Search

In commemoration of its 30th anniversary, Industry and Innovation renewed the tradition of awarding a 'Best Paper Prize.' This prize aims to honour the best article published in the journal each year, starting from 2021. In this revived initiative, the Editorial Board evaluates all papers published in the reference year and identifies the most relevant and original articles. Within this shortlist, the members of the Editorial Advisory Board cast their vote on the best paper of the year. Looking back at the work published in an issue during 2021, the article 'Peripheral Visions: The Film and Television Industry in Galway, Ireland,' by Dominic Power and Patrick Collins, was distinguished for being conceptually novel and methodological bold while inviting us to reconsider the value of peripheries in innovation studies. In this Interview Article, the authors provide insights into their research journey and enrich our understanding of their work's context and significance. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to explore the praxis of creative social entrepreneuring as a vehicle for creative emancipation. The main research question asks how the knowledge and practice of entrepreneuring intersects with creative practice, process, and production in the development of a creative social enterprise. This study contributes to entrepreneurship and creative industries literature highlighting the actions of entrepreneurship in connection with concepts of emancipation and empowerment. Additionally, this paper contributes knowledge about the impact of entrepreneurial activities within the context of the creative economy. The study takes a deep-context autoethnographic approach towards the praxis of entrepreneuring by a creative social entrepreneur. Research using an autoethnographic approach of an individual creative social entrepreneur contributes to creative and cultural entrepreneurship research by illuminating the unique challenges and opportunities they face as they navigate entrepreneurship dynamics within the creative economy and uncover the factors that contribute to social innovation. This study aims to illuminate the practices of entrepreneuring that create sustainable opportunities for creative emancipation. This paper addresses calls for contextually embedded studies on entrepreneurship in the creative economy. Ultimately, this paper serves as a catalyst for transdisciplinary studies in the areas of entrepreneurship and the creative economy. [ABSTRACT FROM AUTHOR]

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]

The present paper investigates the location patterns and the effects co-working spaces (CWS) generate on the urban context. The focus is on Barcelona, one of the most important creative hubs in Europe in terms of knowledge-based, creative, digital, and sharing economy, and the city hosting the largest number of co-working spaces in Spain. The paper addresses three main questions: (1) Which are the location patterns of co-working spaces in Barcelona? (2) Do CWS agglomerate in the same areas? And, (3) Do CWS coagglomerate with the creative industries (CIs)? To do that, this paper uses open data on Barcelona neighbourhoods' socioeconomic composition provided by the Statistics Department of the Council of Barcelona and micro-geographic data of private CWS and creative labs in Barcelona. By using Geographical Information Systems (GIS) and Kd functions of agglomeration and coagglomeration, results show that CWS are highly concentrated in central areas of Barcelona where there are greater chances to meet customers and suppliers, the proximity to urban amenities and the fact of being associated to a specific place-image. Moreover, they coagglomerate with CIs firms, especially with symbolic and synthetic knowledge-based CIs. These results are relevant when assessing the actual goal of urban policies in Barcelona. [ABSTRACT FROM AUTHOR]

This paper explores an expanding area of policy interest: the networks and collaboration mechanisms between universities and creative industries actors in cities. While much is known about such relationships in Science, Technology, Engineering, and Mathematics (STEM), they remain taken for granted and under researched in the creative industries. We argue that they are pivotal for different domains of research and policy, notably, cultural policy, higher education, innovation systems, and regional development. To that end, this paper aims to open up consideration of these relationships which we argue 1) stimulate innovation and 2) make broader contributions to local communities and economic regeneration via a creative economy approach. Using the Triple Helix framework, we explore university-industry-governemnt relationships and knowledge exchange mechanisms via a comparative analysis of two creative industries case cities: Shenzhen, China and Brisbane, Australia. Despite differences in certain important respects the two cities have both adopted creative industries policy frameworks. We found important differences between the cases in the roles and relative strength of the three sectoral actors. This study also shows a need for strategic incentives to foster collective capacity and governance interventions as a push to broker relationships that were not there before. Focussing on boundary spanning we also argue that cultural policy should have formal mechanisms and informal interactions to build a sustainable innovation ecosystem based on knowledge exchange. [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]

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 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]

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]

