Creative Industry

"This chapter explores the nature of the film producer’s work in the context of current debates about creative labour and the UK film industry.

A prodigious amount of scholarly work (McRobbie [1999], Banks [2007], Hesmondhalgh and Baker [2011], for instance) has been devoted to exploring the nature of creative work in terms of concepts of precariousness, self-exploitation, individualization and self-actualization. The growth of such studies can understood in the context of emergent discourses of cultural policy attendant upon the establishment of the Department of Culture Media and Sport in 1997 by the (then) New Labour Government. Such discourses celebrate the creative industries as offering new forms of work and economic rewards, translated into personal and social improvements. In UK film, such positive discourses are writ large in the work and statements of UK Film Council, regional screen agencies and lately Creative England.

How then does the work of the film producer figure in conceptualizations of creative labour? What does a film producer do and how do they understand their work and its relationship with a wider structure of economic activity and indeed contemporary policy contexts that have, in part defined and authorized particular film initiatives?

This chapter builds upon several years’ engagement with the UK regional film economy (via local Producers Forums, training courses, policy consultations, work with regional film agencies), and ongoing interviews which offer evidence about the status of film producers. For instance, the work of producers is often intermittent, low-paid (or unpaid), with a major amount of effort directed at work unrelated to production that maintains an income and supports long-term production efforts, which are sometimes consolidated (or thwarted) over several years of work.

Such experiences are characteristic of the experience of those producing features with budgets large or small and pose questions about the motivations of producers, their creative role and indeed how they conceive of their personal and professional identities and indeed the nature of ‘reward’, ‘success’, creativity and the value of film itself."

http://www.bloomsbury.com/uk/beyond-the-bottom-line-9781441172365/

Negli ultimi decenni tanti sono stati gli studi e i modelli che hanno tentato di analizzare, definire e classificare le industrie culturali e creative (ICC), con l'obiettivo di verificare e quantificare le performance economiche di questo settore.
Ciascun modello ha provato a inquadrare le ICC focalizzando l'attenzione da un lato sul contesto socio-economico, dall'altro sui concetti stessi di cultura e creatività.

Questi modelli e queste fondamentali premesse, pur non garantendo una lettura definitiva, possono essere utili in questa fase della ricerca per inquadrare e definire anche le industrie creative del wedding.
Per capirne il posizionamento nel mercato e le economie esistenti e potenziali, ma sopratutto per analizzare le forme in cui si manifestano ed esprimono, siano esse creative (come già è) o culturali (come potrebbe essere).

1. Perhatikan pemberitaan di koran, satu minggu terakhir yang berisi informasi aspek ekonomi (macroeconomics), kemudian cari informasi terkait dengan industri spesifik (diutamakan industri media). Identifikasi masing-masing 2 topik dan buat summary-nya.
2. Lakukan investigasi konsep Supply pada setiap industru media sesuai fokus anda, meliputi:
a. Ada berapa operator/perusahaan dalam industri tsb, sebutkan.
b. Berapa jumlah pelanggannya dan konsentrasinya?
c. Berapa jumlah advertiser sebutkan 5 yang utama
d. Lakukan analisa demand dari consumer & advertiser
e. Lakukan analisa situasi persaingan dalam industri tersebut
f. Lakukan analisa product subtitute

In this paper I explore Richard Florida's infamous Creative Class theory, which encourages growing cities to support the creative sector to spark economic development. However this theory has caused a lot of debate from academic scholars over the recent years, and my aim is to uncover the root of these debates to see why Florida's teachings are troubling to scholars like Peck, Malanga, and Markusen, amongst others.

Recent years have witnessed the remarkable development of the cultural and creative industries (CCIs) in Asia, from the global popularity of the Japanese games and anime industries, to Korea’s film and pop music successes. While CCIs in these Asian cultural powerhouses aspire to become key players in the global cultural economy, Southeast Asian countries such as Malaysia and Thailand are eager to make a strong mark in the region’s cultural landscape.

As the first handbook on CCIs in Asia, this book provides readers with a contextualized understanding of the conditions and operation of Asian CCIs. Both internationalising and de-Westernising our knowledge of CCIs, it offers a comprehensive contribution to the field from academics, practitioners and activists alike. Covering 12 different societies in Asia from Japan and China to Thailand, Indonesia and India, the themes include:

State policy in shaping CCIs
Cultural production inside and outside of institutional frameworks
Circulation of CCIs products and consumer culture
Cultural activism and independent culture
Cultural heritage as an industry.

