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White paper on creativity - ebla center

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Chapter 2edited by Fr<strong>on</strong>tier Ec<strong>on</strong>omics for theDCMS, also published in 2007.By mapping out the creative industriesan attempt was made to identify thosesectors of ec<strong>on</strong>omic activity in whichindividual <strong>creativity</strong>, skill and talent arethe main inputs in the producti<strong>on</strong>process and show a potential for wealthand ec<strong>on</strong>omic growth through thedevelopment of intellectual property.The creative industries are classifiedaccording to products. The Britishapproach is very wide-ranging, andincludes the traditi<strong>on</strong>al culturalindustries and other sectors, such asarchitecture, advertising, software andvideogames, performing arts, fashi<strong>on</strong>,design, and the art and antiques market.On the subject of the CreativeIndustries Model, it is worthmenti<strong>on</strong>ing the study <strong>on</strong> the creativeindustries in H<strong>on</strong>g K<strong>on</strong>g made by theCentre for Cultural Policy Research.This study placed the emphasis <strong>on</strong> twofurther elements of <strong>creativity</strong>, whichbroaden and deepen the analysis of thecultural and creative industries. Firstly,the c<strong>on</strong>tributi<strong>on</strong> of <strong>creativity</strong> inproducing social and cultural meaningsis made explicit. The creative industriesgenerate externalities, which go bey<strong>on</strong>dthe simple ec<strong>on</strong>omic dimensi<strong>on</strong> oftheir products and activities. Sec<strong>on</strong>dly,the H<strong>on</strong>g K<strong>on</strong>g approach c<strong>on</strong>centrates<strong>on</strong> the definiti<strong>on</strong> of a “CreativeIndustries Producti<strong>on</strong> System”, i.e. thecluster of ec<strong>on</strong>omic activities makingup the chain of value producti<strong>on</strong>generated by <strong>creativity</strong>.From this point of view, ec<strong>on</strong>omicactivities are classified according to thestages of c<strong>on</strong>cepti<strong>on</strong>,producti<strong>on</strong>/infrastructure anddistributi<strong>on</strong>. This is a powerfullyinnovative approach since the focusshifts from a definiti<strong>on</strong> of the sectorsin terms of goods and services to thevarious stages in the chain of valueproducti<strong>on</strong>. The sectors are no l<strong>on</strong>geridentified as being more or lesscreative, but may be distinguished byhow important the c<strong>on</strong>cepti<strong>on</strong> stage iscompared to the others.The Copyright Industries Model(WIPO)The approach adopted by the WorldIntellectual Property Organisati<strong>on</strong>(WIPO) focuses <strong>on</strong> the analysis ofintellectual property rights (especiallycopyright) linked to the creati<strong>on</strong> ofgoods or services.The sector of the Copyright Industriesis mapped out <strong>on</strong> four c<strong>on</strong>centriclevels, according to the degree ofimportance which property rights havein the overall value of the goods. At thecentre are products totally based <strong>on</strong>copyright. These core sectors arepublishing, film, music, entertainmentsoftware, and TV and radio. A sec<strong>on</strong>dlevel encompasses those industriesproducing goods which in part or insome aspects are covered by copyright,such as jewellery, designer objects andtoys. The third level c<strong>on</strong>sists of theindustries marketing material protectedby copyright, while the fourth groupstogether the copyright-relatedindustries, i.e. those industries whoseWHITE PAPER ON CREATIVITY 51

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