To advance the understanding of the nature and dynamics of creative entrepreneurship in specific contexts, this paper explores how creative entrepreneurship both shapes and is shaped by its peripheral context. This paper adds to the growing work that is helping us understand that when looking at the periphery through the lens of cultural and creative practice we find a much more nuanced set of relations between place and practice. We focus on geographically separate regions facing the same obstacles of geographic peripherality. Underpinning the findings are semi-structured interviews reflecting the experience of creative entrepreneurs in North East Iceland, Västernorrland in Mid Sweden and the western region of Ireland. While we recognise that problems still exist in the creative industries policy domain, we argue that policy supports would be best designed in line with the characteristics of the sector in particular places. This work also helps to develop knowledge of the multifaceted role of the creative entrepreneur in peripheral societies and economies. [ABSTRACT FROM AUTHOR]

This article attempts to frame and examine the structuring of labour struggles from the precarious subject position of theatre workers, without isolating these struggles into the occupational sector of the creative industries in the Zimbabwean context between 1980 and 1999. In this article, I frame theatre practitioners as 'art – workers' and collectives such as the NTO and ZACT as mobilising and organising agencies operating within the postcolonial Zimbabwean theatre industry. On the one hand, the NTO controlled and administered purpose-built theatres, provided funding as well as organised affiliates into a unity. On the other hand, ZACT organised multi-racial Zimbabwean theatre groups into a collective, providing and mobilising financial and organisational support towards the creation of a 'national theatre' narrative. Deploying resource mobilisation and rational choice theories, this paper submits that NTO and ZACT mobilized and coordinated their stakeholders towards addressing the precarious work conditions in the sector. This paper argues while attempts, through theatre associations, have been undertaken to organise the creative sector, this paper submits that the precarious nature of the work, employer-employee non-distinction, lack of legal rights knowledge and fierce inter-and intra-organisational competition complicates the process of re-mobilising and organising creatives in Zimbabwe [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic, and the lockdown of populations and businesses that followed, disrupted the operations of many industries. It also paved the way for a large number of innovations and for an overall technological acceleration, both from companies and from consumers. More than other sectors, culture was largely affected by the crisis through the closing of theatres and of borders and had no other solution than adaptation and innovation in order to survive. This paper discusses a number of such innovations, both in terms of technology and of business models for the cultural industry (i.e. performing arts). Consumers' evaluation of such innovations is assessed through a quantitative survey involving streaming experiences with theatre programs and broadcasted concerts. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Small Business & Entrepreneurship is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is set in the context of a yearlong cultural programme and the relations initiated and developed (or not) between the organisers and their sponsors. Empirically we are set in 2014, and Limerick's year as Irish National City of Culture. Theoretically, we consider the particular dynamics arising from the (sets of) sponsorship relationship dyads, where each party frames the interaction in different ways. Taking a case study approach the paper examines multiple sponsorships operating during the CoC year. The findings point to multiple time frames, offerings, and narratives operating between managers on both side of the dyad. As such the 'relationship(s)' under study are each considered multiple, that is, they are practiced and performed differently by the different actors involved. The paper contributes to the theory and practice of sponsorship by identifying how managers, on both sides of the dyad coordinate the mismatches that this context can trigger. [ABSTRACT FROM AUTHOR]

The term 'Bilbao effect' describes the potential of iconic architectural developments (IADs) designed by world famous architects to act as a catalyst for economic revitalization and transformation within neighbourhoods or regions. Despite the ubiquity of this term, its validity is still debated. Furthermore, research on the topic has relied almost exclusively on individual or small-N comparative case studies. This paper builds on this research by testing the Bilbao effect through a quantitative analysis of 142 IADs completed in Canada and the United States between 2000 and 2009. Using fixed effects modelling, a method that controls for selection bias, the analysis examines the effect of IADs on a set of outcome variables that measure neighbourhood-level economic and cultural changes during this period: population, rent, the number of local arts establishments and the number of cultural workers living in the area. The analysis demonstrates that neighbourhoods with IADs generally experienced more economic and cultural growth than non-IAD neighbourhoods during this time period. However, the paper also complicates these findings by examining differences in how this growth manifests itself within emerging versus established neighbourhoods. These differences are illustrated through a comparison of the Dallas Arts District and Lincoln Square, Manhattan. [ABSTRACT FROM AUTHOR]