Presenting a detailed set of case studies, this book will be an essential companion for researchers and students in the field of cultural policy, cultural and creative industries, media and cultural studies, and Asian studies in general.

Resumen:
DAVIES, Rosamund; SIGTHORSSON, Gauti (2013): Introducing the Creative Industries: From Theory to Practice. Londres: SAGE Publications Ltd.
Creativity is a difficult concept to define, it has an enormous rage of application and usage. One can even use creativity as a method of dealing with life and its ups and downs in a more sociological way or it can be applied as a subject to ones career meaning to essentially differ its job from any other. Professions based on creativity are rapidly growing as an important element of today’s economy even though its unique condition of numerous business types makes it hard for any regulation to be satisfying and efficient. Those kind of activities are now being called “The creative industries”, as Rosamund Davies and Gauti Sighthorsson point out in their book “Introducing the Creative Industries from Theory to Practice”:
“The creative industries are a metaphor, which implies that creative production has been industrialized, set up in factory-like structures and managed along the same principle as the manufacture of any other mass-market goods. (…) like any other industry, the creative industries are driven by the work of people.”

Popularised by economist Richard Florida in his widely influential books, the quest for urban creativity has been extensively embraced, promising both fortune and revitalisation to those who would seek it. As a result, the measurement of creativity has increasingly become prioritised by governments around the world. Florida has controversially suggested a ‘Gay Index’ as a useful estimation but many have been critical. Thus, this paper undertakes a threefold aim: (i) to examine the inappropriateness, irrelevance, and importance of the ‘gay index’ in relation to urban creativity, (ii) expound upon the construction of and incongruity between creativity and the creative economy, (iii) and briefly outline alternative measures to decipher and rank urban creativity.

London Development Agency tarafından hazırlanan bu çalışma, “Yaratıcı Mekânlar” araştırma projesinin kent raporları kapsamında hazırlanmış örnek alan incelemeleridir. Yaratıcı Mekânlar İçin Stratejiler, Londra ve Toronto şehirlerinin arasında, London Development Agency (Creative London ve Evidence & Evaluation Team) ile City of Toronto Economic Development and Culture Division ve Ontario Ministries of Ekonomik Development & Trade and Culture ortak teşebbüsüdür.

Yaratıcı Mekânlar, büyümenin arttırılması ve yaratıcı endüstrilerin geliştirilmesi için Londra ve Toronto’ya özel gelişme stratejileridir.
Yaratıcı Mekânlar için Stratejiler projesi 3 temel hedef üzerinde yoğunlaşmıştır:
1. Yaratıcı ekonomilerin gelişmesindeki en iyi uluslar arası uygulamaların tanımlanması ve değerlendirilmesi.
2. Yaratıcı kümelenme girişimlerinde bir uyarıcı olacak yaratıcı kümelenme, ekonomik gelişme, kamu politikası ve akademik profesyoneller için uygulamaya yönelik öğrenim deneyimi meydana getirmek.
3. Londra, Toronto ve dünyanın diğer yaratığı küresel merkezlerinde yaratıcı kümelenmeler, ekonomik gelişme ve kamu politikaları uygulayıcıları arasında derin, çok yönlü ilişkiler geliştirmek.

Bu hedeflere ulaşabilmek için, projenin cevap vermek üzere çerçevesini çizdiği 2 kilit araştırma sorusu vardır:
- Yaratıcı ekonomiyi büyütmek ve geliştirmek ve kentin yaratıcı değerlerini ve/veya bir kendi yaratıcı/kültürel merkez yapmak için hangi araçlar kullanılabilir
- Bölgesel ekonomik gelişme için kentin yaratıcı/kültürel değerleri nasıl arttırılabilir?

