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Creative Industries (creative + industry)
Selected AbstractsCREATIVE INDUSTRIES IN THE NETHERLANDS: STRUCTURE, DEVELOPMENT, INNOVATIVENESS AND EFFECTS ON URBAN GROWTHGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 2 2008Erik Stam ABSTRACT. Creativity is central in stimulating economic growth in cities, regions and advanced capitalist economies in general. There is, of course, no one-to-one relation of the number of firms in creative industries to economic growth. Innovation is a key mechanism explaining the relationship of creative industries with economic performance. Based on an empirical study in the Netherlands we explore the effect of creative industries on innovation, and ultimately on employment growth in cities. In the Netherlands the three specific domains of creative industries - arts, media and publishing, and creative business services - make up 9 per cent of the business population. Drawing on survey data we find that firms in creative industries are indeed relatively innovative. Yet substantial differences are found across the three domains: firms in the arts domain are clearly less innovative, most likely due to a different (less market-oriented) dominant ideology. In addition, firms in creative industries located in urban areas are more innovative than their rural counterparts. We go on to analyse how the concentration of creative industries across cities is connected with employment growth. With the exception of the metropolitan city of Amsterdam, we find no measurable spill-over effect from creative industries. The presence of the creative class (in all kinds of industries other than creative ones) appears to be a much stronger driver of employment growth than creative industries. [source] THE "ENTREPRENEURIAL STATE" IN "CREATIVE INDUSTRY CLUSTER" DEVELOPMENT IN SHANGHAIJOURNAL OF URBAN AFFAIRS, Issue 2 2010JANE ZHENG ABSTRACT:,Literature on China's urban development discusses the nature and role of the local state. A set of concepts have been proposed, such as the "entrepreneurial state" (ES) and "local developmental state," and an ongoing debate attempts to ascertain whether the state is "entrepreneurial" in nature. This article uses a newly emerged urban phenomenon, chuangyi chanye jiju qu (CCJQs) or "creative industry clusters," in which the central government is not involved, to explore the nature of local governments, their role in urban development, and the ways in which they perform this role. Both qualitative and quantitative research methods are used. The findings of this research reveal a strong revenue-oriented nature of local governments, highlighting the "entrepreneurial state" as an important dimension in their character: they transform spontaneously emerged urban cultural spaces into a new mechanism generating revenues for both urban growth and their own economic benefit. Local governments promote CCJQ development with place promotion strategies, and they are directly involved in CCJQ-related businesses as market players rather than as independent bodies that effectively control and regulate the CCJQ market through policies and regulations. Further, this article reveals a "public,public" coalition as an important mechanism for local state participation. [source] Managing Uncertainty in Creative Industries: Lessons from Jerry Springer the OperaCREATIVITY AND INNOVATION MANAGEMENT, Issue 3 2006Anna M. Dempster This article considers the impact of uncertainty on entrepreneurial performance in the UK theatre industry. The article identifies and evaluates the major determinants of demand uncertainty ,audience composition, critical acclaim and media coverage, whose management is key to entrepreneurial success. An in-depth historical case study of the controversial production, Jerry Springer the Opera, analyses the evolution of these three distinct sources of uncertainty and illustrates that they should not be treated in isolation since they interact in complex ways which change with time. The case study shows how the entrepreneurs involved used a multi-staged production process as a strategy to market test their product and to distribute their risks across agents and over time. The article therefore considers what contributed to both the successes and failures of these entrepreneurs as well as highlighting important strategic lessons for managing uncertainty in creative industries. [source] The Work of Art in the Age of Digital Reproduction: The Significance of the Creative IndustriesINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2001Mark Blythe This paper reflects on the social and political significance of the new classification of the ,creative industries'. The new aggregate expands previous classifications of the arts and cultural industries and produces figures which suggest that these sectors are increasingly vital elements of the UK economy. It is argued that these statistics on the creative industries are, to an extent, misleading. The paper considers some of the implications of the recent and continuing advances in technologies of digital reproduction and distribution. The importance of the creative industries to Arts and Design education is placed within the context of the emphasis on vocationalism by successive UK governments. It is suggested that while the new aggregate may be useful in terms of certain kinds of promotion, the category