Journal articles on the topic 'INDUSTRIE CULTURALI E CREATIVE'
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Di Giorgio, Sara, and Claudio Prandoni. "Il progetto inDICEs: misurare l’impatto della cultura digitale." DigItalia 15, no. 2 (December 2020): 59–73. http://dx.doi.org/10.36181/digitalia-00014.
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inDICEs è un progetto di ricerca e innovazione finanziato dalla Commissione Europea nell'ambito del programma Horizon 2020, e coordinato dall'ICCU. La ricerca condotta da inDICEs permetterà di sviluppare una metodologia scientifica per misurare e valutare l’impatto economico della digitalizzazione del patrimonio culturale, analizzando le modalità di accesso ai beni e ai servizi culturali in Europa. A partire da questo, il progetto elaborerà delle raccomandazioni rivolte ai responsabili del settore dei beni culturali e delle industrie culturali e creative, per fornire loro strumenti utili ad affrontare le sfide poste dall'avvento del mercato unico digitale al fine di far prosperare e diffondere la cultura europea. Infine, il progetto svilupperà una piattaforma partecipativa e un sistema di autovalutazione, utile agli istituti culturali per migliorare il proprio posizionamento strategico nel mercato unico digitale, favorendone perciò la trasformazione digitale.
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Degrassi, Lidianna. "«Le industrie culturali e creative»: una formula fortunata, ma ancora in cerca di identità (giuridica)." RIVISTA ITALIANA DI DIRITTO DEL TURISMO, no. 22 (November 2018): 7–31. http://dx.doi.org/10.3280/dt2018-022001.
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Inquadrare concettualmente la formula «CCI - Industrie culturali e creative» è un'operazione di cui si è occupata principalmente la dottrina economica della cultura. Il presente contributo offre alla comunità scientifica alcuni spunti di riflessione da un punto di vista giuridico, in particolare in relazione al diritto dell'UE e al diritto interno. Ciò che rende la definizione un unicum nel panorama del diritto pubblico multilivello è la specificità del CCI, che, allo stesso tempo, indaga i profili di «cultura», «creatività» e di «industria/economia». Ciò acquista rilevanza anche nell'ordinamento giuridico italiano, perché la Costituzione repubblicana non conosce questa nozione, il che fa sì che gli studiosi ne diano un'interpretazione sistematica. Oltre a questo, avendo a che fare con una forma di stato regionale, occorre rendersi conto di come sono distribuite le competenze tra Stato e Regioni, a causa dell'eterogeneità del settore del CCI. L'incertezza della nozione di diritto costituzionale ha permesso al legislatore statale di introdurne una simile, ma non identica: quella di «imprese culturali e creative», su cui, nel paragrafo finale, questo lavoro cerca di riflettere in prima battuta
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DELLA LUCIA, MARIA and SEGRE, GIOVANNA. "Il perimetro di industrie culturali, creative e turismo: specializzazioni e implicazioni di policy in Italia." Sinergie Italian Journal of Management, no. 104 (2018): 115–34. http://dx.doi.org/10.7433/s104.2017.06.
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Kolotouchkina, Olga. "Creatividad y la identidad cultural urbana: Experiencias destacadas en las ciudades contemporáneas. / Creativity and urban cultural identity: Best practices in contemporary cities." Revista Internacional de Cultura Visual 5, no. 1 (July 11, 2018): 1–8. http://dx.doi.org/10.37467/gka-revvisual.v5.1524.
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This research paper is a reflection on the role of innovation and creativity in the urban landscape. Based on the analysis of the prominence of cities in the context of globalisation and the essential role of culture for urban regeneration and competitive advantage, the paper illustrates a series of innovative urban cultural practices implemented in different cities around the world. The focus on iconic architecture, the creative transformation of urban spaces as well as the hosting of mega-events reaffirm the urban cultural identity on account of new urban narratives, innovative dynamics of cultural consumption and entertainment, creative talent attraction and boost to the creative industries. In addition, those innovative practices become the catalyst for citizen engagement and activism. El artículo ofrece una reflexión sobre el papel de la innovación y la creatividad en el entorno urbano. Partiendo del análisis del protagonismo de las ciudades en el contexto de la globalización y el papel esencial de la cultura para la competitividad y la regeneración urbana, se ilustra una serie de innovadoras prácticas culturales en diferentes ciudades alrededor del mundo. La apuesta por la arquitectura icónica, la transformación creativa del espacio urbano, así como la celebración de mega-eventos culturales reafirman la identidad cultural urbana a través de la creación de nuevas narrativas urbanas, innovadoras dinámicas de ocio y consumo cultural, la atracción del talento creativo y el estímulo a las industrias creativas. Por otro lado, estas prácticas innovadoras se convierten en el catalizador del activismo y la participación ciudadana.
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Salone, Carlo, and Francesco Arfò. "Città e grandi eventi: il programma Matera Capitale Europea della Cultura 2019 nella percezione dei residenti." RIVISTA GEOGRAFICA ITALIANA, no. 3 (September 2020): 5–29. http://dx.doi.org/10.3280/rgi2020-003001.