Yaratıcı Mekânlar projesi 2005–2006 yılları arasında 3 aşamalı olarak gerçekleştirilmiştir:
1. Aşama :Yaratıcı kent ve kümeler stratejilerinin, politikalarının ve müdahalelerinin literatür taraması ve küresel araştırması. Kilit başarı etmenlerinin ve yaratıcı kümelenmesinin gelişmesi için uluslar arası itici güçlerin tanımlanması ve değerlendirilmesi.
2. Aşama :1. Aşama’dan elde edilen verilerle, seçilen şehirler üzerinden daha kapsamlı bir analiz ve değerlendirme için örnek alan incelemeleri yapılması. Barcelona, Berlin, New York, Londra ve Toronto’ya geziler düzenlenmesi ve buralarda öğrenilenleri Londra ve Toronto’ya nasıl aktarılacağı ve uygulanacağının değerlendirilmesi. Kilit kentsel ve kültürel ajanların yaptıkları çalışmaların takip edilmesi.
3. Aşama :Londra ve Toronto’daki yaratıcı kümelerin uyarılması ve yaratıcı mekânların oluşturulması ve sürdürülebilmesi adına kente özel stratejilerin geliştirilmesi ve damıtılması.

Bu bağlamda kentsel-bölgesel örnek alan incelemeleri, yaratıcı mekânlar geliştirme yaklaşımlarını ve kültürel ve yaratıcı endüstrilerin harekete geçirilmesini Londra, Barcelona ve Berlin üzerinden belgelemektedir.

Perencanaan wilayah biasanya dilakukan dengan tujuan untuk mencapai kepentingan ekonomi, sosial dan lingkungan, dengan memperhatikan berbagai keadaan, menyesuaikan dengan kondisi wilayah yang direncanakan. Pertimbangan yang dilakukan dalam pembangunan daerah menghasilkan penetapan arahan pembangunan daerah dan pendekatan pembangunan daerah. Landasan pembangunan daerah dibagi menjadi pembangunan berdasarkan ekonomi, teknologi, lingkungan, masalah global dan sebagainya. Landasan pembangunan daerah inilah yang menjadi dasar pelaksanaan kegiatan pembangunan daerah.
Perekonomian merupakan salah satu tumpuan pembangunan daerah yang sering digunakan. Hal ini dikarenakan setiap daerah dinilai memiliki potensi yang memiliki nilai ekonomi, sehingga setiap daerah pasti memiliki daya saing atau keunggulan. Keunggulan yang disebutkan di atas adalah keunggulan komparatif dan keunggulan kompetitif yang menjadi penentu perkembangan kawasan.
Keberhasilan pembangunan ekonomi tidak lagi dapat dicapai semata-mata dengan bertumpu pada sumber daya alam tanpa upaya yang lebih baik terhadap nilai tambah produknya. Perkembangan perekonomian internasional yang berkecenderungan didominasi oleh aktivitas dan produk yang semakin sarat dengan pengetahuan/teknologi yang intensif (knowledge/technology intensive) semakin menyisihkan posisi negara seperti Indonesia yang secara “konvensional” masih bergantung pada aktivitas dan produk bernilai tambah rendah. Proses perbaikan posisi Indonesia di lingkungan internasional akan sangat terkait dengan upaya-upaya yang sungguh- sungguh dan lebih terarah.
Pada pengidentifikasian masalah industri kreatif menggunakan Root Cause Analysis (RCA) ditemukan bahwa penghambat berkembangnya industri kreatif di DKI Jakarta adalah kurangnya kebijakan pemerintah yang mendukung kegiatan industri kreatif. Lalu dengan pendekatan Triple Helix dapat memilah faktor internal maupun faktor eksternal dari ketiga pilar pengembangan ekonomi dan industri kreatif yaitu pemerintah, akademisi dan pengusaha. Dengan adanya masalah tersebut, perlu adanya kebijakan yang mengatur industri kreatif secara keseluruhan mulai dari masalah administratif hingga masalah teknis seperti bahan baku dan modal.