The principle purpose of this paper is to highlight the importance of employing enactive research as a research method within the context of entrepreneurship studies. A case, for getting involved in the research, is built by presenting the advantage of being an entresearcher (Johannisson, 2018, p. 5) who combines the roles of a researcher and entrepreneur thereby combining scholarship and practice resulting in better understanding of the entrepreneurial process. The secondary purpose is to build on the concepts of phronesis (Flyvbjerg, 2001) within the domain of entrepreneurship by presenting that in the movie industry the long-term impact of practical wisdom propagated by phronesis is pertinent. Therefore, emphasizing that phronesis is essential for an entrepreneur to deal with adverse or favourable circumstances and this knowledge far outweighs the theoretical knowledge and theory that entrepreneur may possess. This qualitative research paper employs the methodology of enactive research. Set in the context of the movie industry, two case studies are presented and phronesis identified from both the case studies is analysed. In this enactive research, the researcher alone was responsible for the enactment of the two ventures illustrated and for both the financial outcome and the scientific outcome. Taking a cue from Gartner et al. (1992) enactment in these two cases was about acting first and thinking second. The researcher in both the cases operated in a possessive as well as an immersive mode by just taking charge and then submitting to the established structure of production as he was new and did not have experience to challenge the status quo. From these two cases is was concluded that in the movie industry phronesis of long-term credibility is essential for continuing the entrepreneurial process. The general context of creative arts industry and the specific context of movie industry has not been explored earlier and the complexity of this industry with the debate between commerce and art challenges the established conventions of research. Therefore insightful research employing an enactive method offers a new perspective. It is pointed out that entrepreneuring is a practice that takes up a phronesis approach of adjusting and adapting to the environment that is constantly changing rather than working with a rigid strategy. [ABSTRACT FROM AUTHOR]

The cultural industry with innovation, low pollution and low energy consumption may become the next strategic pillar industry in China. The tax reform of 'Replacing business tax with value-added tax (VAT)' not only lays a solid foundation for the establishment of green tax system, but also contributes to the enterprise development and performance improvement. This paper aims to study the impact of VAT reform policy on the financial performance of listed companies in the cultural industry. To this end, the PSM-DID method was applied, and natural experiments were made by taking A shares listed companies from 2009 to 2014 as the reform pilot. The research finds that: (1) the VAT reform policy 'replacing business tax with VAT' is conducive to improving the financial performance of cultural industry enterprises; (2) the policy has more positive impact on the financial performance of manufacturing cultural enterprises than on non-manufacturing ones; (3) compared with state-owned enterprises, the policy contributes more to the financial performance of private enterprises. This study provides empirical evidence for evaluating the impact of VAT reform policy on the operation of cultural industry enterprises. It has practical significance for improving the VAT system and the financial operation of cultural enterprises. [ABSTRACT FROM AUTHOR]

Increasing investment in attracting creative clusters has become a quintessentially common practice at the municipal level, particularly in progressive cities, which have long been concerned with economic development. While rationales behind such investments are highly contingent on the potential economic outcomes of creative clusters, a thorough understanding of factors that help foster creative-friendly communities could facilitate municipal decision-making processes. This paper revisits factors relating to the location attributes of creative clusters that have hitherto remained insufficiently explored. Contributing to the development of creative-friendly communities, these factors complement the mainstream literature, which is overly preoccupied with the creative class theory, by addressing soft, cultural features as well as hard, material attributes, including the built environment, creative individuals, the local creative identity, networks and technology, leadership and the economic context, and the consumer market. This paper introduces a framework that incorporates those factors into three phases of creative activity, including idea-generation, production, and circulation/consumption, which operate on different tiers but nonetheless mutually interact. The paper reflects on the policy implications of the framework for local communities at large and concludes by proposing future avenues for research into how to promote creative-friendly communities. [ABSTRACT FROM AUTHOR]

Globalization and transnationalism have expanded the physical territory of television and are responsible for global reshaping of media industries and cultures. In the contemporary mediascape, Indian television industry is an interesting site for excavating new transnational patterns wherein the circulation of Indian TV content extends beyond the diaspora and caters to non-diasporic audiences, especially, in South Asia and South-east Asia. The popularity of Hindi language TV soaps in Indonesia, Vietnam, Sri Lanka, etc., have aided in mapping a new 'tele'-visual geography of popular culture that deems Western media influence as almost insignificant, if not absent. Chronicling the success of two Indian TV programmes – the story of a 'child-bride' Balika Vadhu (2008–16) in Vietnam and a Hindu mythological Mahabharat (2013–14) in a Muslim-populated Indonesia; this paper traces the transnational circulation of Indian TV content amongst non-diasporic markets in South-east Asia. Drawing from Daya Kishan Thussu's notion of 'contra-flows' and Brian Larkin's conception of 'parallel modernities', the paper argues that the success of Indian television programmes in non-West media markets diverts our attention towards new kinds of transnational media flows which I have termed 'neo-global' flows that operate amongst emerging centres of media production and need not be mapped against dominant Western flows. [ABSTRACT FROM AUTHOR]

