Journal articles on the topic 'Creative industries'
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Khurosani, Aan. "Membangun Budaya Mencipta dan Kreativitas Kerja Karyawan pada Industri Kreatif di Provinsi Banten." Performance 27, no. 2 (September 30, 2020): 49. http://dx.doi.org/10.20884/1.jp.2020.27.2.3206.
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Creative industry is a very potential sector in the development of small and medium industries in Indonesia. Creative industries are industries that focus on creating goods and services by relying on expertise, talent and creativity as intellectual property. The purpose of this study was to analyze the influence of creating culture, freedom of creation behavior and willingness to open a network of employee work creativity in the creative industries in Banten Province. The sampling technique uses purposive sampling technique with a sample of 95 respondents. Data analysis using Structural Equation Modeling analysis with PLS 3.0 program. The results showed that there was no influence of creating culture on employee work creativity. There is a positive and significant influence of creating culture on freedom of creative behavior, there is a positive and significant influence on freedom of creation behavior on employee work c[i]reativity, there is a positive and significant influence on creating freedom of behavior on the willingness to open networks and there is a positive influence on willingness to open networks on employee work creativity.
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Finkel, Rebecca, Deborah Jones, Katherine Sang, and Dimitrinka Stoyanova Russell. "Diversifying the creative: Creative work, creative industries, creative identities." Organization 24, no. 3 (May 2017): 281–88. http://dx.doi.org/10.1177/1350508417690167.
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Ilchuk, Valerii, and Iryna Sadchykova. "ТЕОРЕТИЧНІ ЗАСАДИ ФОРМУВАННЯ КРЕАТИВНИХ ІНДУСТРІЙ У РОЗВИТКУ РЕАЛЬНОГО СЕКТОРУ НАЦІОНАЛЬНОЇ ЕКОНОМІКИ." PROBLEMS AND PROSPECTS OF ECONOMIC AND MANAGEMENT, no. 1(21) (2020): 9–19. http://dx.doi.org/10.25140/2411-5215-2020-1(21)-9-19.
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The article thoroughly investigates the essence of creative industries from their inception to their formation and development. It was also determined that the creative industries in the real sector of the economy are emerging in innovation and in many cases aimed at creating new ideas and intellectual property in scientific-innovation, technical, technological, organizational and economic spheres, which provide the material basis for the life of society and every human being . The scheme of use of creative industries in the real sector of national economy is presented. The types of creative industries in the directions of creation of spiritual and material goods are highlighted, as well as the influence of creative industries on the development of the real sector of the national economy
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Gumerova, G. I., and E. Sh Shaimieva. "Approaches to researching creative industries for management in digital economy." Russian Journal of Economics and Law 17, no. 1 (March 13, 2023): 63–89. http://dx.doi.org/10.21202/2782-2923.2023.1.63-89.
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Objective: to form and reveal the four research approaches to the study and management of creative industries; to systematize the material within the research area and object.Methods: analysis, synthesis, classification.Results: the rapid development of creative industries has become one of the key trends in entrepreneurship in recent years. To understand this phenomenon, the article explores the concept and features of creative industries in the digital economy. Based on the analysis of scientific literature, the stages of the evolution of the creative industries development and formation on a global scale are determined. Four approaches to the study of creative industries are formulated: as a set of economic activities; as a set of high-tech industries and services; as platforms for the creation of intellectual property objects; through the prism of a specific type of economic activity. Each of the four approaches has its own tools for the development, study and management of creative industries.Scientific novelty: to clarify the existing approaches in the study of creative industries; to form a list of approaches to the study and management of creative industries in the digital economy; to form tools for the management and development of creative industries in the digital economy based on the formed approaches.Practical significance: the results obtained may contribute to: (a) developing further research on the essence of creative industries in the digital economy based on the formulated four approaches to research and management of creative industries; (b) scaling up the positive experience of using the tools obtained in a certain creative industry to other creative industries, and (c) developing universal and specialized methods for creating intellectual property objects in creative industries, activating innovative, creative, intellectual activity in organizations of creative industries in the digital economy.
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Paris, Thomas, and Sihem Ben Mahmoud‐Jouini. "The process of creation in creative industries." Creativity and Innovation Management 28, no. 3 (July 24, 2019): 403–19. http://dx.doi.org/10.1111/caim.12332.
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Harney, Stefano. "CREATIVE INDUSTRIES DEBATE." Cultural Studies 24, no. 3 (May 2010): 431–44. http://dx.doi.org/10.1080/09502381003750401.
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De Beukelaer, Christiaan. "Global creative industries." International Journal of Cultural Policy 21, no. 3 (September 10, 2014): 362–64. http://dx.doi.org/10.1080/10286632.2014.958480.
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Donald, James. "Review: Creative Industries." Media International Australia 118, no. 1 (February 2006): 160–61. http://dx.doi.org/10.1177/1329878x0611800124.
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Zanoni, Patrizia, Annelies Thoelen, and Sierk Ybema. "Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work." Organization 24, no. 3 (May 2017): 330–54. http://dx.doi.org/10.1177/1350508417690396.
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Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.
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Jiang, Lin. "Chinese Industrialization Process - Take Creative Industries for Example." Advanced Materials Research 711 (June 2013): 726–29. http://dx.doi.org/10.4028/www.scientific.net/amr.711.726.