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L'adozione di politiche di sviluppo urbano focalizzate sulla cultura, sia dal lato dell'offerta (realizzazione di infrastrutture e sostegno alle industrie culturali e creative) sia da quello della domanda (campagne di promozione turistica, programmazione di eventi) e prassi corrente nel capitalismo cognitivo. Intorno al nesso tra cultura e sviluppo economico si e coagulato un vasto dibattito scientifico che fa da sfondo e giustificazione per l'adozione di politiche pubbliche conseguenti, in particolare, ma non solo, alla scala urbana. In realta, la produzione e il consumo di cultura sono pero spesso associati a fenomeni tra loro molto diversi e non di rado conflittuali. Secondo alcuni autori (Bridge, 2006; Kaasa e Vadi, 2010; Scott, 2000), lo sviluppo del settore culturale contribuisce soprattutto alla crescita economica e al vantaggio competitivo urbano, attraverso la generazione di nuova conoscenza per l'innovazione e la creativita ma, anche, effetti positivi su altre attivita economiche correlate. Altri ne enfatizzano le potenzialita inclusive, adatte alla costruzione dei diritti di cittadinanza e alla promozione di una societa piu giusta e coesa (Stern e Seifert, 2007), altri ancora assumono una posizione intermedia, attribuendo alla cultura sia un vantaggio competitivo che un beneficio per l'inclusione sociale, senza pero riuscire a chiarire appieno il rapporto tra queste due dimensioni dello sviluppo (Sacco e Segre, 2009). In questo articolo si inquadra e analizza il caso di Matera 2019 all'interno del progetto di Capitale Europea della Cultura ed alla luce delle teorie legate allo sviluppo urbano trainato dalla cultura. L'analisi del caso di Matera 2019 si pone l'obiettivo di misurare gli impatti attualmente osservabili nella citta sotto il profilo socio-spaziale e di indagare le modalita con cui i cittadini materani hanno interagito con l'evento, attraverso un'analisi della loro opinione circa il percorso svolto e le possibilita future della citta.
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Bernaschina, Diego. "La cuestión de la industria cultural-creativa chilena en tiempos de COVID-19." Sapienza: International Journal of Interdisciplinary Studies 3, no. 1 (February 14, 2022): 585–92. http://dx.doi.org/10.51798/sijis.v3i1.242.
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El presente artículo ofrece un acercamiento de carácter reflexivo-analítico sobre los trabajadores de las industrias culturales-creativas para indagar en los problemas sociales y sus valores personales, tanto del capitalismo como de la socialización. Así, nos permite enfocarnos en la cultura chilena a través de una triple crisis (sanitaria, económica y social) de la institucionalidad cultural. Nuestro objetivo de investigación cualitativa es analizar el impacto de la industria cultural-creativa sobre la experiencia relacionada con la pandemia del coronavirus y el estallido social. En distintos procedimientos metodológicos, tanto para los artistas y gestores culturales en Chile como la institucionalidad cultural del Estado para discutir y proponer el debate sobre los trabajadores a través de las industrias culturales-creativas. Por tanto, se concluye que la necesidad de obtener la participación de los trabajadores en el sector cultural. Así como la estabilidad económica por la ausencia de apoyo de institucionalidad cultural del Estado hacia la inclusión social. Asimismo, la mayor necesidad de repensar el bienestar humano en un mundo para desarrollar y promover el trabajo de la industria cultural-creativa en Chile.
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Bárcenas Curtis, César, Roberto Bárcenas Curtis, and María Consuelo Lemus Pool. "Evaluación de las industrias culturales y creativas en Tamaulipas." Economía Creativa, no. 14 (2021): 38–74. http://dx.doi.org/10.46840/ec.2020.14.03.
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El objetivo de este artículo es presentar una construcción metodológica de un índice de potencialidad para las industrias culturales y creativas en el estado de Tamaulipas. La metodología, de orden cuantitativo, propone un índice compuesto por tres dominios de análisis: a) base cultural y creativa, b) política cultural y c) industrias culturales y creativas, incluyendo variables relacionadas con el desempeño de los indicadores de industrias culturales y creativas durante el año 2019 en Tamaulipas. Los resultados muestran que el primer dominio es el más importante al incluir un mayor número de variables y ejercer una significativa dinámica económica, fortaleza del ambiente académico y capacidad en el flujo de recursos humanos, de talento y conocimiento. Por último, este análisis expone que en Tamaulipas se requiere de la generación de políticas de desarrollo sobre la base cultural y creativa, para fortalecer y adquirir mayor competitividad a nivel regional y nacional.
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Rodríguez-Ferrándiz, Raúl. "From Cultural Industries to Entertainment and Creative Industries. The Boundaries of the Cultural Field." Comunicar 18, no. 36 (March 1, 2011): 149–56. http://dx.doi.org/10.3916/c36-2011-03-06.
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This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El artículo analiza la tendencia actual a la dilución del concepto de «industrias culturales» en fórmulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografía reciente especializada, acotamos el alcance y los solapamientos entre los términos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», íntimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnológicas de los productos culturales, a cambios en la titularidad de sus proveedores, así como de los roles de autor, actor y espectador. Para entender esta mutación recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clásico a la maleabilidad y convertibilidad que permiten las nuevas tecnologías, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentación participante, en constante circulación, mancomunada y lúdica; 3) de una aspiración a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones más ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomía de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (más placentero que el primero y más trascendente y esforzado que el segundo), también alcanza a borrar los límites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).
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Podestá-Correa, María Paola, María Cristina Hernández-Monsalve, and Beatriz E. Bedoya Velásquez. "Haciendo florecer el ecosistema. Análisis del apoyo a las industrias culturales y creativas en Colombia y el mundo." Economía Creativa, no. 13 (2020): 36–67. http://dx.doi.org/10.46840/ec.2020.13.03.
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La importancia de la Economía Creativa (EC) y de las Industrias Culturales y Creativas (ICC) hoy en día no puede ser subestimada. Esto ha llevado al surgimiento de ecosistemas de emprendimiento cultural y creativo que configuran una oferta de servicios de formación y apoyo para fortalecer el sector. Este artículo presenta resultados de una investigación sobre el estado de dicha oferta en el mundo, Iberoamérica y Colombia. Para el mundo e Iberoamérica se revisaron en línea 238 instituciones. Para el contexto colombiano, la información se recopiló mediante entrevistas estructuradas a 25 representantes de diferentes organismos. El artículo presenta un mapeo de organismos constituyentes de ecosistemas y un inventario de la oferta de este tipo de servicios identificados. Los hallazgos presentados permiten identificar oportunidades de crecimiento y fortalecimiento para el emprendimiento cultural y creativo en el mundo, y señala aspectos críticos para el ámbito colombiano, en relación con referentes internacionales.