The research is aimed for mapping the existence of books publishing company in Yogyakarta which is born as an alternative publishing company due to its motive of the ideals to spread out its creative ideas and to provide the books need of the society in response. The alternative publishing company is precisely building within a condition of capital shortage and lack of resources comparing to the established publishers such as Gramedia, Obor Foundation, Mizan, etc. The existence of the alternative publishers in Yogyakarta is not only affected to the increasing passion of reading within the society, but also influenced into the improvement of books publishers in Indonesia as the fact of the rare books publishing in this country. The research will explain the roles of the books publishers as the research object that are to make the books world as a creative industry of ideals distribution and to earn profit from this industry as a new field of vacancy to the society. Many strategies have been located by the alternative publishers to develop a creative industry of the books world as a representation of its management ability to catch the market business opportunity as the promising ones. The method of the study is the descriptive research to discover the publishers' strategies of managing its publishing company. The descriptive research will use observation and in-depth interview to publisher management to reveal their diverse adaption strategies of developing the publishing company as a promising vacancy. PENGANTAR Sejak beberapa dekade dunia penerbitan buku di Indonesia mengalami situasi yang memprihatinkan. Selain minimnya jumlah judul buku yang terbit, perhatian negara terhadap dunia perbukuan memang masih sangat rendah. Geliat penerbitan buku di Indonesai baru muncul paruh tahun 1990an seiring dengan munculnya berbagai penerbit alternatif di Indonesia, khususnya di Yogyakarta. Hadirnya penerbit alternatif ini cukup menggairahkan dunia penerbitan buku di Indonesia. Beberapa data menyebutnya, bahwa sebelum tahun 90an, tiap tahun buku yang terbit di Indonesia tidak lebih dari 5000 judul buku, bayangkan dengan Malaysia yang pada tahun 1990 saja sudah mampu menerbitkan sekitar 15.000 judul buku.

The diverse ways in which technologies are modified and appropriated into local contexts are an important theme in CSCW research. Today, translocal processes such as the formation of international corporations and the movement of people and ideas across nation states increasingly shape these local contexts of technology use and design. We draw from prior work on appropriation in CSCW and meld it with work from transnational studies to illustrate appropriation as a cultural phenomenon and as it unfolds in relation to emerging translocal processes. We ground our explorations in findings from ethnographic research on collaborations and exchange among IT professionals in urban China. This work makes two main contributions. First, it expands CSCW's focus on socio-technical systems by taking seriously socio-political and socio-economic processes. Second, it contributes to debates on crosscultural and global technological development by employing transnational imagination as an analytical tool.

Bu çalışma, HÜ BAP Birimi tarafından SBI-2017-16354 koduyla desteklenen projenin Güney Kore saha araştırmasından üretilmiştir. Güney Kore saha çalışması Kore hükümetinin farklı yaratıcı endüstrilere destekleri ve kültür politikaları üzerinedir.
Bu çalışmada Güney Kore hükümetlerinin yaratıcı içerik endüstrilerinden biri olan sinema endüstrisine yönelik kültür politikaları ve düzenlemeleri tarihsel bir bağlamda ve ekonomi politik bakış açısıyla değerlendirilmiştir. Kore Film Konseyi’nin (KOFIC) Kore’de sinema endüstrisinin gelişmesindeki rolü ele alınmıştır. Ayrıca, Kore sinema endüstrisinin mevcut ve gelecek sorunları sıralanmıştır.

Anahtar Sözcükler: Güney Kore hükümetleri, yaratıcı endüstri, sinema endüstrisi, Kore sineması, Kore Film Konseyi.

SOUTH KOREAN GOVERNMENT’S CULTURAL POLICIES
AND REGULATIONS FOR THE MOVIE INDUSTRY

Abstract
The South Korean government’s cultural policies and regulations for the movie
industry are analyzed from the perspective of political economy in an historical
context. The role of the Korean Film Council (KOFIC) in the development of the
movie industry and the current and the future problems of the industry are also
discussed.

Keywords: South Korean government, creative industries, movie industry, Korean cinema, Korean Film Council.

I Transformacje (Transformations) is an interdisciplinary refereed, reviewed journal, published since 1992. The journal is devoted to i.a.: civilizational and cultural transformations, information (knowledge) societies, global problematique, sustainable development, political philosophy and values, future studies.

In this chapter, I will be arguing that the relationships between further and
higher education institutions can be crucial in either promoting fair access
to higher education or reinforcing the barriers that limit opportunities for
progression through vocational routes. I will be introducing some of the
policy initiatives targeted at enhancing fair access and analysing how the
principles of fair access described within the Schwartz Report (September
2004) are constructed to reinforce the institutional autonomy of Universities
in determining what constitutes ‘merit and potential’. I will then describe
how the use of progression accords can establish constructive relationships
between further and higher education institutions to promote wider
understanding and recognition of vocational qualifications. In particular, I
will be describing an example of the positive impact of the introduction of
progression accords in the creative industries sector in the East of England.

