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The development and main characteristics of global research related to cultural and creative industries from 1995 to 2020 have been investigated using bibliographic data derived from the Scopus database. We identified 746 single-authored documents among a total of 1099 documents indexed in the Scopus database during this period, with an annual growth rate of 18%. English-speaking countries such as the UK, the USA, Australia and Canada were the most important contributors to this research field, participated in more than 50% of documents of the collection. The most productive scholars and institutions were all located in Australia and the UK. Quality of the publication collection was good, as nine over ten most popular journals who published a quarter of the collection, were classified into the first quartile of the SCImago Journal & Country Rank. Cultural policy and creative economy were the most important research directions of the collection. [ABSTRACT FROM AUTHOR]

While the impacts of the COVID-19 pandemic on the live music industry have received much attention, little consideration has been given to regional music production clusters more broadly. Evaluating the impacts of the pandemic on the music economy of North West England, this paper identifies key areas of support required as music businesses transition into a digitally-orientated post-COVID period. Findings demonstrate the ways in which the pandemic encouraged or forced music businesses to innovate with new digital ways of showcasing, promoting and distributing music. Yet, while digitalisation offers many opportunities, these are often difficult for businesses to capitalise upon. The paper argues the need to place business support at the heart of local cultural policy. More specifically, the paper makes the case for a soft institutionalist approach whereby local policymakers, the market and civil society work together to generate and distribute crucial resources of human, financial and social capital. [ABSTRACT FROM AUTHOR]

The study aims to clarify how social positioning and modes of cultural participation shape the meanings people attach to the European Capital of Culture Wrocław 2016 initiative. The authors analyse both quantitative and qualitative evidence for narratives on ECOC, drawing on data collected in a survey (N = 1000) in 2017 and qualitative group interviews (10 FGIs) in 2016 and 2017. A literature-based narrative on the ECOC legacy is first reconstructed as a point of reference. Local perspectives on ECOC 2016 are derived from a representative survey and in-depth qualitative analysis to reveal bottom-up perspectives on what ECOC 2016 was. The paper examines the relationship between ECOC's values and the socioeconomic and sociocultural characteristics of city residents who support and oppose it, to determine how ECOC's values are related to class dimensions of social positioning and modes of cultural participation. The paper concludes that ways of understanding and narrating ECOC are derived primarily from cultural practices. Socio-demographic variables are of secondary importance. Both affirmative narratives of ECOC's achievements in cultural policy and critical accounts can be viewed as informative markers of who and how perceives cultural policy successes and failures. [ABSTRACT FROM AUTHOR]

Established in 1951, the Children's Film Foundation (CFF) contributed to the growth of children's film culture in Britain. This paper aims to show how the CFF's active involvement of public authorities, film industry organisations and educationalists resulted in partnerships between them and in the growing production of children's films in Britain. Drawing on under-investigated archival materials, this paper argues that the Advisory Council of the Children's Film Department and Children's Entertainment Films, precursors of the CFF, offered significant platforms for mediation between public authorities, industry organisations and educationalists, and for shaping new beliefs about child audiences and children's cinema, which resulted in both the film industry's and educationalists' support for, and commitment to, producing films with entertaining and educational values. The case study demonstrates how the CFF overcame a commerce – culture dichotomy. It therefore offers a more nuanced understanding of state–market–civic relations in British cultural policy. [ABSTRACT FROM AUTHOR]

The extent to which Cultural and Creative Industries (CCIs), as policy concepts, are globalized, has been a matter of debate. This paper engages with the debate while seeking to move beyond the binary division of global and local scales of analysis. Empirically, it examines the emergence and politics of CCIs in Vietnam, with a focus on its connection with the implementation of the UNESCO 2005 Convention. The paper explores the complexity of the policy translation process, which shows the degrees to which neoliberal ideas can be translated in a post-socialist context. It also examines the role of UNESCO and questions the consistency of its position against the commodification of culture. Conceptually, it brings together different approaches to policy translation from language studies, Science and Technology Studies (STS), and postcolonial studies. The paper suggests that this interdisciplinary framework can further the understanding of both paradigmatic and pragmatic dimensions of policy travel. [ABSTRACT FROM AUTHOR]