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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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Saucedo Estrada, Hael Karina. "LA CREATIVIDAD RECURSO ECONÓMICO: COMO ESTRATEGIA DE CRECIMIENTO." Investigación & Negocios 13, no. 21 (April 30, 2020): 23. http://dx.doi.org/10.38147/invneg.v13i21.81.
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Hoy en día la Creatividad aún permanece poco visible en nuestro país y para los economistas, donde la creatividad desempeña un papel importante en el desarrollo de estrategias regional en los últimos años, mostrando una evidencia de datos. El presente artículo tiene como objetivo mostrar el valor dinámico a partir de la teoría económica de las clases creativas de Florida (2002), manifestándose a través de una revisión bibliométrica y cuatro modelos que muestran la relación entre las industrias creativas y la economía en su conjunto y descubriendo una base metodológica de este hallazgo donde los modelos 3 y 4 son los más apropiados para una política económica creativa y cultural.Palabras Claves: Creatividad, Clase Creativa, Economía Creativa, Crecimiento Económico
Abstract:Today, Creativity still remains poorly visible in our country and for economists, where creativity plays an important role in the development of regional strategies in recent years, showing evidence of data. This article aims to show the dynamic value from the economic theory of the creative classes of Florida (2002), manifesting itself through a bibliometric review and four models that show the relationship between the creative industries and the economy as a whole and discovering a methodological basis for this finding where models 3 and 4 are the most appropriate for a creative and cultural economic policy.Keywords: Creativity, Creative Class, Creative Economy, Economic Growth Model
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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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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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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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Juliao-Esparragoza, David, Mariangela Lopez-Lambraño, and Alberto Muñoz-Santiago. "Transición del concepto de industrias creativas y su papel en el entorno económico." I+D Revista de Investigaciones 16, no. 1 (December 7, 2020): 225–37. http://dx.doi.org/10.33304/revinv.v16n1-2021018.
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Este artículo de reflexión hace un recorrido por los conceptos de industrias culturales y creativas. Muestra la transición de los términos desde su visión cultural y artística hasta el entendimiento del papel de dichas industrias en el ecosistema económico. Su propósito estriba en el entendimiento de estas industrias como eje de desarrollo a partir de una visión política clara, con direccionamientos estratégicos identificados. Se realiza un análisis bibliométrico básico que permite identificar la importancia que tienen las industrias creativas en la actualidad, y también se hace una aproximación de su impacto a través de indicadores económicos mundiales y una lectura de la eficiencia de estas en la región. Se identifican los retos asociados a la industria y se proponen alternativas de abordaje en el contexto colombiano.
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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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Enciso González, Jesús, and Emmanuel Román Espinosa Lucas. "La industria cultural de la historieta mexicana: una visión desde la economía política." CuCo, Cuadernos de cómic, no. 16 (July 8, 2021): 132–53. http://dx.doi.org/10.37536/cuco.2021.16.1397.
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En este artículo, se propone la aplicación de un marco teórico y metodológico para estudiar la industria cultural de la historieta mexicana; el hilo argumental es el proceso económico-industrial de elaboración y circulación de cómics que comprendió casi setenta años. Partimos de la economía política como enfoque, pero también consideramos otros desarrollos pertenecientes a la economía. Asimismo, abordamos a las industrias culturales y creativas, así como brindamos una panorámica sobre la historia de la industria del cómic mexicano a partir de diversos estudiosos del tema.
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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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Ni, Zebo, Taohua Ouyang, and Jianxiong Xu. "Research on the Sustainable Development of Enterprises That Evoke Industrial Heritage—A Case Study of Taoxichuan." Sustainability 15, no. 2 (January 8, 2023): 1176. http://dx.doi.org/10.3390/su15021176.
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This paper takes Taoxichuan Cultural and Creative Street as a case study. It explores how enterprises activate the value of “industrial heritage” resources and achieve sustainable development from the perspective of affordance theory. Research findings indicated that: (1) the creation of a culturally recognized context performs a vital role in activating the industrial heritage; (2) the evocation of industrial heritage resources is a dynamic process from the realization of fundamental values to the actualization of high-level values; and (3) the evoked industrial heritage resources can achieve sustainable corporate development. Additionally, the research findings provide reference for enterprises to realize high-level values of industrial heritage resources by creating contexts to transform them into sources of innovation in the post-pandemic era.
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Fráguas Nobre, Guilherme. "Las industrias creativas versus COVID-19." Economía Creativa, no. 13 (2020): 171–88. http://dx.doi.org/10.46840/ec.2020.13.07.
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El trabajo aborda el impacto del COVID-19 en las industrias creativas y culturales, para después explorar algunos ejemplos de cómo es que distintas compañías del ecosistema creativo han encarado el desafío de la pandemia, convirtiendo la coyuntura en una oportunidad. Finalmente, se exploran vías como la desmaterialización, la automatización, la colaboración con la Inteligencia Artificial y la Economía gig como posibles respuestas para el sector, concluyendo que la vulnerabilidad del ecosistema es previa a la pandemia y está siendo exacerbada por esta.
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Morgantini, Filippo. "Torino, piazza dello statuto." STORIA URBANA, no. 132 (February 2012): 203–26. http://dx.doi.org/10.3280/su2011-132007.