With the arrival of disruptive technologies, creative industries have had to confront harsh challenges especially in developing countries. In this paper, we examine the endurance of three major creative industries amidst a changing landscape in Malaysia in terms of pressure from disruptive technologies as well as global competition. Our findings are based on in-depth interviews with employees in three major creative industry sectors in the capital city of Malaysia, Kuala Lumpur. Our findings suggest that the investigated creative industries are at the juncture of significant changes with available limited resources. Even prominent sectors with creative industries are challenged by a lack of a talent pool to embrace new trends and developments due to technological advancements. Moreover, the lack of policy support from the government and talent shortages have further affected the challenges among the main sectors in creative industries. [ABSTRACT FROM AUTHOR]

Issue and Argument: What are the real and potential boundaries of cultural enterprise? How can we restore economic value and, at the same time, cultural value through the definition of a sector that seems to have no fixed borders? This paper intends to open up a reflection on the boundaries of the cultural industry, the nature of the chosen business and how the sector can become the hub in the dynamics of local development, innovation and competitiveness within the territory of reference. The concentric circles model will be the basis for a strategic mapping of the cultural and creative sector, realized starting from the funding calls for the sector in the Italian Veneto region. The Throsby's model is derived from the principle that cultural content is free from incorporating creative ideas into the production of goods, and that such ideas arise from the primary arts (music, theatre, dance, visual arts and literature). These make up the heart of the cultural industries, while the surrounding circles represent the ideas and influences that these creative activities radiate. The results of the strategic mapping will be put into dialogue with a new idea of entrepreneurship, which in part excludes the Core creative arts, i.e. the primary arts. [ABSTRACT FROM AUTHOR]

We are all spectators of the times to varying extents. With the commencement of the twenty-first century, our spectator experience began to transform, becoming more scattered, divergent, and unsettled in response to technological advancement and the decline of consensus around social values, cultural meanings, and political agendas in the face of changes. In post-handover Hong Kong, a breach of meaning has been cumulatively caused by divided opinions on priorities (e.g. economic, democratic) and intensified by the contested narratives around history, identity, and reality. In the aftermath of the Anti-Extradition Law Amendment Bill (Anti-ELAB) Movement, a discursive construction of authority and legitimation has taken place in legislative affairs, a renewed school curriculum, and official speeches, among other organized patterns of action. Against this backdrop, this paper will focus on the spectatorship of trauma that has been generated by community screenings and documentary filmmaking. Two case studies will be presented in terms of their distance (distant vis-à-vis immersive) from the epicentre of these traumatic events. The first case study will explore the spectatorship of visual trauma, in which authoritarian experiences were transmitted through social movement-themed documentaries (e.g. Ukraine's Winter on Fire) and drama films (e.g. South Korea's 1987 and A Taxi Driver) that gained popularity and stirred up noise in Hong Kong in the lead-up to 2019. The second case study will explore traumatic responses through bodily reactions to pain and suffering as captured in post-2019 Hong Kong cinema. On the whole, the paper will demonstrate how viewing experiences embody shared and individualized responses (e.g. resistance, resilience, retreat) and how understanding spectatorship allows us to discern the social sentiments, cultural implications, and affects generated at a particular time. [ABSTRACT FROM AUTHOR]

Chinese opera, a sing-song storytelling art form predominantly associated with rural and urban migrant communities, currently has over 300 regional styles. This paper investigates the intertwined development of a regional Chinese opera Shanghai All-female Yueju and its main audience, the Shanghai female textile workers and their omission in Shanghai Cultural and Creative Industries (CCI) making. Utilising theories of 'selective memory' and 'strategic forgetting', this paper argues that the official construction of Shanghai semi-colonial heritage as Shanghai's post-industrial identity and the omission of textile Intangible Cultural Heritage (ICH) is not only an attempt to establish a global cosmopolitan image, but also a strategy to deal with the post-industrial trauma of compulsory female workers' redundancy and painful community dissemination. It suggests that, until Shanghai fully acknowledges its 'dark heritage', the discourse of CCI lacks context and Shanghai local community continues to experience alienation and their opera form struggles for expression. The paper highlights the urgency for China, as well as globally, to safeguard and implement UNESCO's vision in promoting ICH as a key vehicle for social inclusion and sustainable development. [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]