This contribution intends to overview and frame a conceptual model for Cultural and Creative Enterprises (CCEs) that we call Platform Spaces. The paper contextualizes and discusses the main issues and challenges facing the CCE sector, identifying the need for more complex concepts better able to distinguish new policies and approaches being experimented with in Italy and across Europe. As Italy is currently experiencing a particularly rich period regarding the development of cultural creative activities based largely on social innovation, both in terms of organization management and relation with territorial development, it is an ideal context in which to explore the emergence of this new model. The paper describes three diverse examples of Platform Spaces based on multi-stakeholder cooperation mechanisms, arts and culture, and the engagement of local communities to not only ensure the accessibility of their activities but also to meet territorial development goals. With this analysis, the paper discusses a new conceptual framework that can be relevant both in theory and in practice, identifying policy recommendations to address territorial development approaches for Platform Spaces. [ABSTRACT FROM AUTHOR]

This paper provides an evaluation of the main characteristics of Chinese domestic cultural policy and international cultural trade strategy. The objective is to assess whether China has developed a type of pattern addressing the culture and trade issue, and to advance meaningful lessons to reconcile cultural diversity and trade liberalization in the context of international law. This paper starts with a brief introduction of Chinese cultural industries and Chinese cultural laws and policies. The analysis then dives into Chinese international agreements, including WTO agreements, the UNESCO Convention 2005, Chinese FTAs, and the BRI. Chinese international cultural practices can be grouped into cultural trade liberalization commitments and cultural cooperation mechanisms. This paper argues that China takes a cautious attitude towards liberalizing cultural trade while holding a relatively open position towards promoting cultural cooperation. The cultural cooperation approach deserves more attention as an alternative route for reconciling cultural diversity and free trade in international law. [ABSTRACT FROM AUTHOR]

This paper examines the key issues that emerge in the understanding of traditional music as micro-enterprise in the rural creative economy of Argyll and Bute, Scotland. Using evidence from detailed ethnographic fieldwork, with musicians, festival organisers, tour operators, business owners and civil servants, this paper examines how issues such as geographical and social distance, internet connectivity, and cultural tourism are understood in relation to the musical life of Argyll and Bute. We advocate for greater ethnographic engagement with local communities in order to provide a more sophisticated, real-world understanding of rural cultural policy and the impact of current policies on local musicians. The paper therefore foregrounds ethnography as an important method in local, rural contexts such as Argyll and Bute, where typically, much of the creative economy is embedded in statistically invisible economic and cultural activity and portfolio employment. [ABSTRACT FROM AUTHOR]

This article discusses how arts practitioners reflect on their work amidst deepening economic inequality. Given the renewed interest in the social role of arts institutions under conditions of financialised neo-liberalism, the paper traces the complex ways in which economic imperatives figure in cultural practice. Drawing on interviews with UK-based gallery directors, museum curators, art consultants, and artists, I map out how austerity politics and intensifying privatisation processes have a profound impact on the workings of the sector, how they recalibrate dynamics between private and public artworlds, and how they shape processes of production and curation. My data specifically document how increasing economic precarity brings into relief structural inequalities of gender, race and (post)-colonial legacies already manifesting in the artworld. Rather than understanding austerity as a financial condition only, the paper thus presents an empirical exploration of the wider inequalities that it has exacerbated, from arts funding to institutions' programming practices. [ABSTRACT FROM AUTHOR]

In recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of 'excellence and access' and the neoliberal logic of 'creative industries'. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying 'cultural democracy' as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice. [ABSTRACT FROM AUTHOR]

This paper explores the interface between the state, the cultural industries and the financial market by focusing on a policy experiment from South Korea: using venture capital for public cultural investment. This policy experiment has significantly increased capital injection to the cultural industries and has provided a fertile ground for the industries to quickly grow. Challenging the dichotomist understanding of the state-market relations, this paper views the government's use of venture capital as a "state-led regulated financialisation" project, in which the cultural ministry has created, expanded and "tamed" the cultural venture capital market. Venture capital companies' profit maximisation is seriously limited by not only government regulations but also strategic behaviour of private investors (cultural distributors). Yet, the paper points out that involving the financial market further complicates cultural industry policy, which already entails tension between culture and industry. [ABSTRACT FROM AUTHOR]

This paper examines how the discourse of creative industries is interpreted in the Canadian context with a case study of the Department of Canadian Heritage's Creative Canada policy framework. Based on textual analysis of policy documents from both federal and provincial governments, it analyzes the underlying dynamics of Creative Canada with pre-existing dialogues of Canadian cultural policies. The findings of this research indicate that this policy masterplan reinterprets traditional mandates of Canadian cultural policies, such as safeguarding the nation's cultural sovereignty and developing a distinctive Canadian value with market mechanisms. While Creative Canada is a major turning point in policymaking towards the commodification of culture and creativity, its schemes of valuing culture and the arts remain subject to the complexity of the nation's cultural politics that also shapes the market. [ABSTRACT FROM AUTHOR]

