Discussion about the cultural economy can be differentiated by how the two terms are linked: as an adjective (‘cultural’ economy) or as a compound noun (‘cultural economy’). The notion of a ‘cultural’ economy refers to the cultural dimensions of economic activity (the design or marketing of any product or service; or, simply, the social dimensions of the organization of production). The term ‘cultural economy’ is indicative of a particular subsection of economic activity which is concerned with cultural products and activities (such as music, film, and fine art) as opposed to say transportation or mining. The structure of this article reflects this division while at the same time crosscutting, and underpinning, these distinctions with three further ones: a notion of transition, the concept of commodification, and the production–consumption dualism. The problem with the term ‘cultural’ is that it is used as a general modifier of terms (cultural industries, cultural communication), and it could be argued that everything is ‘cultural’ in one way or another in the sense that it has a cultural dimension. So, we need to proceed with care in the context of such ambiguous usage.
The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
This paper examines the role of place and spatial boundaries for the creative industries. Evidence from interviews with 70 workers in the advertising industry in London reveals the importance of geographical clustering for workers in this sector despite the potential of digital technologies. Creative firms are embedded in place, where the importance of urban aesthetics and social networks leads to tight geographic clustering. The aim of this paper is (i) to explore how and why geography matters for workers in the ‘new’ or ‘changing’ economy and (ii) how this creates a shared identity between creative workers. The article concludes that despite technological breakthroughs that have caused the death of distance, it turns out that geography is still important.
This chapter assesses the theories and related empirical evidence regarding the factors that explain cultural innovation by cultural organizations. It begins by defining key concepts, including what is meant by a cultural organization, cultural innovation, and the innovation referent. The chapter identifies two main disciplines that have been interested in cultural innovation or innovative programming by cultural organizations: sociology and economics. The focus, contributions, and overlap of these two disciplinary approaches to cultural innovation are discussed, and the chapter concludes by identifying some gaps and putting forward some suggestions for future research.
Various national and international communities have addressed women's issues and taken various efforts to empower them so as to enhance their social and health status and involve them in developmental activities. Empowerment as delegation of power to someone has been a mechanism to increase personal and work life quality of woman in recent decades. Higher education and occupation is effective instrument to empowerment of women but culture role and creativity can’t be denied in this relation. This paper identifies how to empower women from poverty through creative industry. A case study was carried out in order to explore how women empowerment through creative industry is managed. Several recommendations are developed for how creative industry can participate in women empowerment. The case study develops some propositions which recommend how creative industry can have an important role in the empowerment of women. The limitation of this research is study only conducted at creative industry. Further qualitative research at other types of industries is required to investigate application of such recommendations.
The primary purpose of this paper is to review the historical development of the application of IT, its relationships with corporate strategy, and its influence on corporate performance. The secondary purposes are to empirically investigate the above relationships and the differences in these relationships between creative and manufacturing industries and to identify the most powerful IT traits for a firm's success in each industry in Korea. The research findings confirmed that application of IT provides several kinds of competitive advantage such as efficiency, threat, functionality, attack, and integration, and that it significantly contributes to corporate performance. Application of IT plays significant roles in mediating between corporate strategy and performance. The research findings indicate that IT traits of efficiency and integration are the two most powerful competitive advantages for corporations. These research results indicate that corporate strategy is essential in delivering high corporate performance in both creative and manufacturing industries. Firms in creative industries should seriously consider IT traits of efficiency and threat, while firms in manufacturing industries should deeply take IT traits of efficiency and integration into account.
The purpose of this paper is to provide economic modeling and its implications to government policy in promoting and financing innovation in the creative industries. First, we develop a rational expectation model with emphasis on network externalities (NE) within the creative industries, and on the moral hazard problem due to the presence of asymmetric information in a loan market for innovation. Interactions between firms' and banks' expectations play an important role in determining which of the two equilibria occurs: one with low NE and the other with high NE. Then, we show the effectiveness of policies that critically depend on the current equilibrium and how discrepancies between the expectations converge to a new equilibrium. This paper develops a theoretical model and also empirically tests some implications of the model using OECD country level data (2000–2013). The theoretical results show that policies aiming at promoting innovation in the creative industries actually decrease the equilibrium level of innovation as well as banks' confidence and network externalities in low NE equilibrium even with the presence of the positive effect of lowering the critical mass; the opposite outcomes are observed in high NE equilibrium. Other implications of government policies are also discussed.
Disassembly and reassembly: An introduction to the Special Issue on digital technology and creative industries
This Special Issue analyzes the dynamics of disassembly and reassembly unfolding in selected creative industries through the advent of digital technology. It argues that a full understanding of the much-observed organizational or sectoral lock-in effects on the one hand, and the possibilities for transformation and innovation on the other is only gained by analyzing jointly how institutional logics, business models and creative processes are affected by digital technology and how they interrelate in producing stability or change. These three dimensions provide a framework for reviewing the findings of the papers comprised in the Special Issue and for integrating their insights towards a research agenda. This introduction starts with a reflection on creative industries classification systems and related possibilities for generalization and discusses how digital technology acts as a driver for disassembly and reassembly. It concludes by highlighting three avenues for further research.
Fashion industry professionals’ viewpoints on creative traits and, strategies for creativity development
Through in-depth interviews, the study explored fashion industry professionals’ viewpoints, on creativity, focusing on traits of creative people and how creativity can be developed. Four creative, traits were identified, including different thought processes, determination, having an open mind, and, risk taking. About one-third of participants believed that creativity is innate, and therefore, some, people were born creative whereas others were not. Another third of participants maintained that, everyone has some creative potential that can be further developed. The remaining fashion, professionals distinguished artistic creativity from creative problem solving. Suggested strategies for, creativity enhancement and development included (1) practicing creative thinking strategies, (2), formal training, (3) diverse experiences and exposure to the world; and (4) creating a safe, yet, challenging environment.
The role of cultural regeneration as means of social and economic development has been a widely investigated yet controversial topic. This paper focuses on a specific research question within the wider literature in the field: what is the relationship between regeneration, in particular flagships cultural projects, and the creative industries?
Part of the argument behind cultural regeneration and public investment in flagship buildings and new cultural institutions in Europe is that they will foster the economic development of the city, not only in terms of tourism development but also supporting the growth of the creative industries. Nevertheless, little research has addressed what are the real dynamics linking public investments in culture and regeneration and the potential development of local creative industries. Somehow, this connection has been taken for granted and in many policy document there is the assumption that flagship investments and regeneration will encourage and support local creative industries.
The paper presents the result of a 2 year fieldwork undertaken in the context of Newcastle-Gateshead and the North-East region of England. The paper presents the result of the interviews conducted with local creative and cultural producers and highlights the weak connection between local practitioners and local cultural flagship developments in the region. Finally it calls for reconsideration by public policy of the importance of reconnecting creative industries and cultural regeneration to explore the real potential of this relationship.
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