Hollywood studios have actively sought to export more films to China in order to benefit from its huge film market. Facing this expansion, the Chinese government has introduced quotas in order to restrict the market access of foreign films while protecting its domestic film industry and preserving Chinese values. Nonetheless, this protectionism has brought about an unexpected effect; a limited number of Hollywood films in China have been able to attract large audiences and even exert a strong influence upon society. This paper examines how this paradox has been possible. First, it compares the level of China's overall protectionism with other countries. Second, China's two main policy instruments in the domestic market are scrutinized: import quota (buy-out and revenue-sharing models) and screen quota. In revealing their true effects, this paper demonstrates that these instruments of protection have produced unexpected negative business practices that foster rather favorable conditions for US films in China which is contrary to what the Chinese government is seeking to achieve. [ABSTRACT FROM AUTHOR]

This paper examines the evolution of niches in creative industries, specifically the music industry. We conceptualise niche evolution as a manifestation of Schumpeterian disruption, and the music scene as a representation of a creative niche. Through mixed methods, we analyse niche evolution in collaboration networks over sixty years. We show that niche evolution exhibits recombination and reinforcement of new ideas, and propose that niche emergence and evolution in the music industry can be categorised as following three different pathways: seed fragmentation networks with early recombination and intermediate-stage reinforcement, often resulting from break-ups of highly influential bands; creative horizontal networks with intermediate-stage recombination and reinforcement, consisting of tightly knit communities with delayed commercial breakthroughs; and artist experimentation networks with late recombination and reinforcement, consisting of small niches of sub-genre innovations. This paper opens up new research directions for niche evolution, which can advance understanding of knowledge-intensive innovation ecosystems in other sectors. [ABSTRACT FROM AUTHOR]

The paper considers the emergence of Alternative Comedy in the 1980s, placing this development in the context of Marx's understanding of capitalist society and a critique of Adorno's notion of the culture industry. The paper argues that this change in British comedy was made possible by the policies of the British state in the 1980s, which changed how comedians understood property, propriety and performance. While Alternative Comedy was highly critical of Thatcherism and neoliberalism, it owed its existence to these modes of state management. The paper contends that comedy can be seen as a form of class struggle and should not be judged by its capacity to be a mere instrument of resistance. The paper concludes by considering the development of comedy production since the 1980s. [ABSTRACT FROM AUTHOR]

Creative clusters are increasingly being recognized as vital tools in the promotion of the competitiveness, innovation, urban development, and growth of cities in developed countries. This paper studies the geography of Cultural and Creative Industries (CCIs) in Barcelona (Spain) for the years 2009 and 2017. We investigate the spatial distribution of firms using the Scan methodology, which identifies the localization of clusters and assigns them statistical significance. Our findings indicate that CCIs are not located haphazardly— they tend to cluster in and around Barcelona's prime districts. The evolution of the clusters over these nine years reveals distinct patterns of clustering among the twelve CCI sub-sectors. The mature clusters in Barcelona's core tend to have greater growth and enhanced transformation capabilities. Our results can guide CCI cluster policy, taking into account the specificity of each sub-sector. In addition, they can direct place-based development strategies, creative urban and rural planning, and restructuring in a polycentric context. [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]

Studies on creative industries have explored how producers' properties shape their decisions about pursuing artistic novelty in their products. But how do external shocks, such as new remuneration opportunities, affect artistic novelty? In this paper, I investigate how the launch of monetization programs on online music platforms shapes musical novelty. I examined an original dataset of 12,394 songs on a Chinese music platform that launched its monetization program in 2013. Using computational tools developed in Music Information Retrieval (MIR) to compare song similarity based on their acoustic properties, I employed a novel approach to measure and model the impact of the monetization program on the musical novelty of the songs. The results suggest that while many more songs were uploaded to the platform after the program launch, these new songs are generally less novel than those before. Moreover, the decrease is particularly significant among songs released by indie companies, Pop musicians, or veteran producers. These findings demonstrate that monetization programs will restrain artistic novelty, especially among producers who are more autonomously skillful, unspecialized, or experienced. [ABSTRACT FROM AUTHOR]