The transition from a centrally planned economy to a market economy with socialist characteristics has had a profound effect on China's cultural industries. This paper adopts a case study approach to illustrate the challenges that have shaped the administration of public museums as a consequence of China's economic reforms. By drawing upon an example of cross-cultural collaboration between Western cultural institutions and China's Nanjing Museum (南京博物院: nanjing bowuyuan), we uncover the tensions that exist between China's cultural policy preferences and the encroaching values of the market economy. In doing so, this article contributes towards a richer exposition of the local practices guiding cultural management, reflecting the broader challenges endemic among China's cultural industries. Primarily, we seek to illustrate how market imperatives have influenced local practices, creating a context unique to China that deviates from the central tenets of neoliberal development and market management. [ABSTRACT FROM AUTHOR]

This paper is a study of the figure of 'ambition' in Scottish cultural policy since about 2010. The argument of the paper is established through the development of the concept of 'temporal sovereignty'. Through 'ambition' cultural policy attempts to subject culture and cultural agents to the formation of the Scottish government's temporal regime, and in particular the relation between creative industries and the effects of economic temporality. The study examines the temporal properties of 'partnerships' as a key strategic mechanism in that project. The focus of the study is an analysis of authoritative Scottish cultural policy texts which show that the subject of culture becomes the organisation of temporal sovereignty. The paper explains the conditions for the emergence of the problem of 'temporal sovereignty' and discusses its consequences for structures of rule and logics of cultural policy formation. It concludes by indicating the location of culture in a politics of temporalities. [ABSTRACT FROM AUTHOR]

Cultural policies that promote film production and exchange in small island states face numerous challenges (including training, funding, and infrastructure). Yet, in the Pacific, Indigenous film-making is a key strategy for redressing reductive framing of the region during the colonial period (which continues today), and the last 20 years has seen a growing movement towards greater Pacific Island film production. In addition, the creative industries (including film) are currently being explored as an alternative development pathway although this has met with mixed response from governments in the region. In this changing context, and recognising the political importance of Indigenous film production, this paper analyses the strategies of film-makers and other non-state actors in developing a regional film sector across Oceania – strategies of connection that potentially bring filmmakers and audiences together across the great ocean. [ABSTRACT FROM AUTHOR]

Streaming services have emerged as increasingly important access points for cultural content, often promising, as Netflix does, 'unlimited entertainment'. However, the actual conditions of availability remain under-examined. While streaming services typically contain a vast selection of objects, they certainly do not hold the total amount of all possible items. Streaming services thus pose new challenges for policymakers who wish to ensure access to, and availability of culture. In this paper, we build on previous research to develop the term 'contingent availability' and discuss how cultural items are made available in streaming contexts. Departing from a pyramid model of availability, we investigate these levels empirically through a case-based approach. Nine Norwegian award-winning or critically acclaimed books, movies and TV series were strategically selected to highlight how availability in streaming services is contingent upon multiple conditions. For each case, we assess the ways in which Norwegian cultural policy influences production, distribution and availability of culture. We discuss how cultural policy measures do secure availability for most of the cases, but is unable to effectively combat fragmentation of availability. [ABSTRACT FROM AUTHOR]

This study reviews the evolution of the cultural and creative industries (CCI) policy in Taiwan. Beginning with the early 1990s, when the ‘culturalization of industries, industrialization of culture’ represented the central theme of Taiwanese ‘cultural policy’, it traces the shift to the present day, in which Taiwan’s ‘CCI policy’ has been driven by the broader economic rationale of pursuing international competitiveness. By examining the recent discourse and development of Taiwan’s CCI policy, the paper reveals that Taiwan’s CCI policy has served to widen, rather than bridge the gaps between ‘localization and globalization’, ‘culture and creativity’, and ‘network system’ of the CCI development and more importantly, has overshadowed cultural issues. Consequently, tensions are emerging which are challenging to future CCI policy development, especially at a time when Taiwan is becoming increasingly incorporated into the fastest growing economy – mainland China, which brings threats and opportunities to the CCI development in Taiwan. [ABSTRACT FROM AUTHOR]