O presente trabalho focaliza a importância, vantagens e dificuldades nos processos do curso de engenharia de produção em produção cultural (EPC) da Universidade Federal do Estado do Rio de Janeiro (UNIRIO) que demanda interações entre diferentes Centros e docentes da instituição. Indaga sobre a viabilidade de imbricação entre a racionalidade instrumental da clássica formação em engenharia de produção e a racionalidade estética da produção cultural. Ressalta a potencialidade da inserção de engenheiros de produção para o desenvolvimento da indústria criativa que é um novo campo de possibilidades de trabalho para a engenharia. Palavras-chave: engenharia; indústria criativa; racionalidades.

The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. This study adopted a qualitative methodology consisting of a two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of equity crowdfunding platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. The findings reveal how the loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a 'prosumer' identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. The implications of this paper's findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. The insights regarding negative approaches towards ECF by the labels may influence future 'coopetition strategies' for independent labels as they seek to navigate the changing industry dynamics. This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.

TV industry competition has entered the stage of competition in TV Formats. The United States, Britain and other developed countries are the world's program Formats output power, through research and development and sales program Formats, to further enhance the competitive edge in the global TV industry, production and sales program Formats to become one of its main business. How to innovate the local program Formats, is the urgent affair to develop our country's TV industry and strengthen the international competitiveness. The key is: indigenous innovation program Formats, to the "creative" oriented, integrated innovation of creative resources; learn from the experience of developed countries, perfection of the system of planning, accelerate the separation of production and broadcasting, programs to support the creative industries model; establish and improve the mechanism of knowledge copyright protection of local program Formats creative, program innovation talent incentive mechanism, accelerating the cultivation of creative talents.

The creative industry is a central part of the global trade movement in the creative economy, thus creating a network of collaborations and talents around the world. However, during the COVID-19 pandemic, many industries experienced setbacks and were affected. This study aims to understand and explore information related to the role of human resources in strengthening the creative industry during the COVID-19 pandemic. The unit of analysis in this study is the business actor of the Batik fashion creative industry group located in Pekalongan which was appointed as a Creative City by UNESCO. This research uses a qualitative approach with a case study method, both in the process of data collection and analysis. Observations and semi-structured interviews were used to obtain information. The results of the study found that the Pekalongan batik business actors who are known as creative cities have not lost their creativity to continue to produce works and survive without losing the elements of local culture.

En la última década, las instituciones culturales públicas y privadas de diversas naciones iberoamericanas han buscado comprender, evidenciar y posicionar el papel que cumple la cultura en el desarrollo de sus países. Esta voluntad de resaltar la relevancia de la dimensiones social y económica de la cultura ha fortalecido el interés en la construcción de información y metodologías que permitan una aproximación pertinente a las dinámicas del complejo mundo cultural, en particular de aquellas que tienen como protagonistas a sus actores o emprendimientos culturales.
Existe consenso en la región sobre la importancia de disponer de información actualizada en el sector cultural iberoamericano desde su dimensión económica y social. En ese sentido, este estudio pretende proporcionar información de primera mano desde una perspectiva comparativa e integral.
Con este fin se ha buscado consolidar los resultados de estudios regionales existentes sobre el aporte del sector cultural al desarrollo económico, la generación de empleo y las políticas públicas orientadas a producir información del sector. El estudio reúne, además, información relativa a las acciones llevadas a cabo en materia de políticas públicas para el fortalecimiento de la economía cultural y creativa en la región iberoamericana en los últimos años. Mediante casos emblemáticos de políticas públicas y el análisis de diversos emprendimientos, la OEI ha buscado que este documento, realizado con la implicación activa de los ministerios, consejos e instituciones culturales de la región, permita ampliar el debate y la comprensión sobre las oportunidades y desafíos de las economías creativas, y, sobre todo, contribuir a la generación de nuevos intercambios y conocimientos entre los actores involucrados en la región iberoamericana para los próximos años.

Dziennikarstwo branżowe ma istotne znaczenie dla tworzenia i użytkowania gier komputerowych (wideo), które stanowią podstawę jednego z przemysłów kształtującej się na początku XXI wieku gospodarki kreatywnej. Przedstawiciele mediów informują o postępach w pracach nad nowymi grami, testują je przed premierą, wskazują deweloperom wady i zalety ich produkcji. W ten sposób oddziałują na opinie użytkowników oraz opisują wydarzenia i trendy związane ze środowiskami zajmującymi się bezpośrednio grami, jak też z ich otoczeniem. Celem artykułu jest prezentacja studium przypadku modelu zarządzania zasobami ludzkimi w internetowej redakcji zajmującej się tematyką gier komputerowych wchodzącej w skład dużego przedsiębiorstwa medialnego.