In recent years, there have been many voices in Korea arguing that a few commercially successful films take up the opportunities for the exhibition of other films and thus limit the selection of titles available for moviegoers, a trend dubbed the "screen monopoly". In seeking a solution, a number of scholars have looked to the anti-screen monopoly "regulations" in France, but without providing rigorous or persuasive evidence. By comparing the appropriate variables of Korea and France, this paper argues that the Korean film market is less monopolised than France despite the non-existence of these regulations. Furthermore, it demonstrates that Korea has more diversity than France. As a result, this paper concludes that introducing the French anti-screen monopoly regulations in Korea does not seem a beneficial option. The findings in this paper suggest a strong need to re-examine the effectiveness of government policies in the cultural industry. [ABSTRACT FROM AUTHOR]

Firm growth in creative industries, which are characterized by craftmanship, imagination, artistic quality and innovativeness, is a conundrum. By means of a matched pair case study design of market leaders and followers in seven creative industries in the Netherlands, the present paper seeks to tackle this conundrum. It suggests that for entrepreneurial firms to develop (instead of stagnating or demising), founders need to fit in, or understand the value creation and conversion processes in vigor within their industry. For firms to grow by means of an expansion of their markets, founders need to stand out, or create resource advantages vis a vis other firms in the industry, which could lie in an internationalization or a digitalization vantage. Not despite of, but because of their quality focus, which accrues to reputation advantages and impact, creative firms succeed in growing. Lessons are drawn from how and why firms in creative industries develop and grow. These may contribute to firm growth assessment practices and process theories. [ABSTRACT FROM AUTHOR]

This paper surveys the research literature on cultural and creative industries (CCI). Academic discussions on CCI have grown extensively after the Department of Culture, Media and Sport (DCMS) identified 13 sectors as constituting creative industries in the UK in 1998. The public has also become gradually convinced of the significance of CCI as being important for economic growth. We adopt a systematic and quantitative method to review the academic CCI literature. After collecting data, we first investigate the research fields under which the journals that publish CCI papers are categorized, finding that Business, Economics and Geography are the top three research fields. A second examination on the authors’ nationality indicates that their cultural background induces a different emphasis on their research field. We lastly apply the multiple main paths analysis to uncover the development trajectories of CCI research, with the result showing that the research agenda has changed along with a better understanding of the essential elements of CCI. Based on the literature on the main path, we observe the top five discussed themes: information technology, global cooperation, micro and fragmentary creative activities, remote places, and country/regional characteristics. Monitoring the discussions on these themes may help CCI researchers, creative workers, and policy makers to assess future directions for economic development. [ABSTRACT FROM PUBLISHER]

This paper discusses the findings of a longitudinal case study of the design sector in Western Sydney, a vast region of Sydney, Australia. Recurring discussions about Sydney's creative scene tend to reinforce a stereotype, conceptualising creativity as a bohemian, inner city phenomenon with limited consideration given to creative industries situated in the apparently "uncool", "outer" suburbs. However, through geolocational mapping of data collected over a 6-year period, this paper shows that there is a burgeoning design sector stretched across Western Sydney, coining the term "creative sprawl" to describe a distinct geography that challenges inner-city precincts as the loci of creativity. The aim of this paper is to augment Australian scholarship on creative industries and contribute to international discourse on creative geographies, arguing for the need to develop urban policy that responds to the creative potential of areas beyond urban centres. [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]

Do women and workers with a migration background earn relatively less in the core creative arts or in commercial creative sectors such as advertising? In this paper, we seek to (1) uncover to what extent workers' socio-demographic characteristics and the sub-sector of the cultural and creative industries (CCIs) in which they are active affect how much they earn, and (2) unravel to what extent the context of sub-sectors affects inequality in earnings between different socio-demographic groups. Using Statistics Netherlands register data on all workers with earnings from the CCIs, we show that earnings are lowest in the sub-sectors in Throsby's (2008) inner circles of the CCIs. Both having a migration background and being a woman affect earnings in the CCIs. Especially gender inequality in earnings is extensive and omnipresent, being least pronounced in sub-sectors such as literature, music and visual arts, and most severe in e.g. film and photography. [ABSTRACT FROM AUTHOR]