A striking feature of the 2010s has been significant growth in the number of creative industries courses being offered worldwide, seemingly independently of the fortunes of creative industries as a policy concept. This paper undertakes an analysis of the growth in such courses in the United Kingdom and Australia, reviewing course content, host Faculty, and the underlying approach underpinning the degree programs. Based on this material plus interviews with key informants, the paper identifies five features of these programs: (1) loose and eclectic definitions of the creative industries; (2) the importance of the link between digital technology and creative practices; (3) the extent to which they may be displacing cultural studies, particularly at the postgraduate level; (4) the importance of international student demand; and (5) their inherently interdisciplinary nature. It is proposed that while eclecticism and interdisciplinarity have been necessary features of the early development of creative industries courses, there is a growing requirement for codification of the field, in order to benchmark the various programs against shared objectives. This requires industry and government engagement in order to provide the necessary scaffolding for such course design and development. [ABSTRACT FROM AUTHOR]

The rise of digital music distribution has caused decreasing returns from CD and cassette sales in Burkina Faso and Ghana. In response to this decline in revenues, artists and their management have been trying to find ways to find other sources of income. One major way of doing this has been through focusing on (live) music performance. Yet this requires built and social infrastructures that are not always present, functional, or put to full use. This paper explores how musicians and music workers make sense of the cultural policies that have shaped and will shape the built infrastructure (concert venues, clubs, etc.) they need. Because the complex links between the built and social infrastructures mean that history weighs significantly on future plans, this paper argues that calls for new venues cannot be the solution to the range of existing issues without engaging more thoroughly with the past. [ABSTRACT FROM AUTHOR]

This paper draws policy insights from the first comparative analysis of multiple hotspots of regional cultural and creative activity across Australia. Focussing on the state of Queensland, it provides three interlinked findings relevant to international cultural policy debates. The first – municipal agency – goes to the crux of the value of studying small regions. We examine the degree to which Cairns, an isolated, small regional city, can exercise effective cultural agency in a tripartite system of government, demonstrating that policy ambition and asset management at the local level can deliver outsized cultural infrastructure benefits through a focus on demand from the local community. The second further illuminates the question of demand for cultural infrastructure as a critical enabler, in conjunction with allied infrastructure, in a very remote, distressed community–the Central West region. Cultural tourism's surprising prominence as support for mainstream tourism on the Gold Coast, an international mecca for surf, sand and sun, is the third example, deepening the significance of allied industry connectivity. Drawing on fieldwork conducted in 2019, the trend data and analysis offered here will be significantly impacted by the global COVID-19 pandemic of 2020. [ABSTRACT FROM AUTHOR]

Throughout the last two decades, cultural quarters have been used by many local councils across the UK as attempts to redevelop and revitalize declining urban centres. Cities have spent millions of pounds developing cultural quarter policies, justified by the prevailing rhetoric of culture revitalizing the local economy and the creation of a “cultural milieu” that stimulates creative industry activity. However, in many cases in the UK, visitor numbers remain lower than expected, and in some cases, flagship projects have been sold off or closed down. High rents force out small and freelance creative industry actors, and (non-commercial) artistic interventions are strictly policed. Forming part of the wider debate on the political circumscription of the creativity paradigm, this paper argues that cultural quarters have been viewed within a predominately economistic, dichotomous and simplistic framework. This paper argues that there is a need for a more practiced-based, subjective account of cultural quarters that goes beyond such a traditional framework to include more deleterious practices such as community impoverishment, precariousness and short-termism. [ABSTRACT FROM AUTHOR]

This paper reviews The ANCER Conference 2020: Disruption as Opportunity organised by Lasalle College of the Arts in Singapore. The conference focussed on how the arts and cultural sectors in Southeast Asia have been navigating the challenges caused by Covid-19. By showcasing a wide range of ongoing art projects in different parts of Southeast and East Asia, the event offered a fresh perspective on the meanings of (making) local-regional-global nexuses which have been both challenged and given new impetus by the current crisis. The Southeast Asian perspectives highlighted in the conference also provided new opportunities to scrutinise the crisis not just in geographical but also in temporal terms, questioning the relationship between the past, present and future state of the arts. The presentations provided inspiring cases to examine the political relevance of artists and the potential and limitations of the emergence of cultural policy entrepreneurs in different Southeast Asian societies. [ABSTRACT FROM AUTHOR]