*

Industry specialized journalism is essential for the creation and use of computer (video) games. They are representing one of industries from creative economy which is emerging on early XXI century. Media representatives inform about the progress in development of new titles, test them before their release date, show developers the advantages and disadvantages of their productions, impact on user feedback and describe events and trends related to the communities directly involved in the games, as well as with their surroundings. The article aims to present a case study of human resources management model in the Internet editorial absorbed in topics connected to computer games which is a part of big media company.

This paper examines the position of crafts within the creative industries and considers how this has been affected by the growing links between the creative industries and tourism. A review of the creative industries concept indicates that crafts occupy an ambiguous position between art and tradition, which problematises their relationship with the creative industries. This is gradually changing as the creative and tourism sectors become more closely linked, and craft has become an important element of the development of creative tourism experiences. We review the role of craft in creative tourism, including case studies from Brazil, Finland, and Thailand, to examine how tourism can support the creative development of crafts. This analysis indicates that craft can be an important aspect of creative tourism development in different contexts and can provide a strong basis for placemaking initiatives.

The development of the creative industry during last few decades has significantly affected the quality of urban environment. Mixed-use cultural function became the most popular solution for a revitalization of not only brownfield area but also abandoned sites of the city centre. As a result, cities received active renovation, while the majority of cultural institutions became involved in the specific type of cooperation -urban cultural clustering. The scale of such cooperation may differ from one building block to entire planning districts, with an active grab of the territory, including residential, industrial and other functional areas. Furthermore, being provoked by bottom-up initiations, cultural clusters become a catalyser for several parallel processes: new ways of museum presentation, social-cultural openness and cohesion, renovation of surrounding districts, gentrification and even more complex transformations of city planning structure.

The objective of this research is to reveal (1) the influence of internet usage on Batik Trusmi SMEs performance; (2) the influence of innovation creativity on Batik Trusmi SMEs performance; and (3) the influence of internet usage on Batik Trusmi SMEs performance moderated by innovation creativity. The samples were Trusmi Batik Small and Medium Enterprises (SMEs) in Cirebon, West Java, Indonesia. A total of 115 SMEs selected as the research object. Data were collected using a questionnaire consisting of variables indicator with a rating scale questions 1 through 5. The data were processed using the regression analysis with SPSS software. The research results indicated that (1) internet usage has a significant and positive influence on Batik Trusmi SMEs performance; (2) innovation creativity has a significant and positive influence on Batik Trusmi SMEs performance; and (3) internet usage has a significant and positive influence on Batik Trusmi SMEs performance moderated by innovation creativity. Therefore, SMEs is required to be more daring to use the internet optimally.

O termo "indústrias criativas" surgiu nos anos 1990, para designar setores nos quais a criatividade é uma dimensão essencial do negócio. As indústrias criativas compreendem, entre outras, as atividades relacionadas ao cinema, ao teatro, à música e às artes plásticas. Neste artigo introdutório, mostramos o surgimento do termo no âmbito de políticas públicas de desenvolvimento econômico, analisamos a literatura científi ca sobre as indústrias criativas e procuramos sistematizar as diferentes defi nições do termo, diferenciando-o de conceitos similares, em especial do conceito de indústrias culturais. Advogamos que o fenômeno pode constituir um campo fecundo de investigações para pesquisadores de Estudos Organizacionais e apontamos trilhas de investigação a serem exploradas.

Essay on the changing relationship between arts and culture and the economy. The author claims that the antagonistic relationship between both should be done a way with in favour of a more sophsticated awarenes of how the one actually supports the other. The argument builts on developments in creative industries and the creative economy, the role of arts and creativity in innovation and the importance for creativity an creative talent for city development.

