypical “products”. In this case the owner of the brand is not a private individual, oreven a public administrati<strong>on</strong> in the literal sense, but a community of stakeholders, whichhave their own public and/or private functi<strong>on</strong>s (from residents to companies, retailersand administrati<strong>on</strong>s).Behind a brand, a system can finally begin to take shape, c<strong>on</strong>sisting, <strong>on</strong> <strong>on</strong>e hand, oftraining (through the definiti<strong>on</strong> of underlying professi<strong>on</strong>al and educati<strong>on</strong>al profiles) andthe c<strong>on</strong>structi<strong>on</strong> of communicati<strong>on</strong>s (through the inclusi<strong>on</strong> of branding in all privateand public communicati<strong>on</strong> plans and assigning it human resources and making it anitem in budgets), and, <strong>on</strong> the other hand, of self-narrati<strong>on</strong> (again we can menti<strong>on</strong> flagsand their symbolic but also historical transpositi<strong>on</strong> into identity brands of, for example,a local area). And, lastly, “competitive identity”, according to Sim<strong>on</strong> Anholt’s neatdefiniti<strong>on</strong> making it the foundati<strong>on</strong> of so-called “public diplomacy”, i.e. the publiccompetitive system between nati<strong>on</strong>s, regi<strong>on</strong>s and cities, in which the perceived value ofthe brand (and its dimensi<strong>on</strong> as dream, attracting visitors to go to a given country,regi<strong>on</strong> or city) is the keyst<strong>on</strong>e in the c<strong>on</strong>structi<strong>on</strong> of the competitiveness of local areas.10.3 C<strong>on</strong>clusi<strong>on</strong>sThe world of Italian communicati<strong>on</strong>sand advertising is characterised by twodifferent kinds of experience: thehistorical experience of Carosello and thec<strong>on</strong>temporary experience focused <strong>on</strong><strong>creativity</strong>, the new media, corporatecommunicati<strong>on</strong>s,publiccommunicati<strong>on</strong>s, social advertising andcompetitive identity. Overall, accordingto official estimates, the sector accountsfor 0.1 9% of the GDP and employs atleast 64,900 people. It plays an importantrole in the c<strong>on</strong>tent industries to which itis c<strong>on</strong>nected not <strong>on</strong>ly in intellectualterms but also practically because of itslinks with the film industry whoseadvertising sector offers essential tools,ideas and technology (special effects).In the chapter <strong>on</strong> Recommendati<strong>on</strong>s wewill deal with the policies and acti<strong>on</strong>srequired to support and revitalise thesector.WHITE PAPER ON CREATIVITY 249

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