This paper examines the development of creative industry clusters in Shanghai. It looks at the cautious adoption of the creative industries agenda by the Chinese government and how Shanghai was to adopt this more positively. The paper also looks at the complex provenance of the creative clusters concept and how Shanghai focused more on its urban regeneration effects rather than its role as ‘industry base’. We try to show how the creative industries agenda, viewing this sector as advanced business services, allowed creative clusters to be linked to a powerful real estate model. However, the paper suggests that this undermined much of the functioning of creative clusters and uncoupled them from most their original intent, retaining mostly just the aesthetic appeal to a ‘creative class’. The paper ends by an examination of how these clusters might be repurposed as part of the adoption of a more holistic urban cultural economy approach. [ABSTRACT FROM AUTHOR]

This article takes a summary look at Africa as a whole to ask how has the Covid-19 pandemic played out in the context of a continent that, in the last decade, has considered culture as a key aspect of its modernisation and development. While drawing from a number of national examples, much of the focus is placed here on South Africa which has the most robust system of governance for culture and strongest support for the cultural industries. Where has the C-19 crisis left South Africa and what policy responses are in evidence, and how do these compare with other African nations? The paper reflects on the opportunities C-19 has provided to steer the course of the African cultural economy and offers a set of recommendations for public authorities to consider in supporting a just transition for an inclusive and transformed cultural economy on the African continent. [ABSTRACT FROM AUTHOR]

This paper argues that the crisis sweeping over the Australian cultural sector as a result of COVID-19 presents an existential threat to current ("normal science") methods of evaluation, and to instrumental, predominantly economic, understandings of value. Outlining ways the concept of value is changing, we respond to Mariana Mazzucato's call to go "from public goods to public value" in considering the role of government policy in key sectors of society. We note the broader approach to value called for by a range of mainstream economists and provide three recent examples of challenges to existing evaluation methods in the Australian cultural sector. In conclusion, we touch on the essential features of a re-constructed category of public value and the implications for value research. During COVID-19, the public role of arts and culture has become self-evident. The challenge is to match this realization with a new understanding of their public value. [ABSTRACT FROM AUTHOR]

This paper responds to a resurgence of interest in craft labour as an integral aspect of policy generation in the creative sector. It highlights the local, and industrial, cultural, and political histories and processes that create divisions and distinctions within craft economies. Drawing on research with designer makers in Birmingham Jewellery Quarter, the paper demonstrates how gender infuses the responses of policy actors in their regeneration plans for the local economy. It notes the significance of local meanings of craft and how this leads to misrecognition and devaluation. It also illustrates how the economic importance of designer makers is diminished within a policy environment that has had a long-standing focus on large-scale manufacturing. This leaves designer makers occupying a role that is predominantly focused on their symbolic and decorative value. This bodes ill for cultural policy reformulation that is based on the economic significance of flexible specialisation within small-scale, networked businesses. [ABSTRACT FROM PUBLISHER]

Following earlier work looking at overall career difficulties and low economic rewards faced by graduates in creative disciplines, the paper takes a closer look into the different career patterns and economic performance of “Bohemian” graduates across different creative disciplines. While it is widely acknowledged in the literature that careers in the creative field tend to be unstructured, often relying on part-time work and low wages, our knowledge of how these characteristics differ across the creative industries and occupational sectors is very limited. The paper explores the different trajectory and career patterns experienced by graduates in different creative disciplinary fields and their ability to enter creative occupations. Data from the Higher Education Statistical Agency (HESA) are presented, articulating a complex picture of the reality of finding a creative occupation for creative graduates. While students of some disciplines struggle to find full-time work in the creative economy, for others full-time occupation is the norm. Geography plays a crucial role also in offering graduates opportunities in creative occupations and higher salaries. The findings are contextualised in the New Labour cultural policy framework and conclusions are drawn on whether the creative industries policy construct has hidden a very problematic reality of winners and losers in the creative economy. [ABSTRACT FROM AUTHOR]

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This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as 'industrial policies', it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state's management of cultural turn in the economy, both cases seem to present a 'paradox'. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK's creative industries policy engenders some space for 'cultural' policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification. [ABSTRACT FROM AUTHOR]

The debate around 'cultural value' has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of 'economic value', at the expense of other forms of value—cultural, social, aesthetic. This paper's goal is to counter this prevalent over-simplification by focusing on the mechanisms through which 'value' is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy's blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as 'critique in the public interest'. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England. [ABSTRACT FROM AUTHOR]