This paper analyses two cultural clusters, the Westergasfabriek (WGF) in Amsterdam and the Witte de Withstraat (WdW) in Rotterdam, and evaluates their contrasting creative management strategies. The WGF has to date been fairly successful in creating an attractive mix of different cultural activities, based on the creative potential of the buildings on the site, its image as a cultural centre and the general atmosphere of creativity. The more ‘top–down’ approach of the Local Authority owned but commercially managed WFG has injected new commercial skills and investment into the cluster, and creates the conditions for innovation through managing the mix of creative functions. The WdW, on the other hand, takes a more ‘bottom–up’ approach to the problems of cultural management, and so far the participants have resisted the imposition of formal management. This may allow cultural and commercial functions to co–exist more easily, but, thus far, there seems to be less evidence of innovation.

A global pandemic caused by COVID-19 virus since December 2019 has developed into a fearsome situation more than any common global contagion. In combating COVID-19 worldwide, governments instigated a precautionary cordon sanitaire in various degrees. Live music, cinema and film festivals were inevitably cancelled, causing artists to become alienated from their audience. This paper aims to illuminate how practitioners of the creative industry cope with the drastic disruption due to the COVID-19 outbreak as well as the means of regenerating 'life', which refers to that of a creative artist in a narrower sense, and to that of the industry in a broader sense. Adopting a combined methodology of autoethnography and virtual ethnography, the authors explore their encounters with the informants and the development of the creative arts scene. The subject of disruption and regeneration in the creative arts industry is approached through feasible methods and tools they could render in this unique lived experience. They hope to construct a view containing some perspectives on the transcendence of creative practitioners from the disruption to the survival of the pandemic's impact, as well as the regeneration of how creative arts would persevere in the 'new normal' of the post-COVID-19 era.

Women, from history, are known as active contributors towards the socio-economic development of any nation. From family units to the larger society, women are prominent in virtually all human activities that generate development. Rural women particularly constitute the bulk of the rural population however; they face lots of structural challenges which tend to limit their potentials in contributing meaningfully both to themselves and to rural development. Most of them are poor and voiceless because they lack access to education, finance, facilities and decision making. They may continue to be helpless unless their potentials are developed and harnessed through creative entrepreneurial skills and establishment of creative industries. This paper therefore x-rayed the need for the establishment of creative industries for the empowerment of rural women. It highlighted the plight of rural women, rural women empowerment and creative industries. It also discussed the challenges of women entrepreneurial efforts and suggested a way forward

The paper illustrates the specific features of creativity in the Italian experience. Recent analyses carried out with reference to the whole Country and to the Lombardia region emphasize the tight connection between creativity and culture as a driver for the growth of social quality, and the related importance of the urban framework for the rise and diffusion of creative processes. The paper elaborates a taxonomy of creativity based upon the presence of decorative vs. functional features, and drafts some policy guidelines aimed at supporting the emersion and consolidation of creativity.

This article aims to extend the current understanding of social networking in small creative traditional sectors in developing countries. Most of the relevant studies have tended to focus on developed countries while neglecting the developing countries perspective. However, our study stresses that small craft firms—subsector of creative industries—are not only significant for income and employment generation but these businesses also are dominant in most of the developing countries. Hence, this article develops a model to demonstrate the effects of social networking on innovation and thus entrepreneurial success in small creative firms from developing countries' perspectives. We empirically tested our proposed research model on a sample of 254 small creative firms in the craft sector located in Bangladesh. Our results suggest that small creative firms can and do benefit from establishing a cooperative relationship with buyers, suppliers, and designers. However, cooperation with competitors does not have a significant impact on innovation. The findings of our study have substantial implications for both practitioners and policymakers interested in enhancing innovation among small creative firms mainly craft sector. In particular, we argue that a small creative firm’s innovative activity benefits from close relations with suppliers and designers.

Information Communication & Technology (ICT) plays an important role as a catalyst to enable and facilitate the implementation of the development, transfer, and utilization of knowledge, which subsequently may contribute to the improvement and innovation. This research intends to analyze how ICT competency directly influences knowledge management, how knowledge management directly influences innovation, and how ICT competency indirectly influences innovation through knowledge management. The research is limited to the case of the five sectors of the creative industries in the island of Batam, Indonesia. Those five sectors are television, radio, publishing, IT software and computer services, and architecture. The data are collected via questionnaire from a sample of 150 respondents. A structural equation model is established to study the interrelationship among those variables. At the end, the research concludes that ICT competency has positive effect on knowledge management, as well as on innovation via knowledge management, and knowledge management mediates the relationship between ICT competency and innovation.