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Nota soprattutto per gli aspetti politici, economici e urbanistici, la Piazza Statuto a Torino propone ancora molti quesiti irrisolti circa i riferimenti culturali adottati ed i protagonisti coinvolti nella raffinata configurazione architettonica dell'uniforme complesso di edifici che la caratterizzano. Il nuovo studio evidenzia come, nella piazza edificata fra il 1864 e il 1868 per celebrare lo Statuto Albertino (la costituzione concessa dal re Carlo Alberto), alcune ingegnose proposte indirizzate a definire uno stile architettonico nazionale (Italiano), furono messe in ombra da un piů spettacolare e meglio conosciuto classicismo internazionale. Dalle complesse vicende costruttive emergono, inaspettatamente, figure di tecnici solidi e affidabili ma dalle non troppo spiccate capacitŕ creative, i cui riferimenti, nonostante la diretta partecipazione inglese, portano quasi sempre verso Parigi, sia per continuitŕ con i modelli neoclassici d'inizio secolo, sia per la forte influenza della cultura francese in tutta Europa. Con il trasferimento della capitale, ancor prima del completamento degli edifici, la piazza diviene uno dei luoghi-simbolo della nuova vocazione borghese e industriale della cittŕ, sottolineata dall'erezione del monumento agli uomini che scavarono il tunnel del Frejus; le testimonianze letterarie, pur in modo parziale e soggettivo, testimoniano, tuttavia, la difficoltŕ di assegnare funzioni simboliche a quegli spazi.
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Zeng, Hui, and Lei Yang. "The Innovation and Development Path of Cultural and Creative Industries in Anhui Province, China: Nvivo12-Based Policy Text Analysis." Computational Intelligence and Neuroscience 2022 (July 20, 2022): 1–11. http://dx.doi.org/10.1155/2022/6202746.
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The policy planning of cultural and creative industries is the leading factor affecting the development of cultural and creative industries and is also an important factor in driving China’s economic transformation. How to combine the policy with the actual industrial development and how to scientifically assess the construction effect of cultural and creative industries and build the corresponding planning system are the key points of the current development of cultural and creative industries in Anhui Province, China. The study first analyzes the regional cultural characteristics and development status of Anhui Province, then uses Nvivo12 qualitative software to conduct grounded research and qualitative text analysis on 20 Chinese cultural and creative industry development policy texts, and summarizes three core elements that promote the development of China’s cultural and creative industry: “development task,” “development goal,” and “development guarantee.” Then, according to the three core elements of the text, we propose policy recommendations for the innovation and development of Anhui’s cultural and creative industries: focus on “cultural heritage and sustainable development” policy formulation, explore Anhui’s regional characteristics and culture; strengthen the development of urban-rural cultural integration and mechanism innovation; optimize and adjust the structure and supply of cultural industries; top-level design to clarify the strategic direction of culture, and coordinate the research tasks to empower industrial innovation. Relying on new media means, it integrates three major development strategies to build a new mechanism for internationalized communication of cultural and creative industries in Anhui Province, develop regional advantageous industries, form advantageous cultural industry clusters, effectively spread local culture, and promote sustainable development of local economy.
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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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Miller, Toby. "FROM CREATIVE TO CULTURAL INDUSTRIES." Cultural Studies 23, no. 1 (January 2009): 88–99. http://dx.doi.org/10.1080/09502380802326660.
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Garnham, Nicholas. "From cultural to creative industries." International Journal of Cultural Policy 11, no. 1 (March 2005): 15–29. http://dx.doi.org/10.1080/10286630500067606.
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Hui, Desmond. "From cultural to creative industries." International Journal of Cultural Studies 9, no. 3 (September 2006): 317–31. http://dx.doi.org/10.1177/1367877906066878.
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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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Wu, Maoguo, and Qingshu Li. "Impact of Cultural and Creative Industries on Regional Economic Development in China — A Spatial Econometric Approach." Research in World Economy 9, no. 1 (April 19, 2018): 46. http://dx.doi.org/10.5430/rwe.v9n1p46.
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In the 1990s, the United States and some developed European countries began to focus on developing some emerging industries, such as the cultural and creative industries, which developed effectively with traditional industries and achieved great economic benefits. With the worldwide economic integration, as a developing country, China has gradually realized the importance of emerging industries in the 21st century. Cultural and creative industries have also attracted more attention and achieved rapid development in the past few years. However, cultural and creative industries in China are still in the early stage of development. Industrial investment and related facilities have not yet formed the scale. Besides, relevant industrial policies are constantly changing. Meanwhile, the speed of cultural and creative industries’ development and their impact on the economy vary greatly in different regions of China due to factors like the scale of industry-related talents and the level of scientific research, resulting in uncoordinated development of technical layout and unbalanced economic development. Therefore, it is imperative to study the relation between cultural and creative industries and regional economic development.This paper selects data of 31 provinces from 2003 to 2013 and forms spatial panel data set. Four types of spatial econometric models are utilized to assess the impact of cultural and creative industries on regional economic development in China. Empirical results show that there is a strong spatial autocorrelation among different regions’ economic development in China. The development of cultural and creative industries can effectively promote the development of the regional economy in many aspects. In particular, the economy in the Center and the East is affected more significantly by the development of cultural and creative industries. Cultivation and inflows of cultural and creative talents, expenditure of scientific research, support of government and construction of related facilities are important factors of improving regional economy. For the West, the development of cultural and creative industries has a certain hindrance to the regional economy and some more effective ways should be raised to improve the region’s economy. Finally, according to the empirical result, this paper puts forward corresponding policy implications for different cultural and creative industries and the economy in different regions.