For contemporary cultural policy, 'non-creative' work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of 'embedded creativity' with a more situated view of work's cultural and institutional embedding. It first interrogates this 'embeddedness', taking a 'cultural economy' approach to intermediation and administrative support. Drawing on observations from an in-depth qualitative study of employees in major record labels, the second part articulates the heightened importance of 'admin' to recorded music industries, after 'digital disruption'. Routine bureaucratic labour presents an atypical example, revealing much about the hidden relational and identity work that goes into constructing 'creative industries' as such. The intention is not to show that 'embedded non-creative workers' are in fact 'creative' but, on the contrary, to articulate the distinct contributions and value of support work in this context, questioning a persistent reliance on creative/non-creative dualisms. Policy research would benefit from enriched understanding of culture's assembly in marketable objects, reorienting understandings of 'cultural' labour markets and careers, and reimagining the role of traditional cultural 'administration' in the contemporary 'creative economy'. [ABSTRACT FROM AUTHOR]

This paper examines Korea's cultural policy in tandem with the Korean Wave. It maps out the vital role of the Korean government in the Korean Wave phenomenon in the midst of the confrontations between neoliberal globalization and developmentalism. It investigates the ways in which Korea has developed the Korean Wave by analysing whether or not neoliberal ideologies have completely altered state developmentalism. More specifically, it studies the major characteristics of each administration between 1993 and 2016 in cultural policy, leading to the theorization of the nation-state in the context of the Korean Wave. Since studies of cultural policy assume that a wide range of policy tools are available to a government in promoting its cultural industries, it examines not only major cultural policy directions driven by each president, but also governmental practices executed at the level of the executive branch, in particular, the Ministry of Culture, Sports, and Tourism. [ABSTRACT FROM AUTHOR]

This paper looks at the interplay between ‘creative industries’ and ‘cultural policy’ in France. We analyse how university stakeholder communities in the field of elite vocational training schools for ‘applied arts’ such as Bande dessinée (comics and animation) and videogaming negotiate the over simplistically reified relationship between public policies in the arts and the creative sector. The analysis relates the ‘case-studies’ of the ENJMIN (a national videogames school in Angoulême) to the long-standing French technocratic traditions of creating elite graduate schools in all fields of public policy, and, increasingly, in the creative sector. The study assesses the tension between the speed of response of policy in a rapidly changing economic environment and the creation of institutions that are supportive and respective and can deliver in a sustainable and substantial way. The paper explores how French policy manages the conflict between complex HE institutions involving loosely coupled communities with varying degrees of mutual commitment and self-identification and the creative industries as a complex, politically charged, and often emotionally laden field. [ABSTRACT FROM AUTHOR]

This paper seeks to explore the internal driving forces behind the emergence and prosperity of China’s cultural industries. The paper traces the Chinese Communist Party’s radical transformation from stressing the class stand and ideological nature of culture to concluding with the concept of ‘cultural industries’ so as to expand an orthodox Marxist/Leninist/Maoist notion of culture. The Chinese party-state legalizes ‘cultural industries’ by extending the market mechanism into the cultural arena, and acknowledges the triple statuses of culture as a public service provider, a market profit contributor, and an essential builder of the ‘socialist core value system.’ By doing so, the Chinese Party-state is able to take advantage of the economic power of the market while retaining the ideological control function of culture. As such, cultural industries become a mode of governance for the CCP to maintain cultural security and national identity, and a source of soft power to maneuver. [ABSTRACT FROM PUBLISHER]

Innovation is a term that is used and defined in many different ways. This holds for innovation in general, but particularly for innovation in the creative industries. In cultural policy and in academic literature, the creative industries are often addressed in the relation to their innovative capacities, yet a shared conceptualisation of innovation in this sector is lacking. This paper seeks to develop a conceptualisation of innovation in the creative industries based on 43 interviews with creative workers about their views and practices. Results indicate that creative workers articulate numerous views on innovation, with three main approaches: innovation as something completely new, innovation as a contribution to society and innovation as a continuous recombination of new and existing elements, with the latter being most prevalent in the creative industries and considered a central (by-product of the) process of creative production that is highly contextual to specific localities and fields. [ABSTRACT FROM AUTHOR]

Diversity is a core value of cultural policy, and new global digital conditions for creative industries mean new challenges for diversity at a national level. Internet has become a new infrastructure for services and platforms, and global actors as Google and Amazon are changing the play. This article concerns digitization of books, the collection of the National Library of Norway and cultural policy. The results indicate the National Library's digital collection contributes to diversity in terms of demography, content, dissemination and techno-cultural aspects. For policy makers, libraries and researchers the study demonstrates a national digital service's contribution to expanded diversity. [ABSTRACT FROM AUTHOR]