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Understanding of the status quo of the industrial structure is very important to determine the stage of China's industrialization process and be able to help us to a correct understanding of the current situation of the creative industries, to forecast the trend of the development of creative industries, and to provide a proper basis for guiding policy for the development of creative industries. The article concluded that the development of creative industries in China based on the park and the base for the development of creative industries to promote industrial organic interaction and common development of different industries within the creative industries.
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Domnina, S. V., and A. A. Bogusonova. "Creative real estate and creative industries." Problemy sovershenstvovaniya organizatsii proizvodstva i upravleniya promyshlennymi predpriyatiyami: Mezhvuzovskii sbornik nauchnykh trudov, no. 1 (2022): 22–27. http://dx.doi.org/10.46554/op-mie-2022.1-pp.22.
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Pletsan, Khrystyna, Alla Havryliuk, Hanna Kostromina, Iryna Muratova, and Svitlana Kholodynska. "The Modern Practice of Creative Industries' Functioning under the Conditions of Sustainable Development." WSEAS TRANSACTIONS ON ENVIRONMENT AND DEVELOPMENT 18 (March 14, 2022): 349–57. http://dx.doi.org/10.37394/232015.2022.18.35.
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This article is devoted to studying the development of creative industries in the world under the conditions of sustainable development. The study's main purpose is to show the importance and prospects of the creative and cultural industries for world and humanity development. With this purpose, scientific literature, which allows estimating foreign experience of formation and development of creative industries, and effect features in the different countries, has been studied. Using statistical analysis methods, the estimation of creative industries in dynamics concerning a global gross domestic product has been made. The results show that the creative industries account for 3% of the country's GDP under the condition of natural development; the creative industries will develop at the rate of 10% per year, bringing the socio-economic status of the countries to a new level. The analysis of the creative industries structure showed its concentration around the information technology sector. However, the cultural sector also has an important role in sustainable development, allowing humanity to self-realize and be financially satisfied through the high value of creativity in industrial spheres. Furthermore, it is possible to accelerate the growth of creative industries by creating creative clusters formed by educational institutions, cultural institutions, and industry taking into account the peculiarities of regional development. Based on the analysis results, a SWOT analysis allows summarizing the research, highlighting the prospects for developing the creative industries and the main threats.
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Antonova, I. S., and A. N. Smakova. "SCHOOL OF CREATIVE INDUSTRIES IN THE REGIONAL ECONOMY OF TOMSK REGION." Beneficium, no. 4 (2023): 38–46. http://dx.doi.org/10.34680/beneficium.2023.4(49).38-46.
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The development of creative industries in modern conditions is a factor in revitalizing re-gional economies around the world. In Russia, the creation of Creative Industries Schools based on educational institutions subordinated to regional departments and Ministries of Culture has become an important tool for the development of creative industries. These schools not only train personnel for the formation of human potential in creative industries, but also act as an important tool for economic and spatial development of the region. In this article, on the basis of collected and sys-tematized data on commercial activity of creative industries enterprises in Tomsk region by cities, as well as analysis of the experience of creating one of the schools in Tomsk, we develop models of "translucent box", reflecting the impact of the School of Creative Industries as a whole, as well as its individual projects - "Sibirskaya Ne_provincia" and "Creative landing" - on the economy of the region. The results of the study show that from the position of the development of the economic space of creative industries in the region the center, the city of the "second echelon" and other cities are distinguished. Creative industries are created mainly in the form of individual enterprises, the key types of creative industries, which create new business production of software and computer games, film industry, fashion, design, jewelry, as well as education. The projects of the School of Creative Industries have a positive impact on the spatial development of the region through the realization of creative and social projects. This article will be useful for representatives of the creative industries community, including project offices, Creative Industries Schools, educational organizations, city, and regional administrations, as well as creative clusters to develop a system of cooperation and collab-oration. The results will be presented at the St. Petersburg International Economic Forum 2023 and at the Festival-Forum "Russian Creative Week 2023".
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Evans, Graeme. "Creative Cities, Creative Spaces and Urban Policy." Urban Studies 46, no. 5-6 (May 2009): 1003–40. http://dx.doi.org/10.1177/0042098009103853.
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The paper presents the results of an international study of creative industry policies and strategies, based on a survey of public-sector creative city initiatives and plans and their underlying rationales. As well as this survey and an accompanying literature review, interviews were carried out with senior policy-makers and intermediaries from Europe, North America, Africa and south-east Asia. The paper considers the scope and scale of so-called new-industrial clusters in local cultural and creative quarters and sub-regional creative hubs, which are the subject of policy interventions and public—private investment. The semantic and symbolic expansion of the cultural industries and their concentration in once-declining urban and former industrial districts, to the creative industries, and now to the knowledge and experience economy, is revealed in economic, sectoral and spatial terms. Whilst policy convergence and emulation are evident, manifested by the promotion of creative spaces and industry clusters and versions of the digital media and science city, this is driven by a meta-analysis of growth in the new economy, but one that is being achieved by old industrial economic interventions and policy rationales. These are being used to justify the redevelopment of former and residual industrial zones, with cities utilising the creative quarter/knowledge hub as a panacea to implement broader city expansion and regeneration plans.
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Aldianto, Leo, Christina Wirawan, Grisna Anggadwita, and Vania Nur Rizqi. "Integrated clustering of creative industries to foster innovation: Bandung's creative industries." International Journal of Entrepreneurial Venturing 12, no. 4 (2020): 420. http://dx.doi.org/10.1504/ijev.2020.109542.