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Suchacek, Jan. "The Benefit of Failure: On the Development of Ostrava’s Culture." Sustainability 11, no. 9 (May 6, 2019): 2592. http://dx.doi.org/10.3390/su11092592.
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Peculiar cultures are symptomatic for areas of traditional industry. The purpose of this paper is to analyze and evaluate cultural and creative industries in Ostrava, the third largest town of the country that at the same time constitutes a typical representative of old industrial urban fabrics in the Czech Republic. Special attention will be devoted to the emerging cultural clusters that appear to be indispensable in terms of sustainable cultural management. Unique qualities of Ostrava’s culture culminated in 2009, when the town decided to stand for the prestigious title of the European Capital of Culture. Finally, Ostrava did not succeed, nonetheless the contest vivified the discourse on Ostrava’s culture and a distinctive potential for the creation of cultural clusters was revealed. Semi-structured interviews accomplished with relevant actors of the town’s culture facilitated contextual interpretation of the role of cultural and creative industries as well as mapping the potential cultural clusters in the town. The research question posed in this article is as follows: do development effects formed by the concentration of creative and cultural industries in Ostrava exist? It turned out that the paths towards cultural management sustainability can differ substantially from recipes, which are well-proven in leading developed territories. The results of our analysis confirmed some developmental effects evoked by the concentration of cultural industries and cultural clusters in Ostrava can be identified, but genuine qualitative transformation towards a more cultural and sustainable milieu in Ostrava undoubtedly requires more time.
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Alberich-Pascual, Jordi, and Francisco Javier Gómez-Pérez. "Tiento para una Estética transmedia. Vectores estéticos en la creación, producción, uso y consumo de narrativas transmediales." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 9. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282044.
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Las narrativas transmediales inauguran significativos procesos de cambio y redefinición de roles en el marco de las industrias creativas contemporáneas, dando lugar a una larga serie de implicaciones industriales, culturales, y estéticas de alcance revolucionario que resulta fundamental abordar. El presente artículo identifica cinco vectores estéticos que se apuntan en las nuevas expresiones culturales contemporáneas de naturaleza transmedial: 1. Opticidad transmedia; 2. Naturaleza procesual; 3. Transflâneurie; 4. Coautoría; y 5. Estética expandida. La consideración y el análisis de éstos permite evidenciar la singularidad y especificidad estética de los propios procesos narrativos y mundos transmediales, así como apuntar algunas de las nuevas características identificativas de una experiencia estética transmedia. Transmedia narratives inaugurate significant processes of change and redefinition of roles within the framework of contemporary creative industries, giving rise to a long series of industrial, cultural, and aesthetic implications of revolutionary scope that is fundamental to address. The present article identifies five aesthetic vectors that are aimed at the new contemporary cultural expressions of a transmedial nature: 1. Transmedia opticity; 2. Process nature; 3. Transflâneurie; 4. Co-authoring; And 5. Expanded esthetics. The consideration and analysis of these makes it possible to highlight the singularity and aesthetic specificity of the narrative processes themselves and transmedial worlds, as well as to point out some of the new identifying characteristics of a transmedia aesthetic experience.
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Kozáková, Mária, and Kristína Krúpová. "Dynamic Models of the Creative Industries’ Behaviour." SHS Web of Conferences 83 (2020): 01036. http://dx.doi.org/10.1051/shsconf/20208301036.
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The aim of the paper is to analyse the models describing the development of the Creative Industries in Slovakia. Creative industries are described as the industrial components of the economy in which creativity is an input and content or intellectual property is the output. The creative industries have therefore appeared to be newly represented as a significant and rapidly growing set of industries; an important sector, in other words, for policy consideration. Based on the following findings, we can conclude that the second model is precisely predicting the relationship between the growth in the creative industries and in the aggregate economy in Slovakia. With improved cultural statistics, also a more developed and theoretically better founded analysis would be possible. We therefore see our article primarily as a much-needed step towards developing statistical tools in empirical cultural policy on a consistent basis.
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Sava, Diana, and Alina Badulescu. "CULTURAL EMPLOYMENT BY LEVEL OF EDUCATION." Oradea Journal of Business and Economics 2, no. 2 (September 2017): 77–84. http://dx.doi.org/10.47535/1991ojbe029.
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The sector of the creative economy brings benefits to the economy, more exactly, through the cultural sector, due to the unlimited resources needed to develop – the human resources represented by their mind or talent. The industrial development and innovation lead towards many changes in the cultural industries mostly due to the digitization effect, an irreversible change in the creation of various cultural goods and services, resulting even new cultural domains and also new regulation in the cultural field. The goods and services produced by the new cultural sector “encompass artistic, aesthetic, symbolic and spiritual values (...) their system of valorisation, which includes a characteristic irreproducible, is linked to its appreciation or pleasure” makes them different from other goods and services as Throsby mentioned (UNESCO, 2009:22). This paper aims to show some positive impacts of the creative economy, highlighting social and economic aspects, such as cultural diversity, tolerance, freedom of expression of the cultural identity and by the other hand, new jobs for artists, earnings’ increases, creative clusters, cultural employment etc. We will also show more clearly the activities and the occupations which concern the cultural employment and figures regarding cultural employment in Europe.
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An, Jing Wen, and Ying Liu. "Material Analysis and Innovative Product Design with Process Model in Cultural and Creative Industries." Applied Mechanics and Materials 685 (October 2014): 749–53. http://dx.doi.org/10.4028/www.scientific.net/amm.685.749.
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Through the analysis of the characteristics of design and material in cultural and creative industries, this study focuses on the urgent need for an appropriate product design with process model in cultural and creative industries. An innovative product design with Process Model in cultural and creative industries based on both the specific industrial characteristics and the interaction design idea is proposed. It includes the establishment of cultural elements library (focus on the application of the material symbols), proposition of cultural themes, extraction of cultural elements based on Kansei Engineering and implantation of cultural elements based on design semantics and semiotics, and especially the interaction design.
