Future of Creative Industries - Implications for Research ... - Europa

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industries (…) catch industries which operate essentially outside the cultural sphere but someof those products could be argued to have some degree of cultural content.” These industriescomprise advertising, tourism, architectural and design services (p. 113). The culturalindustries model recognises both the role of subsidised industries and the commercial culturalones, but favours the arts core of the cultural industries.Over time, largely due to the accent placed upon commercial and economic development, themiddle and outside layers were moving to the core and the subsidised sector was pushed atthe periphery, becoming a subset of creative industry policy frameworks (T. O’Regan, 2001,p. 20). Both the subsidized and commercial culture became of interest as creativity resources.Such resources – of people, skills, talent and practice forms – “were to be harnessed,redirected, refashioned via a commercial and entrepreneurial spirit in an ever wideningcommercial application of creativity that involved much more than the existing commercialand subsidized cultural sectors”. The creative industries model considers the culturalindustries within a services framework; and configures culture as a “service industry”and “creativity an application”. (T. O’Regan, 2001, p. 21)An analysis of UNCTAD makes a difference between “upstream activities” (traditionalcultural activities such as performing arts or visual arts) and “downstream activities” (muchcloser to the market like advertising, publishing or media-related activities) and argues thatthe second group “derive their commercial value from low reproduction costs and easytransfer to other economic domains. From this perspective, cultural industries make up asubset of the creative industries, while the even broader cluster copyright industries consist ofboth creative industries and distribution-based industries.” (UNCTAD, 2004, p. 4)Referring to the same shift of terms from cultural to creative industries, Stuart Cunninghamargues that cultural industries notions have been developed around the cultures of nationstates and generally the term “has developed into the application of neoclassical economics tothe art paralleled by a ‘rebadging’ of large, usually commercial industries such as TV, musicand film, as ‘cultural’.” (S. Cunningham, 2001, p. 5) “There are undoubted continuitiesbetween cultural and creative industries, but … creative industries are trying to chart ahistorical shift from subsidised ‘public arts’ and broadcast era media, towards new andbroader applications of creativity… Creative industries are less national, and more globaland local/regional… Their characteristic organisational mode is the micro-firm to small tomedium-sized enterprise (SMEs) relating to large established distribution/circulationorganisations”. (idem, 2001, p. 6)Taking into account all the above arguments, we consider the creative industries as lyingat the crossroads between the arts, business and technology (UNCTAD, 2004) andhaving the cultural industries as a subset (T. O’Reagan, 2001; S. Cunningham, 2001).The creative industries can be defined as “those industries that have their origin inindividual creativity, skill and talent and which have a potential for wealth and job creationthrough the generation and exploitation of intellectual property” (UK Creative IndustriesTask Force, 1997).4
1.1.2. What type of industries does the sector includes?The cluster of cultural and creative industries ranges from heavily industrialized fields to theless commodified ones, the second group being represented mainly by the traditional culturalactivities but as well by the craft-oriented activities or design industry.Heavily industrialized and commodified industries (according mainly to D. Hesmondalgh)- Advertising and marketing- Broadcasting (the radio and television industries, including their newer cable, satellite anddigital forms)- Film industries (this includes the distribution of films on video, DVD and other formats, andon television)- The internet industry, including website creation, portal providers- The mobile content industry- The music industries: recording, publishing and live performance- Print and electronic publishing, including books, CD-ROMs, on-line databases, informationservices, magazines and newspapers- Video and computer gamesLess industrialized cultural and creative activitiesTraditional cultural activities:- The visual arts (painting, sculpture)- The performing arts (theatre, opera, concerts, and dance)- Museums and library servicesOther creative activities: crafts, fashion, design industry and household objects. They mightinclude architecture, cultural tourism, and even sport.1.2. Organizational featuresThe organization of the creative industries takes various forms varying from one industry toanother. In classic economic circles, the road from the creation to production, distribution,consumption and conservation of creative goods meets individual and social actors withdifferent roles in different creative realms. However, a distinction can be made between theprofit-making and the non-profit sectors of the industry.1.2.1. Conglomerations versus small firmsThe profit-seeking sector is increasingly dominated by large conglomerates with functionsboth in the processes of production and distribution of the complex creative goods – such asfilms, books, records. Big companies like Sony, Disney, Time Warner, etc. deal with largescaleproduction, promotion and distribution of creative goods on a more and moreinternationally level. Balancing this there are small firms involved mainly in discovering newtalents and promoting them on the creative market (Caves, 2000; Throsby, 2002).5
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Page 5 and 6: AcknowledgementsCarmen Marcus works
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Page 24 and 25: 3.2.4. Book readingBeside the high
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Page 28 and 29: making content protection as their
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Page 38 and 39: Annex I. Specific organisation patt
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Page 42 and 43: 5. Formal training, apprenticeship
Page 44 and 45: BibliographyAustralian Government,
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