Creative Industries and Developing Countries

Cunningham, Stuart; Ryan, Mark David; Keane, Michael; Ordonez, Diego

doi:10.4324/9780203826300

Cited by 11 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In that sense, the creative industries, relative to other industry sectors, are more innovative (Birch, 2008), focused on or use technological advancements and attract higher educated and highly specialized employees (Oakley, 2006), face demand uncertainty (Caves, 2000) and derive their competitive advantages directly from exploitation of knowledge, creativity and other intangible assets. Many subsectors of the creative industries are characterized by a high degree of self-employment and business activities that are on a project-by-project basis and often coupled with precarious financial prospects (Barrowclough & Kozul-Wright, 2008). On the other hand, similar to many other industries, the structure of the sector tends to include a large number of small and often micro-sized firms accompanied by a small number of very large firms.…”

Section: The Creative Industries: Concept Features and Prospectivesmentioning

confidence: 99%

Exploring the Landscape of Creative Industries: The Financial Perspective

Stanić¹

2017

Tourism in Southern and Eastern Europe

View full text Add to dashboard Cite

Purpose -The creative industries comprise various subsectors distinct in terms of business models, profit orientation and growth prospects. Due to the heterogeneous nature of the industries, measuring and analysing the sub-sectors is difficult. To understand the specific subsectors and highlight their specific characteristics within each of the creative industries, this paper explores differences among small and medium-sized enterprises (SMEs) in terms of asset, capital and liquidity structures. Methodology and design -The study is based on a data set from financial statements sourced from 8,088 SMEs within the creative industries in Croatia for year 2014. For research purposes, creative industries are clustered into eight subsectors: advertising, architecture, design, electronic media, film and video, music, publishing and press, software and video games. Based on a set of predominantly financial indicators selected from financial statements, the paper provides a comparative analysis of subsectors from creative industries in terms of their balance sheet structure. Findings -An analysis of the financial statements reveals more similarities than differences among subsectors of creative industries. The software and video games subsector appears to performance better and have the highest growth potential relative to all other subsectors. Originality of the research -The paper provides insights into the landscape of cultural and creative industries and explores the degree to which balance sheet structures are linked to the characteristics of each subsector within the creative industries.

show abstract

Section: The Creative Industries: Concept Features and Prospectivesmentioning

confidence: 99%

Exploring the Landscape of Creative Industries: The Financial Perspective

Stanić¹

2017

Tourism in Southern and Eastern Europe

View full text Add to dashboard Cite

show abstract

“…The last few years have seen rising interest in the role of the creative industries in development (Barrowclough and Kozul-Wright 2006). A notable recent initiative is that of UNCTAD with the support of the Government of Brazil-in particular the minister of culture (and celebrated musician) Gilberto Gil Moreira-which is seeking to establish an International Centre on Creative Industries, in order to better understand the sector's economic and development impact.…”

Section: Policy Implicationsmentioning

confidence: 99%

9 The International Mobility of Cultural Talent

Addison¹

2008

The International Mobility of Talent

View full text Add to dashboard Cite

Artists, musicians and writers have always been great travellers. Today, their talent circulates in new ways, and takes new forms, as the creative industries expand globally in a marriage of media technology and the traditional arts. The growing international market for cultural talent can do much to help countries diversify their economies, and improve the quality of life more broadly. The creative industries are subject to strong clustering effects, with talent moving swiftly to the most vibrant clusters, not always to the advantage of the poorer countries which can lose talent to the richer world. Countries that protect intellectual property rights, educate and train their talent, and maintain politically open and liberal societies will have a head start in the global creative economy.

show abstract

“…While the global dimension of this phenomenon is currently under scrutiny in a variety of contexts, from East Asia (Yusuf and Nabeshima 2005) to the global south (Barrowclough andKozul-Wright 2008, UN 2013), this special issue aims to bring the focus back to Europe, where despite a decade of European policy discourses (EC 1998(EC , 2010CEU 2007;EP and CEU, 2008), projects and platforms designed to support and develop the creative and cultural industries, including the latest Creative Europe programme (EU, 2013), much can still be questioned in reference to a truly European perspective It is acknowledged that creative and cultural industries (CCIs), broadly defined, are now considered by many policy makers across Europe at the heart of their national innovation and economic development agenda (Chapain, Clifton and Comunian, 2013). Similarly, many cities and regions in Europe have adopted policies to support and develop creative industries and their local creative production and consumption (Pratt 2009;Musterd and Murie, 2010;Musterd and Kovács, 2013).…”

mentioning

confidence: 99%