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Miljković, Jovan, Bojan Ljujić, and Dubravka Mihajlović. "Education and creative industries." Nastava i vaspitanje 72, no. 2 (2023): 219–36. http://dx.doi.org/10.5937/nasvas2302219m.
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Creative industries represent a contemporary business and political concept which does not have sufficient scientific elaboration beside the significant role it has within economic affairs in developed countries. Although there is no consensus about which activities should be included in the concept of creative industries, clear indications that education is strongly linked to those are evident. The theoretical research was carried out with the aim of obtaining an answer to the research question: what is the relationship between the phenomena of the creative industry and education? By conducting content analysis of relevant scientific research, the characteristics of creative industries were abstracted, and then, by using the comparative method, the actual and potential relationship between education and selected characteristics of creative industries was examined. The research results indicate that education possesses all the characteristics of creative industries, and that there is a two-sided connection between creative industries and education: (1) education appears as a prerequisite for the genesis and development of creative industries and (2) creative industries support education being recognized as a function of education. Regarding the abovementioned connection, at least two complex directions of practical action arise, aimed at meeting relevant phenomena in reality: the first indicates the necessity of optimizing education that would further support the flows of creative industries, while the second implies the creation and articulation of stronger aspirations of the industries themselves that would make education more immanent in its nature. The limitation of this work is that the phenomena of creative industries and education are not considered in their totality, but only in their apparent form -the value dimension of the relevant phenomena was neglected, and therefore the results of this research should be regarded with caution.
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Pererva, I. M. "Substantiating the Creative Industry Criteria." Business Inform 1, no. 516 (2021): 27–33. http://dx.doi.org/10.32983/2222-4459-2021-1-27-33.
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The article is aimed at researching the specifics and features of the concept of «creative industries» and defining the criteria that would identify activities as belonging to the creative sector precisely; studying the concept of «creative industries» and their relationship with «cultural industries»; disclosing the essence of various classifications of cultural and creative industries; generalization of theoretical approaches to the studies on this sector. As result of the research, the main approaches of scholars, practitioners and organizations on the definition of the concepts of «cultural industries» and «creative industries» and the peculiarities of the development of this sector of the economy are analyzed and disclosed. The genesis of these concepts in various literary sources is highlighted and the formation of the creative industry as an integral part in the transition from industrial society to intellectual is shown. The relationship and the proportion of cultural and creative industries are examined. The role of creative industries in innovative processes is considered, which allows to identify their impact on both economic and social development of society. Both the personal and the organizational models of classification of creative industries in historical retrospective of periods of creative industries development are provided. The peculiarities and characterizations of the models of classification of creative industries and the basic conditions for the inclusion of industries in the creative sector are determined. Based on the analysis and generalization, the main criteria are allocated that will allow identifying activities as belonging to the creative sector. Prospects for further research in this direction are the use of creative industry criteria to develop a universal system of classification of creative industries and a comprehensive idea of development of the creative sector in general.
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Patten, Tena. "“Creative?”… “Entrepreneur?” – Understanding the Creative Industries Entrepreneur." Artivate 5, no. 2 (2016): 23–42. http://dx.doi.org/10.1353/artv.2016.0006.
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McGuigan, Jim. "Creative labour: working in the creative industries." Cultural Trends 20, no. 2 (June 2011): 213–14. http://dx.doi.org/10.1080/09548963.2011.563921.
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BLAHUN, Ivan, and Liudmyla GRYNEVYCH. "MARKETING OF CREATIVE INDUSTRIES: MODERN DIRECTIONS OF DEVELOPMENT." Ukrainian Journal of Applied Economics 6, no. 2 (June 30, 2021): 107–12. http://dx.doi.org/10.36887/2415-8453-2021-2-13.
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The article studies the development of creative industries in Ukraine and proposes marketing tools to increase its competitiveness in the market. In modern economic conditions, the development of the creative industry in Ukraine is possible only on the basis of marketing, which allows to determine the needs of consumers, channels of communication with them and develop strategies for the development of the industry in the short and long term. In today's dynamic environment of creative industries, it is important to be able to respond quickly to changes in the environment. Thus, the use of marketing tools will explore the characteristics of consumer behavior, identifying his virtual information habits, describe his profile. The collected information is the basis for creating a marketing strategy for the development of creative industries and the formation of competitive advantages for high-tech enterprises through the introduction of modern relevant tools for interactive marketing. The rapid growth of production and sales of services has contributed to the creation of new jobs, and resilience to crises, such as the CONID-19 pandemic, makes creative industries attractive to investors at both the private and public levels. The questions remain open: research of creative industries from the standpoint of their impact on the national economy, analysis and evaluation of their effectiveness from the standpoint of management and forecasting trends in their development to create and implement marketing strategies. Creative industry marketing includes a set of marketing strategies, approaches, tools and methods that need to be used in combination with creative industry organizations to achieve their market goals. The combination of creative, non-standard and bold solutions with the basic functions of traditional marketing will allow you to stand out from other market competitors, attract and retain the attention of loyal customers and ensure market advantages. Key words: marketing, marketing of creative industries, creative industries, creative cluster, creative marketing.
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Liubarets, Vladyslava, Iryna Zinkova, Yuliia Zemlina, Ganna Voroshylova, and Anna M. Tymeychuk. "COVID-19." Linguistics and Culture Review 5, S4 (November 23, 2021): 1585–99. http://dx.doi.org/10.21744/lingcure.v5ns4.1884.