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Podestá, Paola, and María Cristina Hernández. "Empresas de Base Cultural y Creativa: Identificación y Clasificación de sus Factores Críticos de Desempeño (Culture and creative based companies: identifying and classifying their critical performance factors)." TEC Empresarial 6, no. 2 (November 26, 2012): 17. http://dx.doi.org/10.18845/te.v6i2.526.
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<p><span style="font-size: xx-small;">El sector de las industrias culturales y creativas ha venido generando un interés creciente en la economía productiva; es por esto que la relación entre economía y cultura ocupa hoy un lugar predominante, especialmente por las altas inversiones que esta industria requiere, aunadas a las significativas ganancias que reporta. Este artículo es el resultado de un estudio realizado por la Universidad EAFIT sobre el mencionado sector, y responde a la necesidad de conocer mejor el emprendimiento en industrias que se caracterizan por conjugar la creatividad y la cultura. El estudio permitió identificar los factores críticos de desempeño que hacen que estas industrias sean viables y cumplan sus objetivos. Los resultados sirven como referente para desarrollar un marco conceptual y pedagógico dirigido, en principio, a la formación de profesionales en el campo de las empresas culturales y creativas, y se suma a los estudios que se han conducido y continúan haciéndose alrededor de este particular sector del emprendimiento empresarial.</span></p><p> </p><p><span style="font-size: xx-small;"><br /></span></p><p><strong><span style="font-size: xx-small;">ABSTRACT</span></strong></p><p><span style="font-size: xx-small;">The culture and creative industry sector has generated a growing interest into productive economies; thus the relationship between economy and culture is highly regarded today due to the high investment required and the high yields resulting from this sector. This paper resulted from a research by the EAFIT university about this sector and answers the need to better known entrepreneurship in industries based in both creativity and culture. We were able to identify critical performance factors that made these industries viable and reach their goals. Results can be used to develop a conceptual and pedagogical frame to form professionals able to work in them, and also adds to previous and ongoing knowledge developed for this particular entrepreneurial sector. </span></p>
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Pratt, Andy C. "Creative cities: the cultural industries and the creative class." Geografiska Annaler: Series B, Human Geography 90, no. 2 (June 2008): 107–17. http://dx.doi.org/10.1111/j.1468-0467.2008.00281.x.
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Hui, Su. "Evaluation of Regional Cultural Creative Industries’ Development Based on Fuzzy AHP Method." Applied Mechanics and Materials 39 (November 2010): 592–97. http://dx.doi.org/10.4028/www.scientific.net/amm.39.592.
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Cultural creative industry has become a strong engine in current economy. To acknowledge the development of cultural creative industries objectively can guide us to acknowledge the role of cultural creative industry more clearly and would be beneficial for the layout of relevant industry development policies. Currently the evaluation is limited and qualitative method often be adopted. On the basis of theory of regional industrial competitiveness, this paper constructs a corresponding evaluation index system in terms of the technology competitiveness, talent competitiveness, environment competitiveness, input competitiveness and output competitiveness. It also establishes an evaluating model of regional cultural creative industries based on the method of fuzzy AHP, and used this model on Henan as an example, and empirically analysis the competitiveness of cultural creative industries in this region. The results show the fitness of fuzzy AHP method in cultural creative industry’s competitive ability, which have active meanings for improving the quantitative research of cultural creative industry research, also relevant advices on improving the development of Henan cultural creative industries were brought forward, which would be serve as the reference for government officials to make decisions.
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Vecco, Marilena. "Creative and cultural industries and cities." International Journal of Sustainable Development 12, no. 2/3/4 (2009): 192. http://dx.doi.org/10.1504/ijsd.2009.032777.
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Cunningham, Stuart. "The Creative Industries after Cultural Policy." International Journal of Cultural Studies 7, no. 1 (March 2004): 105–15. http://dx.doi.org/10.1177/1367877904040924.
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Kisic, Visnja. "Cultural and creative industries in Europe." Kultura, no. 130 (2011): 199–225. http://dx.doi.org/10.5937/kultura1130199k.
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Snowball, Jen, Alan Collins, and Delon Tarentaal. "Transformation and job creation in the cultural and creative industries in South Africa." Cultural Trends 26, no. 4 (September 29, 2017): 295–309. http://dx.doi.org/10.1080/09548963.2017.1380706.
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Rodríguez-Monteagudo, Eliseo, Tatiana Hidalgo_Marí, and Jesús Segarra-Saavedra. "La gastronomía como producto de entretenimiento. Análisis de restaurantes y programas culinarios de éxito en España desde una perspectiva creativa." Pangea. Revista de Red Académica Iberoamericana de Comunicación 5, no. 1 (December 10, 2014): 145–57. http://dx.doi.org/10.52203/pangea.v5i1.93.
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La gastronomía está muy presente en la actual economía creativa. Tanto la televisión como las principales guías de crítica gastronómica están acercando la cultura gastronómica a un gran número de públicos, gracias a estrategias creativas que envuelven los productos vinculados al entorno creativo. Así pues, la cocina está ocupando cada vez más un lugar predominante como elemento sociocultural y económico. El presente artículo trata de profundizar en el nexo de unión entre la gastronomía, como fenómeno con alta carga cultural, y las Industrias Creativas, un sector dinámico cuyos modelos de negocio emplean la creatividad y el capital intelectual para generar productos y servicios con un valor añadido simbólico. Se pretende, pues, analizar la actual situación de la gastronomía y su constante aproximación a la sociedad del entretenimiento a través del estudio de múltiples actividades creativas gastronómicas, partiendo de los programas televisivos y restaurantes de éxito en España e identificando la tipología y finalidad de todas ellas. Para ello se realiza un análisis de casos de estudio tanto de programas de gastronomía en formato cooking show como de restaurantes 3 estrellas Michelín en España. Todo ello con el fin de establecer la evolución de la gastronomía como un modelo de Industria Creativa.
