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As creative industries are one of the key factors driving the development of economies worldwide, a growing number of studies try to capture their relevance, attributes, and global role. Globalisation tendencies affect the creative sector too, which arises the questions: 'Does geographical proximity matter in this sector?' and 'What is its role in the functioning, relationship-building and information transfer processes of creative actors?' In this study, first the changes in the meaning of the term 'proximity' are explained and summarised then the definition, categorization and attributes of creative industries are presented. Previous papers have proved that the scope of activities of an enterprise and its size have a significant impact on the importance of spatial closeness. The author's empirical research has similar findings regarding the creative actors: market-based international partner relations constitute a majority and are considered relevant; spatially close relations are preferred and the total average importance index of geographical proximity is higher in the case of market-based partner relations than those with non-economic organisations. Although virtual platforms offer rapid and continuous connectivity between partners in the creative sector, the need for personal, face-to-face interactions is quite high, especially in the process for contracting with suppliers and clients. [ABSTRACT FROM AUTHOR]

In recent years, there has been a growing concern in economic geography with the organisational practices of project-based working, involving a multiplicity of organisational and personal social networks. Paralleling this debate has been a growing academic interest in the cultural economy and the conditions of creative work, itself characterized by project-based working. Cultural and creative workers are argued to symbolise contemporary transformations of work more than any other group of workers. However, despite this being a wide trans-disciplinary area of enquiry, little economic geography literature has engaged explicitly with perspectives being developed in other disciplines, in particular sociology and cultural and media studies, on the experience and conditions of work in project-based industries. In this paper I argue for the incorporation of sociological perspectives into our analyses of projects, in order to address the lack of attention to the sociological, political and cultural issues of work. Such an approach, I suggest, can contribute to the economic geography of projects in three ways; first it moves beyond structural analyses to allow for an understanding of the importance of agency in project work; second it allows us to move on from firm-level analyses to develop an understanding of the complex social networks involved in project-based working; and finally it moves on from research at the meso-level on inter- and intra-firm networks to provide micro-level analyses of project work. [ABSTRACT FROM AUTHOR]

Unquestionably, the creative economy's weight and importance in nation-states' economies are increasing. This study examines the performance of partnerships belonging to creative industrial branches in Hungary between 2008 and 2018. Research questions are as follows: What economic potential does the creative economy represent in Hungary, particularly in certain large cities? What tendencies exist regarding temporal changes? What are the professional branches in cities that defy the creative economy, and how has their performance changed during the period examined in this study? This analysis deals with partnerships in the creative economy in Budapest and eight Hungarian cities with a population greater than 100,000. Dun & Bradstreet Hungary, Ltd., provided the database used as the basis for the statistical analysis. The data of companies operating on the last day of the given year were collected based on valid Hungarian activity classification (TEÁOR'08) codes and according to the indicated registered office, thus guaranteeing full national coverage. Regarding headcount data, only reports for the entire calendar year were included in the study, based on the statistical headcount for the given year. Within the study's 11-year reach, research has shown that there were no significant territorial changes in the creative economy and that Budapest still dominates the landscape, with the other eight cities playing minor roles (11%-12%). During the study period, all the cities had individual development paths. [ABSTRACT FROM AUTHOR]

This research analyzes the performance of 467 record labels in eight European countries over a period of 13 years (2003-2015). The main goal is to explain a relative measure of profitability in terms of observed variables, although the nature of the dataset also allows us to include non-observed firm and country effects. To this end alternative models are estimated and three main research questions are tested, namely: (1) the effect of the dual structure of the recorded music market, in which a competitive segment and an oligopoly coexist; (2) the extent and source of the volatility of profits in record labels; and (3) the nonlinear impact of size on performance. [ABSTRACT FROM AUTHOR]

Creative industries are firms which are characterized largely by the labour inputs of creative individuals, and surrounded by a degree of rhetoric as to their significance, but are a comparatively under-researched sector. In this study we developed a research framework which integrated entrepreneurial cognition, entrepreneurial orientation and firm capabilities and explored the relationships between these variables, market conditions and the performance of small creative industry enterprises. The data suggest that high growth small firms are characterized by well-developed internal capabilities allied to an entrepreneurial orientation and that the combination of the various sub-attributes associated with each of these appear to be especially salient under conditions of intense competition. The policies, managerial and educational implications of the findings are discussed. [ABSTRACT FROM AUTHOR]

This article reviews conceptual and operational issues in defining the creative sector and its arts and cultural core. Some accounts use establishment data to measure creative industry employment, some use firm-level data, and others use occupational data. The authors examine how cultural-sector employment is conceptualized in three pioneering cultural economy studies driven by distinctive policy agendas and constituencies. Choices about which industries, firms, and occupations to include affect the resulting size and content of the cultural economy. In comparing these three studies and others, the authors show that the Boston metro `s creative economy varies in size from less than 1% to 49%, although most cultural definitions range from 1% to 4%. The authors explore how policy makers might use a combination of methods to produce a richer characterization of the regional cultural economy and reflect on the relevance of good numbers to cultural policy and creative region formation. [ABSTRACT FROM AUTHOR]