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The article identifies the challenges of the creative industries in tourism as an important phenomenon in the conditions of the urgent world issue COVID-19. The COVID-19 pandemic has been identified as a real challenge for travel companies around the world causing significant changes in the strategies for creating creative programs for the tourism industry. The analysis has been made, the issues and possibilities of introducing creative industries in tourism in the conditions of the ecological danger of COVID-19 have been determined. It is emphasized that creative tourism, as a self-sufficient product, easily changes the format and subject matter depending on the set objectives, while remaining creative in its nature and purpose. The main stakeholders of creative tourism have been identified: consumers of tourist services, tourist industry representatives (tour operators and agents, hoteliers, restaurateurs, guides, tour guides), the tourist community, local people, and commodity producers, authorities, cultural, scientific, and educational institutions. Measures to support the sphere of culture, cultural heritage protection, development of creative industries and tourism in Ukraine have been analyzed: preservation, promotion, and effective use of national cultural heritage, creation of conditions for tourist attractiveness of cultural heritage sites, support of creative industries.
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Syahyono, Syahyono. "THE EFFECT OF CHAIN VALUE CREATION ON INCREASING THE FASHION INDUSTRY BUSINESS PERFORMANCE IN BANDUNG CITY." Fair Value: Jurnal Ilmiah Akuntansi dan Keuangan 3, no. 2 (January 31, 2021): 395–401. http://dx.doi.org/10.32670/fairvalue.v3i2.1196.
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The era of globalization causes increasingly competitive competition towards the creative economy. This creative economy is driven by an industrial sector called the creative industry. Creative industries that have optimal business performance are creative industries that apply value chains to each of their business processes. The value chain provides value delivery that offers superior value to the creative industries. However, this value chain is not owned or fully functional as it should be in the creative industry of the Binong Jati UMKM knitting center in Bandung. This article discusses aspects of business performance that are affected by value chain creation. This study uses descriptive-verificative survey research. The sampling technique used is probability random sampling. The results showed the influence of the value chain on business performance. So it can be concluded that the better the value chain, the higher the business performance at Binong Jati Knitting Center, Bandung City, and vice versa.
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Harper, Graeme. "Creative industries on Mars." Creative Industries Journal 9, no. 2 (July 2, 2016): 95–96. http://dx.doi.org/10.1080/17510694.2016.1232463.
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Harvie, Jen. "Nationalizing the 'Creative Industries'." Contemporary Theatre Review 13, no. 1 (February 2003): 15–32. http://dx.doi.org/10.1080/1048680031000077834.
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McGuigan, Jim. "Book Review: Creative Industries." Global Media and Communication 2, no. 3 (December 2006): 372–74. http://dx.doi.org/10.1177/1742766506069585.
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Banks, Mark, and Justin O’Connor. "After the creative industries." International Journal of Cultural Policy 15, no. 4 (November 2009): 365–73. http://dx.doi.org/10.1080/10286630902989027.
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Friedman, Walter A., and Geoffrey Jones. "Creative Industries in History." Business History Review 85, no. 2 (2011): 237–44. http://dx.doi.org/10.1017/s0007680511000365.
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MacDonald, Stuart. "Creative Industries Special Issue." International Journal of Education Through Art 9, no. 3 (October 1, 2013): 287–91. http://dx.doi.org/10.1386/eta.9.3.287_2.
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MacDonald, Stuart. "Beyond the creative industries." International Journal of Education Through Art 9, no. 3 (October 1, 2013): 293–309. http://dx.doi.org/10.1386/eta.9.3.293_1.
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Chapain, Caroline. "CREATIVE BIRMINGHAM (UK)? INSIGHTS INTO CREATIVE INDUSTRIES IN AN OLD INDUSTRIAL CITY?" Regions Magazine 266, no. 1 (June 2007): 12–13. http://dx.doi.org/10.1080/13673882.2007.9680871.
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Qi, Xueyuan. "Analysis on the Marketing Strategies of Cultural and Creative Products Based on Case Study of Beijing's Palace Museum." Advances in Economics, Management and Political Sciences 26, no. 1 (September 13, 2023): 33–40. http://dx.doi.org/10.54254/2754-1169/26/20230537.
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With the improvement of people's spiritual and cultural needs, cultural and creative industries are rising all over the world. Museums are pioneers and important carriers of cultural and creative industries. A good industrial strategy should be consumer-centric. The Palace Museum has played a leading role in the domestic cultural and creative industry and has successfully attracted many consumers with its excellent marketing concept. However, there are still some shortcomings in the commercialization of museums' creative cultural products. This article takes the Palace Museum as an example to explore the commercialization strategy of the cultural and creative industries. Through literature analysis, this study analyzes the development and industrial strategy of cultural and creative industries and puts forward suggestions to improve the development status of cultural and creative industries. Cultural and creative industries can optimize the product mix from the perspective of customers and design practical products with innovative thinking. The culture and creative industry should deliver third-party services and improve the logistics system. This paper also suggests to use of new media propaganda channels and to pay attention to intelligent propaganda.
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Shkarina, Vera S. "CREATIVE ECONOMY: WORLD PRACTICE AND CHALLENGES FOR RUSSIA." EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 10/7, no. 139 (2023): 73–80. http://dx.doi.org/10.36871/ek.up.p.r.2023.10.07.008.
