White paper on creativity - ebla center

Chapter 2• define a national position ahead ofnegotiations at EU level• implement the initiatives plannedfor the European year of creativity inItaly.2.3 Comparative analysis ofapproaches to creativity andthe production of cultureThe exercise of mapping out andestimating the economic value of theItalian Macrosector of the cultural andcreative industries can be compared tovarious approaches adopted over thelast decade by other countries and byinternational organisations. In this waywe can arrive at a clearer idea of theircontent and define the position of Italyon the international scene.Although the aim of the variousmodels is the systematic measurementand understanding of the economicvalue of the cultural and creativeindustries, they offer a very mixedpicture because of the differences inapproach to establishing theboundaries of the cultural and creativeindustries and because of the methodsof economic and statistical analysisused.The Cultural Industries ModelThe Cultural Industries Model isarguably the first to have emerged froman analysis of economic activitieslinked to the production of culture(Adorno and Horkheimer, 1947):industrialisation meant that goods withcultural content could be reproducedon a large industrial scale with massdistribution.The main feature of the culturalindustries, defined according totechnical and economic criteria(reproducibility and communicationfunction), is also associated with thelegal criterion of the intellectualprotection of copyright and culturalcontent. The sectors traditionallyconsidered to be cultural industries arepublishing, film, TV and radio, andpress agencies. As such, the culturalindustries offer a relatively narrow fieldfor analysis, making possible anaccurate collection of statistical dataand a more detailed economic analysisof the macro sector. This approach wasrecently adopted by the Départmentdes études, de la prospective e desstatistiques in France and by Eurostatin the elaboration of statistics oncultural industries.The Creative Industries Model (UKDCMS)In Europe the so-called “CreativeIndustries” began to be mapped out inthe mid-1990s by the CreativeTaskforce of the UK Department forCulture, Media and Sport (DCMS).The DCMS set about monitoring andanalysing the economic performance ofthe creative sectors. This led to severalpublications: The Creative MappingDocument (1988, 1998 and 2001); thereport entitled Staying Ahead: the economicperformance of UK’s creative industries(2007); and Creative Industry Performance,WHITE PAPER ON CREATIVITY 50