This article argues that Nigeria has rich creative industry sectors with great potential and global footprints. Through the kaleidoscope of film, music and creative writing, the article critically appraises Nigeria's creative industries and contends that although the country is a visible player on the global landscape, it is yet to optimize the full potentiality of its creative industries sectors. The paper recommends that a clear mapping of the sector coupled with a coherent policy articulation and execution will enhance the viability of the creative industries. As the country seeks to diversify its economy away from dependency on oil revenues, the creative industries, based on their current economic value, provide a veritable incremental source of employment, revenue and growth. [ABSTRACT FROM AUTHOR]

The creative industries are a major source of a dynamic job creation, encompassing many traditional professions that are essential for sustainable livelihood and people's well-being. This paper provides the international business engagement of creative industries in South Africa. The study is addressed to government, policy makers, development experts, students of economic development, business, and also to the business sectors that are concerned with promoting economic growth and innovation through creativity, entrepreneurship and the development of creative communities as a mechanism to alleviate poverty and improve the quality of life, especially in the rural areas. Thus, the question: how does investing in the creative industries affect the sustainable economy in South Africa? This study explores literature on creative industries, the value of the industry, the implications and strategies of development, the policy environment and challenges affecting the industries. Our findings provide empirical evidence of the positive role of creative industries in economic development. We make suitable recommendations required to support the sustainable development of these industries in Africa and conclude that the creative industry as an exceptional group of entrepreneurship influences the sustainable economy of a country. [ABSTRACT FROM AUTHOR]

The argument of this paper is that one way to examine the legacy of New Labour's cultural policies, including its development of the creative industries, is through an account of the cultural workforce it has created. The idea of “creative industries” embodied a set of assumptions about the changing nature of work which had been central to New Labour's reinvention during its years in the wilderness under Margaret Thatcher. Dubbed “post-Fordist socialism” by Thompson, the premise of many creative industry support initiatives was that the kind of work they provided was inherently progressive, combining demand for high skills with notions of self-expression and determination, in a workplace that was no longer hierarchical, but collaborative, flexible, even fun. Yet empirical evidence from the New Labour period suggests that the assumptions of inherently progressive work are largely unfounded. The cultural labour market remains polarised by gender, ethnicity and social class. Despite high levels of graduates, wages were low, and combined with the practice of unpaid “internships”, and highly informal recruitment practices, class-based exclusion, often reflected in ethnicity, was a defining feature of the sector. The paper thus provides both a historical account of New Labour ideas about work and how they shaped public policy, and a contemporary account of policy initiatives around workforce entry. Its aim is to interrogate the assumptions and limitations of New Labour's “creative workforce”, and through this, its wider policies on work, culture and social exclusion. [ABSTRACT FROM AUTHOR]

How is a policy initiated and implemented toward a newly arising industrial sector? This paper addresses that question by looking at the way the Japanese and the South Korean governments respond to the massive production and export of pop culture. The investigation focuses on the emergence of the local cultural industries, the policy issues they raise, and the domestic discourse they initiate. The central argument of this paper is that these governments no longer perceive the cultural industries in only ideological terms, but following the success of the private sector, they have recently shifted their attention to the economic benefits derived from the commodification of culture. However, their efforts to foster the pop culture sector heavily emphasize investment in infrastructure as a part of a developmental-state strategy. This attitude is too rigid to accommodate the dynamism of the cultural industries and should be supplemented with a more nuanced approach that considers the distinctive structure and the organization of the cultural industries. [ABSTRACT FROM AUTHOR]

The paper presents a socio-political analysis of New Labour's rhetorical uses of the idea and values of creativity to shape cultural policy in England. It examines how the current idea of creativity in policy discussions has been politically reconceptualised as a means of responding to broader socio-political and economic agendas. The paper explores the extent to which the New Labour's social-market political paradigm has contributed to shaping and reshaping the government's creativity rhetoric. It is suggested that the English model of creativity in policy discourse is politically constructed rather than being based in the available literature and research associated with creativity in the fields of psychology and sociology. Drawing on these discussions, the paper suggests that there are five distinctive characteristics of the English model of creativity and offer a critical analysis about some underlying assumptions embedded in these rhetorical positions. [ABSTRACT FROM AUTHOR]