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A significant segment of the modern economic system is the creative economy, which is rapidly developing and progressing on a global scale. The rise of the creative economy is taking place against the background of the crisis, which has posed new challenges to the world community related to the search for the latest directions for the development of the world economy. In the developed countries of the world, the importance of creative industries for the modern economy has been recognized and declared one of the priorities of their development. Therefore, creative thinking inherent in creative industries in modern conditions becomes an important source of new ideas and non-standard solutions, which leads to the revival or rebranding of cities, regions and countries, the creation of new goods and services, the promotion of ideas of ecological and sustainable development, increasing global communication and the development of individual territories. Undoubtedly, the global market of creative industries is currently developing quite rapidly and mobile, which requires from our state and domestic entrepreneurs high adaptive abilities corresponding to global trends. In the article, the author proves that the creative potential of a person is an important factor of economic stability and sustainable development of the domestic economy, and creative industries allow generating profits, creating new jobs and new industries, filling the budget, etc.
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Sulaiman, Diyana Binti. "Cultural and Creative Industries and Value Creation: An Analysis on Malaysian Copyright Laws." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 12 (December 31, 2022): e001951. http://dx.doi.org/10.47405/mjssh.v7i12.1951.
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The strategic and economic importance of cultural and creative industries that are supported by intellectual property laws has been duly acknowledged. They are instrumental to propel the growth of Malaysia during the 4th Industrial Revolution. The 12th Malaysian Plan (2021-2025) that was deliberated by the 9th Prime Minister of Malaysia, Dato’ Sri Ismail Sabri bin Yaakob in October 2021 has identified the creative industry as one of the strategic and high-impact industries for the country. The Malaysian government has also agreed in approving the intellectual property fund as one of the programs or main projects to be implemented in the 12th Malaysian Plan to improve the strategic industries. The aim of becoming a high-income nation has been envisioned much earlier with the establishment of Vision 2020 for Malaysia. This article aims to review copyright laws in Malaysia, with a focus on provisions pertaining to ownership and authorship of copyright, and dealings of copyright. The rationale for this approach is due to the fact that ownership, authorship, and dealing of copyright are essential for value creation at the individual and institutional levels, which then could translate to the success of the creative industries at the national level.
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Yu, Wentao. "Creative industries agglomeration and industrial efficiency in China." Growth and Change 49, no. 4 (August 23, 2018): 677–95. http://dx.doi.org/10.1111/grow.12255.
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Müller, Kathrin, Christian Rammer, and Johannes Trüby. "The role of creative industries in industrial innovation." Innovation 11, no. 2 (August 2009): 148–68. http://dx.doi.org/10.5172/impp.11.2.148.
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Liu, Mengchuan, Yi-Wen Wang, and Christian Nolf. "Creative Chinese Countryside? Township-Village Enterprises as Incubators." Built Heritage 3, no. 4 (December 2019): 72–91. http://dx.doi.org/10.1186/bf03545720.
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AbstractSince the turn of the century, creative industries have displayed considerable power in transforming the social and economic landscapes of most global metropolises, including such Chinese mega-cities as Beijing and Shanghai. However, the story of creative industries does not end there. Recent studies have focused on the role of creative sector in the countryside. It has been argued that the creative sector can effectively contribute to diversifying socio-economic development in rural areas by increasing employment, enhancing the quality of life, and promoting social inclusion and community development. With the aim to chart new paths for China’s rural revitalisation and address the country’s ‘three rural issues’ (i.e. agriculture, rural areas and farmers), this paper examines the potentials and challenges to developing the creative sector in rural China. It first reviews the academic debate about expanding the development of creative industries from urban to rural areas. Drawing on the research and classification of creative industries in rural Western Ireland, this study identifies industries characterised by ‘content creation and production’ and ‘creative design services’, which would have potential in rural China. The major impediments to and crucial factors for developing rural creative industries in China are investigated and appraised within the framework of ‘creative people, creative place, and creative support’. After analysing emerging practices in Jiangsu Province, this paper highlights the potential of abandoned industrial complexes in rural parts of China’s coastal regions, which can act as incubators for creative industries. Those former manufacturing plants are the remains of township-village enterprises (TVEs), which constituted part of China’s flagship policy for rural regeneration in the 1980s. Not only do they have special architectural attributes favourable for creative production, but also represent the socio-economic entity of the village collective and are the carriers of cultural meanings and memories. This paper concludes with a set of recommendations for both public and private sectors. It calls for a more proactive stance from governments to promote the creative sector in rural areas and revitalise rural economies and communities through the reuse or regeneration of former TVEs.
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Rybarova, Daniela. "Creative industry as a key creative component of the Slovak economy." SHS Web of Conferences 74 (2020): 03009. http://dx.doi.org/10.1051/shsconf/20207403009.
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The global economy is understood as an economy of information, knowledge, creativity, networks and services. The creation of value in the economy is involved in the economic, social and cognitive mechanisms. The economic mechanism emphasizes the processes of cooperation and production, the social mechanism, in turn, communication and marketing techniques, the cognitive mechanism is based on human imagination and interpretation. Under the cognitive mechanism is meant creativity, the ability to bring new motive, ideas. Cognitive mechanisms are in value creation process complementary to economic and social mechanisms and they are capable of producing value separately. One of the approaches to measuring creativity is to define and analyse creative industries. The creative industries are industries in which “combine and overlap the fields of art, culture, business and technology. They create a cycle of creation, production and distribution, using their intellectual capital as primary capital [1]. The contribution of the creative industry lies in its cross-sectoral dimension with minimal territorial constraints. The article will focus on the definition of creative industries and the analysis of creative industries in the Slovakia. The method used was the analysis of trends in the form of percentage year-on-year change. The creative industry is the sensitive on the state and development of the economy in Slovakia.