The value of human idea by means of creativity has accounted far more beyond machine and technology products, thus becoming new wave of economy (Howkins, 2002). Indonesia as the fourth largest population in the world has a very big potential to advance in this type of economy.
Since 2005 until now, Indonesian government through the former Ministry of Trade and now the Ministry of Tourism and Creative Economy has launched several initiatives to support the development of creative economy in Indonesia. One of them is the launching of Indonesia Kreatif, which is a working group for creative economy development in Indonesia with the primary role as a hub agency, facilitator, and public outreach program. One important contribution by the working group is providing an online media for information, communication and education of the creative economy in Indonesia for the creative economy stakeholders in Indonesia, titled IndonesiaKreatif.Net.
This paper aims to elaborate the role of Indonesia Kreatif website as community website functions build creative connectivity in Indonesia. The research used range of relevant literature, data from the website, result of questionnaires from creative actors in Indonesia and also interviews with subject matter expert from IndonesiaKreatif.Net, to conclude the role of Indonesia Kreatif.Net to build creative connectivity in Indonesia. The research also addressed about the contribution from Quandro-Helix actors: academician, business entities, government, and communities for the website to support the development of creative industry in Indonesia.
The result will become a useful model foundation for the future research of creative connectivity. The empirical findings can be used by all the involved actors as a guidance to develop creative connectivity in Indonesia.

Keywords: Creative Economy, Creative Connectivity, Indonesia Kreatif, community website, Quadro Helix

The diverse ways in which technologies are modified and appropriated into local contexts are an important theme in CSCW research. Today, translocal processes such as the formation of international corporations and the movement of people and ideas across nation states increasingly shape these local contexts of technology use and design. We draw from prior work on appropriation in CSCW and meld it with work from transnational studies to illustrate appropriation as a cultural phenomenon and as it unfolds in relation to ...

Procena makroekonomskih indikatora razvoja kreativnih industrija u Srbiji u periodu 2014-2016. i distribucije kreativne klase u nacionalnoj ekonomiji.

Prezentacija sa konferencije "Kreativna Srbija: budućnost je kreativna", Jugoslovenska kinoteka, Beograd (13. mart 2018).

In the recent decade, a downward trend of employment has been observed in the animation and VFX industry globally. Due to the highly competitive nature of the industry, many renowned VFX and animation studios have gone bankrupt, with artists losing their jobs with no remuneration. With the media industry boom in Singapore, this phenomenon stemming from Hollywood is observed locally due to the industry being one built on close global and regional ties between individuals and studios.

Tertiary institutions in Singapore, particularly media related courses, turn out a pool of talented graduates every year. Currently, the only two tertiary institutions only equipped to cater to students seeking a career in animation and VFX industry in Singapore are the LASALLE College of the Arts and Nanyang Technological University’s Art, Design and Media (ADM) School. The Animation and VFX industry has become increasingly competitive, hence there is a need for educators question if institutions are doing enough to educate students on career sustainability within this industry.

A classic case of one size failing to fit all, it is inadequate to have students attend generic "interview skills" module. This is when educators with industry experience can raise the awareness of the need for students to learn about career sustainability. Soft skills and an entrepreneurial mindset need to be nurtured, with customized learning experiences with mentorship programmes unique to the industry should be readily available to students. This creates an awareness of career advancement options for students in this field.

Through e-mail interviews with industry professionals, fresh graduates and current students, this study hopes to gain more first-hand insights into the awareness and real-world strategies required for career sustainability in the industry. The findings seek to educate policy makers and educators on how they can better prepare students for their future careers.

Strategic competitiveness is achieved when a firm successfully formulate and implement a strategy of value creation. In order to create competitive advantage, the theory of competitive advantage have contributed to the present two major schools of the Market-Based View (MBV) and Resources-Based View (RBV), which both lead the company in creating a competitive advantage through superior value. The purpose of this paper is to examine the relationship between market orientation, learning organization and dynamic capability on value creation. Using a questionnaire survey, the paper is based on data collected from 105 owners or managers of industry creative in Indonesia. The partial least squares (PLS) structural equation modeling approach was used to analyze the data and test the hypotheses.The results indicate that, among the market orientation, learning organization, dynamic capability are significantly and positively related to value creation.