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Plotka, Kaspars, Jānis Viržbickis, Jānis Zvirgzdiņš, Ģirts Zariņš, and Sanda Geipele. "The Impact of Culture and Creativity on the Economy of the City." Baltic Journal of Real Estate Economics and Construction Management 7, no. 1 (January 1, 2019): 272–89. http://dx.doi.org/10.2478/bjreecm-2019-0017.
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Abstract Creativity is an important component of the economy for modern cities, and necessary condition for it is the qualitative understanding of the economic theory science. In the global competition, it plays an important role for the economic growth dynamics, which is directly related to human resource role in the modern economy. The competitiveness of the territories depends on their attractiveness to economically active individuals and the opportunities they provide with economic growth. When considering the creative and cultural industries as potential economic development factors in the urban economy, culture can be considered as a new stage in urban development based on quality of life, creativity, which provide a level of degree for balance and determine the stability of the growth potential. The development of supporting urban infrastructure is identified as one of the drivers for expansion of the cultural and recreational domains both for the political and economic development. They reflect the specific characteristics of each city, the competitiveness versus attractiveness potential, and demonstrate the potential shift from the environment for production to a potentially new consumer environment with a higher “symbolic value”. The creative industries today can serve as an urban development domain tool, creating a modern approach to economic activity in various sectors of the economy. The authors draw attention to the cluster link between creative and cultural industries in urban planning. The authors propose a methodology for assessing revenues and costs, as well as recommendations for the work of cultural organisations and institutions involved in creating a creative urban environment. The article presents data and modelling results of the economic impact calculations for two imagined cities in order to theoretically approbate the methodology, which would help assess the socio-economic effect of the development of certain clusters. The aim of the research is to identify the impact of culture and creativity on the economy of city. The calculated information for decision makers would help formulate recommendations, evaluate potential developments of the urban environment, assist in planning and networking in urban agglomerations, based on clusters of creative and cultural industries, as the post-industrial city needs to make changes in order to achieve economic growth. The development of urban cluster of creative and cultural industries has a certain multiplicative effect, i.e., impact on the development of other types of economic activity.
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Keser, Hilal Yıldırır. "Culture Economy for Economic Development: Assesments on Cultural Heritage in Turkey." European Scientific Journal, ESJ 12, no. 28 (October 31, 2016): 38. http://dx.doi.org/10.19044/esj.2016.v12n28p38.
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Cultural economics can be grouped under four main headings: cultural heritage, arts, media (film, radio, television, music, journalism, and publishing) and creative services (design, advertising, new media, architecture, and software). These cultural goods and services that constitute the cultural economy interact with other industries. This interaction has an impact on the development process by creating added value for the economy through the multiplier effect. The cultural industries that are also referred to as creative industries tend to have a significant economic impact, mainly in terms of providing employment and increasing exports. In contrast, tourism, textiles, jewellery, toys, and many other suppliers ensure the development of these industries by creating indirect economic impacts. In this context, firstly cultural economics and its scope will be discussed, and its relationship with economic development will be explained. Next, referring to examples of tangible and intangible cultural heritage, the impact of cultural economics on the economic development of Turkey will be explored, specifically with regards to the Cappadocia region.
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Pletsan, Khrystyna. "THEORETICAL AND METHODOLOGICAL PRINCIPLES OF DIGITALISATION OF CULTURAL SPACE IN THE PROCESS OF CREATIVE INDUSTRY DEVELOPMENT IN UKRAINE." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 85–102. http://dx.doi.org/10.31866/2410-1915.22.2021.235897.
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The purpose of the article is the theoretical and methodological substantiation of the peculiarities of the digitalisation process in the creative industries of Ukraine through the prism of the cultural aspect. The study highlights and substantiates the conceptual foundations of the evolution of the transfer of cultural and creative space to the digital environment. The historical and cultural aspect of digitalisation implementation in the creative industries of Ukraine is analysed. The study describes the main strategic priorities of digitalisation of creative industries. The research methodology involves the following methods: historical and analytical method is used for primary data collection and analysis; system analysis identifies the theoretical and methodological foundations of the concept of “digitalisation” in the cultural and creative space; logical generalisation is applied for the theoretical justification of the historical and cultural aspect of digitalisation in the creative industries of Ukraine; fundamental knowledge is used to identify digital platforms, digital tools, and technologies as a mechanism for cultural products promotion and communication with consumers; the predictive method is applied to summarise the results and understand the importance of digitalisation in the creative industries of Ukraine in the historical and cultural aspect. The scientific novelty lies in the theoretical and methodological systematisation of the evolution of digitalisation in the creative industries of Ukraine through the prism of the historical and cultural dimension. The study focuses on the three-dimensional aspect of digitalisation of creative industries: as a need, as a requirement, and as a driving force for innovation in the cultural space through the prism of human-centrism. Conclusions. It is proved that in the historical and cultural aspect the concept of the implementation of digitalisation has radically modernised the creative industries of Ukraine and opened new opportunities for the creation of new ideas, innovative projects, collaborations, and readiness of Ukrainian artists to join world tendencies.
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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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Mastrini, Guillermo. "Economía Política de la Comunicación e Industrias Culturales: apuntes sobre su vigencia actual." Revista Internacional de Comunicación y Desarrollo (RICD) 2, no. 5 (January 8, 2017): 139. http://dx.doi.org/10.15304/ricd.2.5.3754.
