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The present study aimed to understand how Brazilian researchers, from 2008 to 2018, understood and defined the concept of the Creative Economy in their respective studies. For this, this study used bibliometric research and a survey in the databases of Scielo, Spell, and CAPES periodicals, aiming to understand (a) the journals that published these articles, (b) the Qualis CAPES stratification of these journals, (c) the years of these publications, (d) the main authors approached in the definition of the Creative Economy, (e) the magazine's areas, as well as (f) the locality and (g) keywords used in the articles analyzed. From the analysis of the twelve articles selected, according to the preestablished criteria, it was observed that the authorship is mostly made by men, the most used reference about the Creative Economy concept is from a specific researcher, and the predominate studies are from the southeastern region. It is concluded that the concept of the Creative Economy, in the analyzed texts, focuses on three aspects: development, culture, creativity, and creative industries, as well as most studies work on the Idea of the Creative Economy related to creativity. [ABSTRACT FROM AUTHOR]

From the implementation of the National Plan of Culture and the National System of Culture, cultural policies have gained greater breadth in Brazil. Subsequently, with the creation of the Secretariat of Creative Economy by the Ministry of Culture, the economic dimension of culture has also become prominent in the state and municipal spheres, through the implementation of programs and projects. Thus, the objective of this article is to analyze how theadministrative process of the programs Rio Criativo and Territórios Culturais/Favela Criativa in the state of Rio de Janeiro occurs. For this, a qualitative research was carried out, with field and documentary stages. Data were collected between 2013 and 2017 and treated through content analysis. The results of the study indicate that the programs, despite having different objectives, have similar forms of management. In this sense, an indication from the present article is that the public cultural policies directed to the field of the creative economy present characteristics that make its operationalization and management complex. [ABSTRACT FROM AUTHOR]

Professional relationships can generate interpersonal relationships as well as in the opposite direction also occurs. Interest in the creative economy and in the cultural sector has grown in recent years, especially considering that the creative GDP grew 69.8% from 2004 to 2013 and national GDP only 36.4% in the same period, and continues to grow. Therefore, this article aims to map and analyze the relationships and social interactions in the cultural production of Brasília. The cultural producer, on the condition of who produces cultural events, was the object of analysis. This is an exploratory-descriptive, qualitative-quantitative study, in which the snowball method was used, through an interview applied to 40 cultural producers in Brasília-DF. From this base and using social network analysis (SNA), a network with 534 actors and consistent links of a solid network, permeated by other professionals working in the productive chain of culture, with different subgroups was observed. The sociodemographic profile of the producers, characteristics of the companies and the identification of the characteristics of the central actors of the network were also obtained. [ABSTRACT FROM AUTHOR]