stimulate and strengthen the network of values and relationships between social and institutional actors and to promote policies in support of local development, based on new paradigms taking into account the importance of the territorial capital and focused on increasing the social capital of a human collectivity, located in a certain territory. This is especially noticeable in the case of countries like Italy, for example, where there is no strong strategical, unique policy: culture and creative industries policies, in fact, have been developed mainly by the regions. This caused the of lack sustainability and consistency of the approaches and practices pointed out.
3.An overview on literature
Starting from the issues pointed out in the previous chapters, this paper aims at drawing a quick picture of the recent international literature on creative and cultural industries in Europe and worldwide.
Some interesting work are: Creative Economy and Culture Challenges, Changes and Futures for the Creative Industries (2014) by John Hartley, Wen Wen, Henry Siling Li; Key Concepts in Creative Industries (2013) by John Hartley, Jason Potts, Stuart Cunningham, Terry Flew, Michael Keane and John Banks; Introducing the Creative Industries: From Theory to Practice (2013) by Rosamund Davies and Gauti Sigthorsson; The Creative Industries: Culture and Policy (2011) by Terry Flew; The Cultural Industries (2012) by David Hesmondhalgh; Creative Industries and Innovation in Europe. Concepts, Measures and Comparative Case Studies (2014) by Luciana Lazzeretti; Careers in Creative Industries (2015) by Chris Mathieu; Entrepreneurship for the Creative and Cultural Industries (2015) by Bonita Kolb; Managing situated creativity in cultural industries (2015), edited by Fiorenza Belussi and Silvia Sedita; Creative Industries and Urban Development: Creative Cities in the 21st Century (2014) edited by Terry Flew; Creativity in Peripheral Places: Redefining the Creative Industries (2014) by Chris Gibson; Theorizing Cultural Work: Labour, Continuity and Change in the Cultural and Creative Industries (2013), edited by Mark Banks, Rosalind Gill and Stephanie Taylor.
Finally, we want to mention three in-printing works: Tourism and the Creative
Industries: Theories, policies and practice, edited by Philip Long and Nigel D. Morpeth; Rethinking Strategy for Creative Industries: Innovation and Interaction by Milan Todorovic and Ali Bakir, and Marketing Strategy for Creative and Cultural Industries by Bonita M. Kolb.
We want, in this paper, to focus on the description of a few of such books, that can be regarded as having and innovative point of view.
Concerning the general concept of creative economy, a recent, interesting work is the publication by Hartley, Wen and Siling Li, Creative Economy and Culture Challenges: Changes and Futures for the Creative Industries (2014).
The first book investigates the concept of “creative industries” extending the idea of creative innovation as a global phenomenon. Creative Economy and Culture pursues the conceptual, historical, practical, critical and educational issues and implications. It looks at conceptual challenges, the forces and dynamics of change, and prospects for the future of creative work at planetary scale. Authors focus on the so-called “three bigs”, which are: the creative industries are not confined to an elite of trained artists or firms; they encompass (or could encompass) everyone; they are not confined to one sector of the economy; they characterise (or could characterise) everything; they are not a feature of advanced or wealthy countries; they are (or could be) everywhere.
The authors analyse in depth some key concept, such as population, technologies, culture, just to quote the most important ones.
Concerning the concept of “population”, they note that “The most important element missing from current conceptualisations of creative industries is everyone – the general population, who, since the emergence of digital technologies, social networks and user-created content, can be seen (not just claimed) to be engaging in mass creative productivity, which we call microproductivity, that is a major driver of economic development”.
On the concept of technology, indeed, they highlight that creativity is not to be located in the individual person, but in systems: “[…] culture and the economy as systems too, albeit more complex and multiple (systems of systems) than any
technology to date. Because of their scale and variability, ‘natural’ cultural systems are hard to study. Technological systems, on the other hand, are an empirical form of human connectedness that can be studied (Arthur, 2009). Of these, we think two are more important than others. One is very old: cities. The other is very new: the internet. We see urban and digital technologies, their productivity and capacity to create new ideas and to distribute them across whole populations, as a proxy for those same qualities in human culture. It follows that we think the predominant conceptualisation of creative industries has not integrated ‘creative production’ sufficiently with ‘digital networks’ or with what we call ‘urban semiosis’”.
About the concept of “Culture”, the authors state that according to their vision, the concept of “ ‘culture’ is misunderstood and restricted in most public thought about the creative industries. […] we see culture as a human invention whose function is to produce groups or ‘demes’ – groups which can survive where individuals do not […]
We argue that what binds these groups is knowledge; and that the ‘output’ of culture is not heritage, customs, art, or even artefacts (goods and services), but innovation: culture is the mechanism for ‘producing newness’ in conditions of uncertainty[…]. Thus, for us, culture faces the future. It is the driver of economy, and not the other way around. It needs to be reconceptualised and integrated into economic thought and policy; equally, those devoted to culture and the arts as presently configured need to understand its role in economic evolution”.