should be recognised as arbitrary and politically motivated. Finally, the paper examines the notion that the creative industries might be harnessed to achieve social inclusion and urban re-generation and reflects on some of the social costs of such sectors. [source] Managing Uncertainty in Creative Industries: Lessons from Jerry Springer the OperaCREATIVITY AND INNOVATION MANAGEMENT, Issue 3 2006Anna M. Dempster This article considers the impact of uncertainty on entrepreneurial performance in the UK theatre industry. The article identifies and evaluates the major determinants of demand uncertainty ,audience composition, critical acclaim and media coverage, whose management is key to entrepreneurial success. An in-depth historical case study of the controversial production, Jerry Springer the Opera, analyses the evolution of these three distinct sources of uncertainty and illustrates that they should not be treated in isolation since they interact in complex ways which change with time. The case study shows how the entrepreneurs involved used a multi-staged production process as a strategy to market test their product and to distribute their risks across agents and over time. The article therefore considers what contributed to both the successes and failures of these entrepreneurs as well as highlighting important strategic lessons for managing uncertainty in creative industries. [source] CREATIVE CITIES: THE CULTURAL INDUSTRIES AND THE CREATIVE CLASSGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 2 2008Andy C. Pratt ABSTRACT. The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth. [source] CREATIVE INDUSTRIES IN THE NETHERLANDS: STRUCTURE, DEVELOPMENT, INNOVATIVENESS AND EFFECTS ON URBAN GROWTHGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 2 2008Erik Stam ABSTRACT. Creativity is central in stimulating economic growth in cities, regions and advanced capitalist economies in general. There is, of course, no one-to-one relation of the number of firms in creative industries to economic growth. Innovation is a key mechanism explaining the relationship of creative industries with economic performance. Based on an empirical study in the Netherlands we explore the effect of creative industries on innovation, and ultimately on employment growth in cities. In the Netherlands the three specific domains of creative industries - arts, media and publishing, and creative business services - make up 9 per cent of the business population. Drawing on survey data we find that firms in creative industries are indeed relatively innovative. Yet substantial differences are found across the three domains: firms in the arts domain are clearly less innovative, most likely due to a different (less market-oriented) dominant ideology. In addition, firms in creative industries located in urban areas are more innovative than their rural counterparts. We go on to analyse how the concentration of creative industries across cities is connected with employment growth. With the exception of the metropolitan city of Amsterdam, we find no measurable spill-over effect from creative industries. The presence of the creative class (in all kinds of industries other than creative ones) appears to be a much stronger driver of employment growth than creative industries. [source] Cultural Industries and the Creative Economy , Vague but Useful ConceptsGEOGRAPHY COMPASS (ELECTRONIC), Issue 4 2009Jeff Boggs For those new to it, the literature on cultural industries can be confusing. While some authors refer to cultural industries, others refer to cultural-products industries or creative industries. Collectively, this heterogeneous group of industries comprises the cultural economy or the creative economy. Four typologies are presented, enabling one to more easily compare and contrast the essential features of commonly used definitions. The paper then discusses how this vague bundle of concepts is still useful as a lens on contemporary trends in industrialized economies. [source] The Work of Art in the Age of Digital Reproduction: The Significance of the Creative IndustriesINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2001Mark Blythe This paper reflects on the social and political significance of the new classification of the ,creative industries'. The new aggregate expands previous classifications of the arts and cultural industries and produces figures which suggest that these sectors are increasingly vital elements of the UK economy. It is argued that these statistics on the creative industries are, to an extent, misleading. The paper considers some of the implications of the recent and continuing advances in technologies of digital reproduction and distribution. The importance of the creative industries to Arts and Design education is placed within the context of the emphasis on vocationalism by successive UK governments. It is suggested that while the new aggregate may be useful in terms of certain kinds of promotion, the category should be recognised as arbitrary and politically motivated. Finally, the paper examines the notion that the creative industries might be harnessed to achieve social inclusion and urban re-generation and reflects on some of the social costs of such sectors. [source] Middle-earth Meets New Zealand: Authenticity and Location in the Making of The Lord of the Rings*JOURNAL OF MANAGEMENT STUDIES, Issue 5 2005Deborah Jones abstract In