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Este texto analiza la trayectoria que la Economía Política de la Comunicación (EPC) y sus principales autores, tanto americanos como europeos, han ido experimentando desde mediados del siglo XX. Habla de cómo la parte crucial de la EPC es desentrañar las lógicas políticas, económicas y sociales presentes en las industrias culturales; y de cómo el concepto de industrias culturales se torna clave en todo el desarrollo de esta perspectiva. Incluso desde antes del nacimiento de la EPC, el desarrollo conceptual que ofrecen Horkheimer y Adorno de la industria cultural es imprescindible para el desarrollo de la teoría. Desde un análisis crítico, la EPC se convierte en esencial sobre todo desde que el sector de la comunicación ha incrementando su participación en la economía mundial. La aparición de ‘journals’ o la consolidación de secciones específicas de EPC en los encuentros internacionales (IAMCR) así lo demuestra. Más adelante, la incursión del término industria creativa (popularizado por el gobierno de Tony Blair en 2000) ha sido muy criticado por los principales teóricos de la EPC. Pero hoy en día, se plantea la necesidad de nuevas visiones y nuevos abordajes de análisis tomando los nuevos conceptos de industrias culturales y creativas como una de las posibles puertas de entrada para aproximarse al fenómeno comunicacional, pero teniendo la precaución de no generalizar ni de borrar la especificidad de la cultura.
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Frolova, L. V., and T. V. Koryavchenkova. "The Dialectics of the Conceptual-Categorical Apparatus of Creative Industries." Business Inform 11, no. 526 (2021): 13–18. http://dx.doi.org/10.32983/2222-4459-2021-11-13-18.
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The article brings out the problems of unjustified equalization and fragmentary formalization of such definitions as «creative economy», «creative industries», «cultural industries», «creative product», «product of creativity». Based on retrospective analysis, it is argued that cultural industries are part of the creative industries and, correspondingly, the use of these concepts as synonyms in the economic scientific field be incorrect. On the basis of comparative analysis, the fundamental difference between enterprises of various types of economic activity in the creative economy and enterprises of creative industries was identified, which is determined by the results of creative process. It is substantiated that in the former case such a result is the product of creativity, which is a combination of creative ideas and non-standard solutions that ensure the achievement of the desired results of the enterprise in dynamic business environment and/or represents the final market product. The result of creative process in the field of kindred industries is a creative product – a specific symbolic and semantic ware, characterized not only by its economic, but also its socio-cultural value, which includes some socially significant content, is determined by the current conditions of socio-economic reality. The proposed authors’ definition of creative industries is, according to the results of the research, a sphere (type) of entrepreneurial activity based on the intellectual and creative abilities of economic interaction entities as to creation and offer of a creative product that meets the socio-cultural needs of consumers.
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Istudor, Laura Gabriela. "Innovation and entrepreneurship in Romania’s cultural and creative industries." Proceedings of the International Conference on Business Excellence 12, no. 1 (May 1, 2018): 498–507. http://dx.doi.org/10.2478/picbe-2018-0045.
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Abstract The evolution of entrepreneurship in the cultural and creative sectors leads to social innovation by creating new jobs intended for the creative class and by building a long-run smart, sustainable and inclusive local development. Innovation and sustainability are concepts that can be applied to many industries, and they can involve numerous improvements related but not limited to processes, products, services, logistics. This paper supports the idea that the creative and cultural sectors can develop through innovative entrepreneurship, by introducing new methods of production, optimizing existing processes, improving the delivery methods or by developing new products or services, while also relying on the help of the government and smart organizations such as clusters. Since innovation involves improving the way of doing business, this paper will focus on identifying the available innovative methods that can be applied to the businesses activating in the cultural and creative sectors of the economy in Romania, together with the main challenges and opportunities that might arise by applying them. The perspectives of intellectual capital, creative economy and knowledge-based society in relation to the impact of innovation and entrepreneurship towards the development of the cultural and creative sectors in Romania will also be considered. The paper will also tackle a series of best practice examples of innovative businesses in the creative sectors, as well as a comparative analysis of the successfully implemented innovative ideas in this field of activity and their impact on the customer satisfaction and on the development of the local economy.
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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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Lee, Yuching, Chingtun Peng, Taindow Lee, and Zhengyuan Zhao. "Sustainable Development Assessment of Cultural and Creative Industries in Casino Cities: A Case Study of Macao." Sustainability 14, no. 8 (April 15, 2022): 4749. http://dx.doi.org/10.3390/su14084749.
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In Macao, the government established the Cultural and Creative Industry Promotion Office and Cultural Industries Committee in 2010, which nominated eight to-be-developed cultural and creative industries (CCIs): design, visual arts, performing arts, clothing, pop music, film and video, animation, and publishing. However, because each CCI has its unique pattern and environmental resources are very limited in Macao, an industrial chain analysis for these eight industries should be conducted prior to policy implementation. Therefore, this study organized an industrial feasibility analysis for these eight CCIs. The methodologies included in-depth interviews, a literature analysis, and knowledge-discovery in databases. On the other hand, this study adopted the concept of creative industries, “the relationship between production and reproduction”, and “the three-circle hypothetical interactive consumption” model for positioning these eight CCIs to choose existing industries in Macao, such as the exhibition, gambling, and cultural tourism industries, that are likely to promote CCIs. Next, the orientations of these CCIs are determined. Finally, it is suggested that the performing arts, design, and visual arts industries should be prioritized currently, and the heritage management and digital media industries are advised as to-be-developed ones. In contrast, the clothing, pop music, film and video, animation, and publishing industries are not so beneficial for Macao’s development.