Despite a strong rhetoric of inclusion, both cultural and economic policies in the UK continue to reinforce the deep-seated belief that creativity is something (only) talented and artistic individuals do. This individualistic conception of creativity extends to the framing of the creative industries and the creative economy, where creativity is treated as either a quasi-commodity or the preserve of the so-called 'creative class'. This article suggests that at this time of economic, social and environmental 'melt-down', there is a need to re-claim creativity as a social phenomenon, often resulting from human interaction across boundaries (e.g. across nation states, professions, industries, organisations, disciplines, social and cultural groupings, methods, epistemologies and rationalities). The paper offers a bold agenda for re-qualifying the creative economy according to this fundamentally social conception, including how this can be achieved through the embedding of a new discipline of social creativity. [ABSTRACT FROM AUTHOR]

This paper argues that cultural policy and copyright law have paid insufficient attention to the rise of mini-creators, people who get inspiration from existing copyrighted works and add to them to create new expressions. With the various creative and distributive technologies available today, they attempt to recontextualize cultural products they consume and express themselves, but their activities tend to be on the borderline of copyright infringement. Examination of lawsuits related to video game modification in the USA and in Japan will show different judicial approaches to the spread of modification devices for users, but commonly reveal the failure of copyright law to come to terms with their activities. It is suggested that copyright law should recognize their creativity and contribution to the enrichment of culture. [ABSTRACT FROM AUTHOR]

This paper presents a historical review of the spectrum of views taken by students of creativity. The review centers on the notion of genius, which assumes that creative individuals make conceptual leaps far 'outside the box'. One modern variant of this view, the idea that creativity depends on on psychopathology, is discussed. This paper then considers the dominant view in psychology, which assumes that a group of cognitive and personality characteristics sets creative individuals apart, although we all possess these characteristics to varying degrees. Finally, the author examines the possibility that there are no differences in cognition or personality between creative and ordinary individuals. In this view, even the most radically new creative achievements are firmly built on the past, rather than being the result of rejection of the past. Evidence for this conceptualization of creativity is discussed and its implications for policy decisions are examined. [ABSTRACT FROM AUTHOR]

This paper looks at the work of the ARC Centre for Creative Industries and Innovation at Queensland University of Technology. They have attempted to deal with some of the definitional and policy ambiguities surrounding the DCMS's re-branding of 'cultural industries' as 'creative industries'. The paper focuses on three central claims. First, that Art falls outside the creative industries; second, that the creative industries moves beyond a cultural policy paradigm towards that of innovation systems; third, that the notion of 'social network markets' represents the central defining characteristic of the creative industries. The paper suggests that the attempt to separate out art and culture from the creative industries is misplaced and represents a significant shift away from a longer trajectory of 'cultural industries' policies with some damaging consequences for cultural policy and creative businesses. [ABSTRACT FROM AUTHOR]

Since the birth of the 'creative industries' a decade ago, there has been a series of attempts to link the cultural sectors with innovation policy and to downplay the connection between them and traditional arts or cultural policy. The theory appears to be that innovation is where the big money is, and that the cultural sectors can only benefit by being rescued from the 'ghetto' of arts funding. This paper seeks to query this notion and to draw attention to some of the problems that have resulted and may result from it. [ABSTRACT FROM AUTHOR]

This paper examines the assumptions and structure of the concentric circles model of the cultural industries. Empirical data for Australia, Canada, New Zealand, the UK and the US are used to illustrate the model's key characteristic: the proposition that the cultural content of the output of the cultural industries declines as one moves outwards from the core. The test uses the proportion of creative labour employed in production as a proxy for cultural content. The results confirm the model's validity as a means of depicting the structural characteristics of the cultural industries and also enable some wider features of the cultural workforce in the five countries to be examined. [ABSTRACT FROM AUTHOR]

Alternative definitions of the cultural industries lead to the construction of different models of the cultural production sector of the economy and hence to a different array of specific industries which are contained within the sector. In turn this implies not just differing estimates of the contribution of the cultural industries to output and employment in the economy but also significant differences in the way economic analysis can be applied to the cultural sector as a whole. This paper begins by discussing the way in which an economic approach to interpreting the scope of the creative and cultural industries can lead to a reasonable basis for defining them. It then goes on to examine the content of six distinct models of these industries, asking the question: is it possible to find a common core group of industries on which all of the models agree? The paper then considers the implications of the models for economic analysis of the cultural sector, and finishes with some conclusions for cultural policy. [ABSTRACT FROM AUTHOR]