The view that national and local identical dichotomy in Hong Kong puts into sharp focus is revealed in the deep division of self-identification of Hong Kong citizen after the world-known Umbrella Movement. This paper connects this diverse identity formation to the relocation of Hong Kong cultural production and claims it as a logical consequence of the latter. This paper takes Hong Kong local comics as an example of cultural production for the analysis and suggest the possibility that such cultural products, as the reflection of Hong Kong society, are polarized to extreme Chinese-versus-Hong Kong base. When Hong Kong audience read the contemporary Hong Kong comics, the issues of cultural dynamic, conflict, and struggle of identity as HongKongese or Chinese would be expected. Based on the empirical data from textual analysis of 2 local comics and 10 in-depth interviews of comics artists, publishers, analysts, and comics company managers in 2015, this paper maps out the cultural image of people from Hong Kong and the mainland Chinese in contemporary comics texts. This paper will also shed light on cultural resistance and negotiation between Hong Kong and Chinese culture, and the resultant cultural hybridization in Hong Kong in relation to the transformation of local cultural identities. [ABSTRACT FROM AUTHOR]

Mobile theatre being the one and only regional fully commercial cultural industry in Assam (India) has significant representation of the Assamese culture. The theatre medium started as a socially responsible cultural forum later translated itself into a commercial enterprise. The 1990s repertoire of Mobile theatre can be seen as popular and it often resonates the regional-political events, while by the 20th century, it took an entirely commercial shift and created a 'populist model'. This paper aims to understand this shift between these popular (political) and populist, through some of the classic theatre productions like Soraguri Sapori (1983) and Titanic (1996). While the first case study attempts to read the performance against the backdrop of Assam Movement and its subsequent emergence of insurgency in the state. Then, the other tries to develop an understanding on the populist shift against the socio-political and neo-economic changes in 20th century. The paper takes performance analysis approach while studying the productions and also trying address the debates around the idea of 'Popular'. [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]

This paper reports on an ongoing research study funded by UKRI to map India's creative industries. Using an ecosystem framework, it has focused on strategy/policy; tangible and intangible infrastructure; funding and investment to understand innovation drivers and barriers across nine sub-sector value chains. The research established there is no one creative industries policy. Responsibility is split across 16 government ministries and 28 states. Much of India's economy is informal, with limited data on policy effects. Nevertheless, four important policies are shaping the creative industries landscape, supplemented by investment from global brands into textiles, media and advertising. These are driving innovation and design for social and ecological sustainability. At the time of writing the study is undertaking deep dives into CreaTec, Design for sustainability in fashion and textiles, and emerging geographic concentrations. It has identified a distinctive focus on how supply chains might inform UK circular fashion and media production policy. [ABSTRACT FROM AUTHOR]

Most translation tasks in the entertainment industry involve multiple modes of communication, i.e. they are multimodal, not solely language-based. A translator is expected to analyse, evaluate and transfer each of those modes to render an accurate translation of the source text. This is especially important in films, documentaries, TV and animated shows – multimodal scripts which are being localised for various contexts. An important step in the translation process in the entertainment industry should be the identification of translation errors in the final product which should be based on a proper translation error classification. Given that available translation error classifications rely solely on linguistic modes of communication, the aim of this paper is to propose a multimodal translation error classification which would be based on the multimodality of scripts to be translated and thus provide a reliable tool for the quality check of the final translation product in the entertainment industry. In that way, translators in this industry will be alerted to recognise elements (e.g. tone of voice, facial expressions, proximity, etc.) existing in multimodal scripts where both the source and the target texts as essential parts of the scripts are multimodal products. [ABSTRACT FROM AUTHOR]

This paper expands and contextualizes relational perspectives on entrepreneurial practice by considering local embeddedness in networks, a hitherto under-investigated area in entrepreneurship research. Local embeddedness emphasizes the importance of the social aspect in shaping entrepreneurial practices. Therefore, our study explores the role of networks in localized embedding practice. Using a qualitative case study of the wool industry in Norway, we investigate how creative entrepreneurs work through local networks to anchor their entrepreneurial opportunities. The analysis uncovers four main themes that constitute the main pillars and framework of localized embedding practices: (i) accessing localized knowledge across spatial contexts, (ii) localized co-creation in recognizing opportunities, (iii) localized opportunity legitimization and (iv) moving the knowledge front of embedded localized practice through bridging. The study contributes to existing literature by developing content and enhanced understanding of localized embedding practices, how they unfold and are acted on, to create value that is sustainable. [ABSTRACT FROM AUTHOR]