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Krasil'nikov, Artur S. "PROSPECTS FOR THE DEVELOPMENT OF CREATIVE INDUSTRIES IN THE MURMANSK REGION." EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 11/1, no. 131 (2022): 44–58. http://dx.doi.org/10.36871/ek.up.p.r.2022.11.01.006.
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The article is devoted to the analysis of the prospects for the development of creative industries in the Murmansk region. A study of the current state of the creative sector of the economy of the Murmansk region was carried out, the policy of regional authorities on the development and support of creative clusters was analyzed, a SWOT analysis of the competitiveness of the Murmansk region in the context of the development of creative industries was non-urgent perspective. It is shown that the main obstacle to the development of creative industries in the Murmansk region is the monostructural nature of the region's economy, aimed at the extensive industrial use of natural resources. The prospects for the development of the creative sector of the economy of the Murmansk region lie in the development of the unique scientific and technical potential of the region and the multiplication of the number of creative industries through the massive attraction of investments, the use of the natural potential and cultural and historical heritage of the region, the introduction of modern technologies for organizing labor, active participation in international projects. As the main promising areas for the development of creative industries in the Murmansk region, it is proposed to turn the Kola super-deep well into a tourist site; development of sea cruise tourism, including cruises to the North Pole, Spitsbergen archipelago, Franz Josef Land; creation and development of creative clusters, primarily tourist and recreational ones.
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Deng, Da, and Yang Wang. "Study on Creative Industries Correlativity for Sustainable Economy." Advanced Materials Research 962-965 (June 2014): 2386–89. http://dx.doi.org/10.4028/www.scientific.net/amr.962-965.2386.
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The creative industries are playing an increasingly significant role in the sustainable development of various countries, especially large cities all around the world for its low carbon and high efficiency. On the basis of summarizing the research status of creative industries, this paper focuses on analyzing the particularity of its relevance mode. This paper points out that the creative industries are standing at the top of all traditional industries, and its special industries correlativity mode widely exists inside this industry, between this industry and other industries, among industries in different regions as well as between this industry and traditional industries. The relevance of creative industries shall be utilized to give full play to its promoting function on the transformation of economic growth mode, the upgrading of industrial structure and other aspects, so as to serve for the low carbon economy and sustainable development strategy.
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Turgel, Irina, Valentina Derbeneva, and Irina Baskakova. "Conceptual Approach to Managing the Development of Creative Industries in Second-Tier Industrial Cities." R-Economy 9, no. 4 (2023): 366–83. http://dx.doi.org/10.15826/recon.2023.9.4.023.
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Relevance. In contemporary urban development, knowledge and creativity play pivotal roles in transforming cities into instruments for increased attractiveness, economic growth, and citizen well-being. Despite this recognition, second-tier cities face challenges due to the lack of a comprehensive concept for managing creative industries. The creative economy, proven effective in various countries, holds potential solutions to address accumulated issues. Research objective. This study aims to conceptualize the management of the creative sector in second-tier industrial cities, fostering their revitalization and transformation into growth zones. Data and methods. The empirical focus includes 14 creative clusters in old industrial second-tier cities of the Urals and Siberia in Russia. The study constructs a typology delineating five types of creative cluster formation, based on public-private sector interaction. Content analysis examines research literature and is complemented by a systematic approach. Results. The article systematizes the most pivotal problems in the management of creative industries' development and shows the importance of addressing institutional and coordination issues. Types of creative cluster formation are identified based on the degree of interaction between the public and private sectors in the development of creative industries. Two key types of creative cluster formation—initiative-based and dependent—are identified through case studies. The study formulates a conceptual approach to managing creative industries in second-tier industrial cities. Conclusions. The management of creative industries in second-tier cities deserves to be acknowledged as a distinct area of management. Development of creative industries requires a systematic state support system and a well-defined strategy. Local authorities play a crucial role in this process, acting as focal points for cooperative efforts through regulatory innovations in urban creative industries. Key instruments for effective policy implementation include the transformation of urban spaces, establishment of creative clusters, provision of grants to support small businesses, and stimulation of export activities.
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BONTJE, Marco. "AT HOME IN SHENZHEN? HOUSING OPPORTUNITIES AND HOUSING PREFERENCES OF CREATIVE WORKERS IN A WANNABE CREATIVE CITY." Creativity Studies 9, no. 2 (July 12, 2016): 160–76. http://dx.doi.org/10.3846/23450479.2016.1203832.
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Shenzhen grew fast as a city of industrial mass-production, but is transforming to an innovative and creative city. Shenzhen’s policies to encourage the creative industries are mostly aimed at companies and entrepreneurs. To really become an attractive creative city, housing policies for creative talent should be added. This article reports on an interview-based analysis of the housing situation and residential preferences of creative workers in Shenzhen. While creatives with good salaries have no problems finding attractive homes and neighbourhoods in Shenzhen, there is a shortage of affordable neighbourhoods meeting the demands of recent graduates and starting creatives. Shenzhen’s creative city strategy should take the socio-economic diversity of creative workers into account.
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Shtefan, Anna. "Creative industries: concept, features, and problems of legislative interpretation." Problems of legality 1, no. 164 (May 10, 2024): 39–55. http://dx.doi.org/10.21564/2414-990x.164.300752.