focusing on the making of a specific cultural project, The Lord of the Rings (LOTR) film trilogy, this paper draws out the tensions between two sometimes divergent strands of authenticity: creative authenticity and national authenticity. This study is located in New Zealand, a small post-colonial country which was the location for LOTR and home to its key film-makers. The case is based on a discourse analysis of published texts on LOTR and New Zealand's film and tourism industries, exploring the paradoxical concept of ,fabricating authenticity' (Peterson, 1997) and its importance to cultural industries. In reviewing the media discourse of the LOTR project we ask: how are creative and national authenticity constructed? Creative authenticity refers to the claims of artistic integrity and merit that are made for the film. National authenticity is predicated on the idea of a national identity. In terms of LOTR, national authenticity is based on claiming the trilogy as a local ,New Zealand' product. We highlight the theme of ,location' by linking LOTR with a national tourism campaign which has been developed side-by-side with the film project, forging connections between the Middle-earth of the LOTR trilogy, and the New Zealand of the present. We argue that LOTR has both shaped, and been shaped by, ideas of national identity, and that the success of LOTR as a flagship of the ,new' creative industries is central to emerging visions of nationhood. [source] Musical work in a university town: The shifting spaces and practices of DJs in DunedinASIA PACIFIC VIEWPOINT, Issue 3 2009Andrew McGregor Abstract Increasing attention is being paid to how workers in the creative industries negotiate transitions from amateur to professional status and seek opportunities for work and spaces for expression that suit artistic desires. The settings have usually been large cities with populations that can support diverse and specialised audiences and subcultural scenes. In this paper, we discuss research where we participated in a music scene, and talked to dance music disc jockeys and venue owners in a small, regional university city , Dunedin. In Dunedin opportunities for musical work are comparatively plentiful but are constrained in a number of ways. Disc jockeys negotiate audience demands, distances from key musical centres and associated infrastructure, and the shifting venues available for performance. We emphasise the importance of an ethnographic perspective to the study of musical work that remains attuned to the manner in which urban spaces are created, transformed, challenged and remade in the musical nightlife economy. [source] The Work of Art in the Age of Digital Reproduction: The Significance of the Creative IndustriesINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2001Mark Blythe This paper reflects on the social and political significance of the new classification of the ,creative industries'. The new aggregate expands previous classifications of the arts and cultural industries and produces figures which suggest that these sectors are increasingly vital elements of the UK economy. It is argued that these statistics on the creative industries are, to an extent, misleading. The paper considers some of the implications of the recent and continuing advances in technologies of digital reproduction and distribution. The importance of the creative industries to Arts and Design education is placed within the context of the emphasis on vocationalism by successive UK governments. It is suggested that while the new aggregate may be useful in terms of certain kinds of promotion, the category should be recognised as arbitrary and politically motivated. Finally, the paper examines the notion that the creative industries might be harnessed to achieve social inclusion and urban re-generation and reflects on some of the social costs of such sectors. [source] THE "ENTREPRENEURIAL STATE" IN "CREATIVE INDUSTRY CLUSTER" DEVELOPMENT IN SHANGHAIJOURNAL OF URBAN AFFAIRS, Issue 2 2010JANE ZHENG ABSTRACT:,Literature on China's urban development discusses the nature and role of the local state. A set of concepts have been proposed, such as the "entrepreneurial state" (ES) and "local developmental state," and an ongoing debate attempts to ascertain whether the state is "entrepreneurial" in nature. This article uses a newly emerged urban phenomenon, chuangyi chanye jiju qu (CCJQs) or "creative industry clusters," in which the central government is not involved, to explore the nature of local governments, their role in urban development, and the ways in which they perform this role. Both qualitative and quantitative research methods are used. The findings of this research reveal a strong revenue-oriented nature of local governments, highlighting the "entrepreneurial state" as an important dimension in their character: they transform spontaneously emerged urban cultural spaces into a new mechanism generating revenues for both urban growth and their own economic benefit. Local governments promote CCJQ development with place promotion strategies, and they are directly involved in CCJQ-related businesses as market players rather than as independent bodies that effectively control and regulate the CCJQ market through policies and regulations. Further, this article reveals a "public,public" coalition as an important mechanism for local state participation. [source] | |||||||||||||