Creative Economy: A Feasible Development Option

ativity for its management”, in Creative Industries: Colorfulfabric in multiple dimensions, G. Hagoort and R. Kooymann,(eds.). Utrecht, The Netherlands.Piedras Feria, Ernesto (2004). Cuanto vale la cultura?Contribución económica de las industrias protegidas por el derecho deautor en México. CONACULTA-CANIEM-SOGEM-SACM. México.Piedras Feria, Ernesto and Gonzalo Rojón (2005).Metodologías Mundiales para la Medición de las Industrias Protegidaspor los Derechos de Autor. London, Competitive IntelligenceUnit.Pine, B. Joseph and James Gilmore (1999). The ExperienceEconomy, Boston, United States of America, HarvardBusiness School Press.Porter, Michael E. (1980). Competitive Strategy: Techniques forAnalyzing Industries and Competitors. NewYork, United Statesof America, The Free Press._______(1990). The Competitive Advantage of Nations.Basingstoke, Macmillan.Potts, Jason (2006). “How Creative Are the Super-rich?”Agenda, 13(4):339-350.Power, Dominic (2002). “‘Cultural Industries’ in Sweden:An Assessment of their Place in the Swedish Economy”,Economic Geography, 78(2):103-127.______(2003). “The Nordic ‘Cultural Industries’: A Cross-National Assessment of the Place of the CulturalIndustries in Denmark, Finland, Norway and Sweden”,Geografiska Annaler Series B: Human Geography, 85(3):167-180.Pratt, Andy C. (1997). “The Cultural Industries ProductionSystem: A Case Study of Employment Change in Britain,1984-91”, Environment and Planning A, 29(11):1953-1974.______(1998). “A ‘Third Way’ for the Creative Industries?Hybrid Cultures: The Role of Bytes and Atoms inLocating the New Cultural Economy and Society”______(2000). International Journal of Communications Law andPolicy (1).______(2000). “New Media, the New Economy and NewSpaces”, Geoforum, 31:425-436.______(2004). “Creative Clusters: Towards the governanceof the creative industries production system?” MediaInternational Australia, 112:50-66.______(2004). “The Cultural Economy: A Call forSpecialized ‘Production of Culture’ Perspectives”, InternationalJournal of Cultural Studies, 7(1):117-128.______(2004). “The New Economy, Creativity andConsumption”, International Journal of Cultural Studies,7.1:117-128, March.______(2005). “Cultural Industries and Public Policy”, TheInternational Journal of Cultural Policy 11(1):31-44.______(2007). “The State of the Cultural Economy: TheRise of the Cultural Economy and the Challenges toCultural Policy Making”, in The Urgency of Theory, A.Ribeiro (ed.). Manchester, Carcanet Press/CalousteGulbenkian Foundation, pp. 166-190.______(2008). “Cultural Commodity Chains, CulturalClusters, or Cultural Production Chains?”, Growth andChange, vol. 39, No. 1, March 2008, pp. 95-103.Price, Lincoln and Arlene Martin (2009). “Co-productionFilm Treaties in Caribbean Countries — The unfinishedstory”, International Trade Forum, Issue 3.Primorac, Jaka (2004). “Mapping the Position of CulturalIndustries in Southeastern Europe”, Cultural Transitions inSoutheastern Europe. N. Svob-Dokiae. Zagreb, Institute forInternational Relations. Culturelink Joint PublicationSeries No. 6:59-78.Razlogov, Kirill (1998). “The Conflicts between Profits andPolitics: Cultural Industries in Europe”, Privatization andCulture: Experiences in the Arts, Heritage and Cultural Industries inEurope, P. B. Boorsma, A. van Hemel and N. van der Wielen(eds.). Boston, Dordrecht and London, Kluwer AcademicPublishers.Reis, Fonseca and Ana Carla (2003). Marketing Cultural: Efinanciamento da cultura. Brazil, Thomson.______(2006). “Include Us Out: Economic Developmentand Social Policy in the Creative Industries”, CulturalTrends, 15(4):255-273.Reuvid, Jonathan (2006). “Industry Sectors of Opportunity:3.4 Creative Industries”, Investors’ Guide to the United Kingdom,175-182.Rogers, Paula (March 2009). “BRAC: Aarong: Financingand Promoting the Creative Industries”, International TradeForum. Available from http://www.tradeforum.org/news/fullstory.php/aid/1460/Brac-Aarong:_Financing_and_Promoting_the_Creative_Industries.html.Rogerson, Christian M. (2006). “Creative Industries andUrban Tourism: South African Perspectives”, Urban Forum,17(2):149-166.Roodhouse, S. (ed.) (2000). The New Cultural Map: A ResearchCREATIVE ECONOMY REPORT 2010References269