An Innovation Agenda for the Creative Industries: Where is the R&D?

Abstract

What would an innovation systems approach to the creative, and especially the digital, content industries look like? This is important for two reasons: such an approach may open up dynamic and central policy territory which has been the preserve of science, engineering and technology (SET) worldwide; and it asks new questions, outside the domain of cultural support, which may precipitate a more holistic approach to the creative industries. This article draws on aspects of a report produced as part of the Australian government's Creative Industries Cluster Study, which outlined key elements of such a system. It focuses on the issues raised in looking at the role of key public institutions such as research agencies, educational and training bodies, including universities, government support agencies and others. We argue that these elements need to be greatly strengthened as well as challenged in terms of their orientation and their capacity to contribute to the innovation system.

A Competence Portfolio for Professionals in the Creative Industries

“…The overall aim of this study is to identify: (a) the shifting trends in competence needs and their implications, and (b) which competences are essential for (future) creative professionals in order to deal with the dynamic and uncertain nature of the Creative Industries. The high relevance of this topic is seen, for example, by governments worldwide and supranational institutions like the EU (European Commission, ) or the UN (UNCTAD, ), due the large share of national workforces and extraordinary growth rates of number of employees who work in the Creative Industries; by companies in the Creative Industries that rely heavily on creative professionals whose individual creativity and ability are key assets to respond to external changes and trends (Cunningham et al., ; Preston, Kerr & Cawley, ; Hotho & Champion, ); and by educational institutions that design the relevant curricula (Bauer, Viola & Strauss, ; Bridgstock, ; Haukka, ). Scholars focusing on the working perspective in this sector have mainly addressed the precarious working conditions (Christopherson, ; Randle & Culkin, ; Smith & McKinlay, ; Raunig, Ray & Wuggenig, ; Menger, ), knowledge and skill acquisition (O'Mahony & Bechky, ; Grugulis & Stoyanova, ) and the training contents and concepts of students with creative background (e.g., Bauer, Viola & Strauss, ; Bridgstock, ).…”

A question of values: why we need art and design in higher education

“…Art and design disciplines are sometimes grouped together and known collectively in a shorthand way as the creative disciplines (Shreeve 2008), many of which belong to what has been termed the creative industries (Cunningham et al 2004;Matheson 2006). The terminology used when defining areas most often included in the creative disciplines covers 'a wide range of different, often overlapping practices and nuances of practice' (Shreeve 2008: 12).…”

Digital content promotion in Japan and South Korea: Government strategies for an emerging economic sector

“…The staff at animation, gaming, video, and other digital content companies are comparatively young; many are on short‐term contracts and move between and among firms or work on contract for larger production houses. On a practical level, issues of copyright protection, the valuation of intangible assets, and the ways digital technologies have transformed the generation, dissemination, and use of creative works are all additional challenges of the sector (Hsiung & Wang, ; Towse & Handka, ; Cunningham, Stuart, Terry, Greg, & Keane, ). Digital content firms, sometimes working in more “edgy” fields such as pornography or online gambling, dark or raunchy comedy shows, or YouTube videos, are not the standard applicants for either large‐scale industrial grants or even Art Council subsidies, but they do produce income and employ a growing number of staff (Barss, ).…”