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The article explores the concept of creative industries, suggests their features, and analyses the list of creative industries of Ukraine in terms of correctness of legislative interpretations and substantive compliance with creative fields of activity. The definition of creative industries has been improved: these are areas of economic activity that create (produce) goods and/or provide services based on the use of intellectual (creative) capital and commercialize them by combining creative results with business solutions, which leads to the creation of added value and jobs. The use of the National Classifier of Ukraine DK 009:2010 "Classification of Types of Economic Activity" as the basis for the list of creative industries in 2019 was a wrong decision which, however, logically follows from the definition of creative industries introduced in 2018 in the Law of Ukraine "On Culture" which qualifies them as types, not spheres of economic activity. The literal application of this concept has led to the fact that the national list of creative industries has the following shortcomings: 1) artificial segmentation of one field of activity into several creative industries; 2) artificial unification of different areas of creative activity into one creative industry; 3) absence in the list of fields of activity which are essentially creative industries; 4) coverage by the list of fields of activity which do not produce creative products and do not provide creative services. It is concluded that a new, qualitatively different list of creative industries needs to be approved.
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Rossiter, Ned. "Creative Industries in Beijing: Initial Thoughts." Leonardo 39, no. 4 (August 2006): 367–70. http://dx.doi.org/10.1162/leon.2006.39.4.367.
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This article reports on current developments within “creative industries” in Beijing. The article discusses Dashanzi Art District and the Created in China Industrial Alliance in relation to such issues as labor, intellectual-property regimes, real-estate speculation, high-tech development zones, promotional cultures and the global variability of neoliberal capitalism. The article maintains that creative industries, as realizations of a policy concept undergoing international dissemination, are most accurately understood as cultural practices in trans-local settings that overlap with larger national and geopolitical forces.
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Shkodina, Iryna, Natalya Kondratenko, and Anastasia Shchukina. "Сreative industry 4.0: trends and transformations in the era of digitalization." 18, no. 18 (December 31, 2023): 22–30. http://dx.doi.org/10.26565/2310-9513-2023-18-03.
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In the contemporary world, creativity has emerged as a pivotal factor in the development of international economic relations. This article explores the development of the global creative industry 4.0, shaped by the fourth industrial revolution (Industry 4.0). The study aims to examine the trends influencing the creative industries, molded by the intensification of digitization, fostering fundamental changes and transforming them into the creative industry 4.0. The research employs a combination of general scientific and specialized methods, including a systemic approach to justify the main trends in the transformation of creative industries, analysis and synthesis to identify the impact of digital technologies on their evolution, and expert assessment methods to develop approaches for enhancing the development of creative industries 4.0. Results indicate that the digitization of the creative economy has expanded its scale and societal impact. Creative industries are becoming digital not only in terms of services but also in the realm of products. Artificial intelligence, virtual reality, big data, and other digital technologies facilitate the production, scaling, and consumption of creative services and products. The application of digital technologies enhances production efficiency, unlocks unlimited creative potential, improves design, personalization, interactivity, and consumer properties of creative goods and services. The trend of merging entertainment with e-commerce is expected to intensify. The development of the creative economy is crucial for achieving sustainable development goals, stimulating small business growth, and creating new employment opportunities, especially for women, youth, and other vulnerable population groups. The article identifies how Industry 4.0 technologies transform creative industries and proposes ways to leverage these new technological trends for the economic recovery of Ukraine.
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Comunian, Roberta, Caroline Chapain, and Nick Clifton. "Creative industries & creative policies: A European perspective?" City, Culture and Society 5, no. 2 (June 2014): 51–53. http://dx.doi.org/10.1016/j.ccs.2014.05.009.
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Wirawan, Christina, Leo Aldianto, Grisna Anggadwita, and Vania Nur Rizqi. "Creative Industries Integrated Clustering to Foster Innovation (Case at Bandungs Creative Industries)." International Journal of Entrepreneurial Venturing 12, no. 3 (2020): 1. http://dx.doi.org/10.1504/ijev.2020.10021575.
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Gwee, June. "Innovation and the creative industries cluster: A case study of Singapore’s creative industries." Innovation 11, no. 2 (August 2009): 240–52. http://dx.doi.org/10.5172/impp.11.2.240.
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Bereziuk-Rybak, I. R., I. V. Hanzhala, and N. V. Ilchenko. "THE ROLE OF CREATIVE INDUSTRIES IN THE CONTEXT OF INNOVATIVE DEVELOPMENT OF UKRAINE." Proceedings of Scientific Works of Cherkasy State Technological University Series Economic Sciences, no. 68 (April 20, 2023): 102–11. http://dx.doi.org/10.24025/2306-4420.68.2023.284596.