Studies of digital platforms have critically examined the exploitation and low paid condition of creative labour in cultural industries. This study aims to empirically explore the motivation behind why producers/consumers, key opinion leaders, or wanghong are still devoted to producing and posting videos on the short video platform Douyin, which is the Chinese version of Tik Tok, despite the precarious condition. Leveraging on Bourdieu's concept of cultural capitals and the interchangeability of capitals, this paper argues that Douyin provides the possibility for different wanghong to pursue their own intended capitals, which are not just economic capital, but also social, symbolic, and cultural capital. Under a relatively close environment of China, the flexibility and interchangeability of capital gain have at least become an alternative for these wanghong to explore their creativity and fulfil their desires. [ABSTRACT FROM AUTHOR]

Atlanta has been known for decades as a center of Black culture and Black-owned development in the American South and in the nation. In the past 15 years, the city has begun shifting back toward a whiter residential base. As in other American cities, this trend is being driven by a move from the suburban fringe back to the center by relatively mobile, middle- and upper-middle class white residents. While literature has examined the mechanics and locational preferences of mobile white residents, the characteristics of white urban identity are often overlooked. This paper examines the case of Little Five Points, a retail and entertainment district sitting between affluent neighborhoods east of downtown Atlanta, Georgia, USA. We identify multiple and competing whitenesses articulated and operationalized around Little Five Points over time and show how these multiple whitenesses retain key shared attributes of racial privilege grounded in property and exclusion. [ABSTRACT FROM AUTHOR]

Quantitative, qualitative and mixed methods designs are accepted approaches to researching the creative industries. However, while these bring a depth of understanding, they do not generally include an understanding of the 'making' of a creative artefact; practitioners in the creative industries make creative products. A first-hand examination of the 'making', via an approach such as creative practice as research, provides a much-needed account of creative activity in the creative industries. But we take this argument further and provide a rationale for using creative practice as research alongside quantitative and qualitative approaches in a new research approach called extended-mixed methods. This paper discusses this approach and demonstrates that it can be defended within a constructionist epistemology. [ABSTRACT FROM AUTHOR]

Moscow is home to a quarter of Russia's creative workers and generates over half of the creative industry's value added. Due to its favourable development, the sector is increasingly receiving attention from policy makers and academics alike as a feasible option to reduce the country's dependence on its extractive industries. The signs look promising: the city's creative industries are likely to grow fast, attract investments and have become a successful exporter of creative goods and services. This paper provides an assessment of Moscow's creative industries and asks what needs to be done in order to allow the industry to prosper. [ABSTRACT FROM AUTHOR]

Research on creative industries has been gaining momentum during the last few decades with contributions coming from diverse fields. This said, there is a paucity of studies to specify how and why companies in the game industry cluster. In this paper, we inquire into how individuals visualise perceptions of their game industry ecosystem in Helsinki, Finland, and Tokyo, Japan. Tokyo is one of the oldest game industry hotspots, whereas Helsinki has entered the picture only during the 21st century. Utilising drawings and their analysis and interpretation as our research method, in this paper we highlight the contested nature of ecosystems as arenas for collaboration and coopetition, shedding light on the diversity of ways individuals conceptualise an ecosystem. Our analysis yields four faces of ecosystems that help in understanding perceptions of clustering in the creative industries. [ABSTRACT FROM AUTHOR]

The precarious nature of creative and cultural work is widely acknowledged in academic literature. However, it has often been invisible in the eyes of policy and policymaking. As soon as the spread of Covid-19 started impacting local and national economies across the globe, many industry and policy bodies rushed into researching the impact of Covid-19 on the creative and cultural industries (CCIs) and the workers in the sector. The paper offers an insight into the key concerns of these organizations through the meta-analysis of the survey and research projects that are currently being undertaken in the context of the UK. The results highlight common concerns in relation to visible and invisible issues that need addressing in the sector. The paper concludes by questioning if Covid-19 represents a moment of crisis for the sector or has simply exposed the unsustainable price of creative and cultural work. [ABSTRACT FROM AUTHOR]