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The purpose of the article. Explore creativity as a key factor in the development of the economy and society. Consider the creative economy as an interaction of human creative potential, ideas, intellectual property, knowledge, technologies. To prove that the development of creative industries in the country leads to the formation of a positive external effect and is able to ensure a high level of innovation and competitiveness in other sectors of the economy. Explore the role of creative industries as a basis for creating innovations. To prove that creative industries contribute to the introduction of new ideas and technologies in other sectors of the economy, increase their productivity and competitiveness. The creative economy must be considered as a new growth model. Prove that the development of the creative economy should be a strategic goal of Ukraine and play an important role in the post-war recovery of the economy through the stimulation of innovation, the development of entrepreneurship, digitalization, the creative class, the development of education, science, culture, infrastructure. The analyses of indicators of creative industry in Ukraine are made. The article proves that using the potential of creative industries can contribute to the sustainable development of the economy and the rapid post-war recovery of Ukraine. To suggest the main directions of development of the creative economy and creative industries in Ukraine. Methodology. The determined the top 10 leaders of the world economy of innovation potential in 2022 year on The Global Innovation Index. The determined the top 10 world leaders in the position of "Creative output" in 2022 year on The Global Innovation Index. The determined the ranking of Ukraine by innovative potential and creative activity. The analyses of indicators of creative industry in Ukraine are made. Results. The creative economy must be considered as a new growth model. The development of the creative economy is a strategic goal of Ukraine. The development of the creative economy can play an important role in the post-war recovery of the economy through the stimulation of innovation, the development of entrepreneurship, digitalization, the creative class, the development of education, science, culture, and infrastructure. The post-war reconstruction of Ukraine creates opportunities for the formation of an effective state strategy for the development of the creative economy. Creative industries exert a direct and indirect influence on the development of the economy. The direct influence of creative industries can be carried out through the transfer of innovative ideas to other sectors of the economy, and the indirect through their multiplicative influence. The development of creative industries leads to the formation of a positive external effect and to an increase in the level of innovation and competitiveness in other sectors of the economy. Using the potential of creative industries can contribute to the sustainable development of the economy and the rapid post-war recovery of Ukraine. Using the potential of creative industries can contribute to the sustainable development of the economy and the rapid post-war recovery of Ukraine. To suggest the main directions of development of the creative economy and creative industries in Ukraine. Practical implications. The directions of development of the creative economy and creative industries in Ukraine, developed by the authors, can have practical application. The main directions of the development of the creative economy and creative industries in Ukraine: implementation of changes in the legislation regarding the support of creative entrepreneurship, financing and insurance of creative activities; creation of infrastructure and necessary institutions for the transformation of a creative product into economic value, improvement of tax legislation through fiscal stimulation of production recovery and further development of entrepreneurship; protection of intellectual property rights of developers of creative products; improvement of education in the field of creative industries; establishment of new connections, partnerships, exchange programs with foreign universities, participation in grant programs; development of small and medium-sized businesses; creation of centers for the development of the creative economy (centers, hubs, platforms, agencies, networks), which will increase the investment attractiveness of regions; develop cooperation with local authorities and territorial communities to solve local problems of an economic, social, ecological, cultural nature and improve the image of territories. Value/originality. Creativity as a key factor in the development of the economy and society. The concept of "creative economy" is defined. Creative industries exert a direct and indirect influence on the development of the economy. The direct influence of creative industries can be carried out through the transfer of innovative ideas to other sectors of the economy, and the indirect through their multiplicative influence. The dynamics of the gross added value of creative industries and the level of employment in Ukraine during 2013-2020 is presented in the article. The article presented the gross added value of the creative industries of Ukraine in 2020. The development of creative industries leads to the formation of a positive external effect and to an increase in the level of innovation and competitiveness in other sectors of the economy. Using the potential of creative industries will contribute to the sustainable development of the economy and the rapid post-war recovery of Ukraine. The creative economy is considered as a new growth model. The development of the creative economy should be a strategic goal of Ukraine. The development of creative industries can play an important role in post-war economic recovery. Using the potential of creative industries can contribute to the sustainable development of the economy and the rapid post-war recovery of Ukraine. To characterize the basic problems faced by the creative sector of the economy of Ukraine. The main directions of development of the creative economy and creative industries in Ukraine have been developed.
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Abankina, T. "Creative economy: Towards cultural heritage capitalization." Voprosy Ekonomiki, no. 4 (April 20, 2017): 100–116. http://dx.doi.org/10.32609/0042-8736-2017-4-100-116.
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The paper analyzes trends in the development of the creative economy in Russia and estimates the export potential of the Russian creative industries. The author demonstrates that modern concepts of cultural heritage preservation focus on increasing the efficiency of its use and that building creative potential and systematic support of the creative industries are becoming a key task of the strategic development of regions and municipalities in the post-industrial era.
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Levickaitė, Rasa. "CREATIVE INDUSTRIES: CLASSIFICATION SYSTEMS AND MODELS IN THE CONTEXT OF A CREATIVE ECONOMY OF THE 21ST CENTURY / KŪRYBINĖS INDUSTRIJOS: KLASIFIKAVIMO SISTEMOS IR MODELIAI XXI A. KŪRYBOS EKONOMIKOS KONTEKSTE." Mokslas - Lietuvos ateitis 3, no. 4 (July 19, 2011): 21–27. http://dx.doi.org/10.3846/mla.2011.065.
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The article discusses a concept of creative industries, looks at its definition varying in different countries and presents a phenomenon of a creative economy. In the context of the creative economy of the 21st century, the paper deals with classification systems and models of creative industries. Theoretical principals are based on the UNCTAD analysis of the creative economy. Creative industries are based on the production cycles of creative content that applies to creativity and intellectual property which is knowledge based activities covering both tangible products and an intangible creation of intellectual or creative services. According to the UNCTAD classification system, four groups of creative industries, including heritage, arts, media, and functional production can be distinguished and subdivided into subgroups. Research on worldwide creative industries refers to four models: UK DCMS model, symbolic text model, concentric circle model and WIPO copyright model. While appealing to the above mentioned models, classification systems with the output of complex interdisciplinary research might be designed.