In our opinion, particularly interesting is then the attention that authors pay to the need to integrate discipline and approaches in reflecting on creative economies in its relationships with human development. Such refection is rooted on the concept of “planet”: “[…] we think something rather larger than the proverbial ‘elephant in the room’ is missing from most accounts of creative industries, and creativity more generally, whether in its cultural or economic dimension: the planet. It is only since the mid-nineteenth century that ‘we’ (humans in general) have even known the extent of the planet and what it is made of, where its land and sea masses are located, what its geological, biological and human resources comprise, and how its systems interact. […]. Among the slowest disciplines to ‘globalise’ their view of their subject matter
are the humanities (culture) and social sciences (economics), which retain a local, sectarian or national perspective, rather than seeking ways to understand their object of study as a planetary phenomenon. It would be weird if geologists, oceanographers, environmental scientists, meteorologists or even miners restricted themselves to this or that corner of the world without seeking to understand how and where it connects with others. But the study of meaning-creation and the study of wealth-production (i.e. cultural studies and economics; which this book will treat as integrated) have both remained aggressively parochial. The idea of a planetary cultural system, or creative economy, is almost unthinkable in current circumstances, except by visionaries from other disciplines like Jared Diamond (geography) or E.O. Wilson (biology). […] In this book, in contradistinction to that, we treat culture as a ‘semiosphere’ (Lotman, 1990), a dynamic system of differences whose local peculiarities (identities and expression, values, artefacts, actions) can only be explained by means of the dynamics and interactions of the systems that generate them”.
Another notable work is “Creativity in Peripheral Places: Redefining the Creative Industries” by Chris Gibson (2014). This book is dedicated to further exploring the creative industries outside major cities in places that are physically and/or metaphorically remote. The publication aims at exploring and re-defining the concept of creativity as both economic and cultural phenomenon, on the basis of the analysis of several examples such as postcard design, classical music, landscape art, tattooing, Aboriginal hip-hop, rock sculpture and so on. It is interesting to note that according to the authors, creativity is related to a specific “geography”, being evident in suburban, rural and remote areas. Another valuable aspect of this book is that it is based on a multi-disciplinary approach; in fact, it puts together the point of view of communications experts, sociologists, cultural studies experts with the point of view of geographers and historians, with the objective to explore creativity in diverse places outside major cities, e.g. in small places in terms of population or in term of productive, social marginality.
The author states “Examining new industries in previously ignored cities required economic geographers to explore how market logics both similar to and
different from traditional manufacturing shaped the geographical distribution of economic activities. On the one hand, new industries such as music, film and fashion were vertically distintegrated, and relied on dense inter-firm transactions. The size, structure and interdependent relationships between creative industry firms encouraged spatial agglomeration in particular districts, usually in large cities […]other academics (including Allen Scott himself writing recently about the English Lake District) have sought to explore how cultural and creative industries emerge from small, suburban, rural and remote places and are implicated in a range of social. Exploring creative industries in rural and remote places, in socio-economically disadvantaged and suburban places, means researchers cannot take context for granted, unlike in cities where urbanity is a given”.
The last publication we want to focus on is “Creative Industries and Developing Countries: Voice, Choice and Economic Growth” by Barrowclouigh and Kozul-Wright.
The book can be regarded as an interesting work as it focuses on the strategies to develop countries for a better and greater economic growth. Made of three sections, the work analyses the potential impact that creative industries, integrated into global economy, can have to human development.
Particularly interesting is, in our opinion, part two of the book, as it introduces an accurate analysis of theory, illustrating several case studies – starting from the study of example in developed countries- and policy analyses that can be useful to developing countries starting from creative energies.
中文译文
创意经济、文化产业与地方发展
摘要 本文的目的是对创意文化产业和创意经济作为经济增长和地方发展的驱动因素有一个清晰的认识。为此，本文分析了近年来有关创意经济意义的一
些数据，并对创意和文化产业的概念进行了反思。本文一方面关注创意经济与地方发展的关系，另一方面关注地域资本与社会资本的概念。
最后，本文重点介绍了一项正在进行的研究的成果，以及有关上述问题的最新文献，并简要概述了一些重要的著作。
关键词：创意经济，文化经济，文化产业，创意产业，地方发展，社会资本，地域资本。
1.创意经济、文化创意产业的概念和数据概述
近年来，所谓文化经济和文化创意产业的重要性大大提高。当前，文化创意产业是经济增长的驱动因素，也是新经济推动下的全球需求。众所周知，这一概念不仅是指严格意义上的文化领域，而且是指以文化商品和服务为核心的一个新的、强大的、广阔的领域，可以广泛地称为文化领域。
创意经济与创意文化产业息息相关。二十世纪80年代以来，“文化产业”一词被广泛传播，它指的是以象征或表现元素为中心的文化生产和消费形式。自80年代以来，联合国教科文组织将这一概念传播到世界各地，并逐渐将音乐、艺术、写作、时尚和设计、媒体以及手工制作等一系列相关的产业纳入其中。
然而，自十九世纪90年代以来，它也被用来命名创意产业；这一术语是指包括文化产业生产的商品和服务，以及依靠创新生产的商品和服务在内的超大型生产活动。
从“创意经济”一词普及之日起到2001年，所谓的文化创意产业开始以逐渐加快的速度带动经济增长。在全球范围内，如《创新经济报告》(2013)所述，这种经济“2000年在全世界创造了2.2万亿美元，并以每年5%的速度增长”。
就欧洲的情况而言，欧洲对文化和创意产业有着浓厚的兴趣，因为它们是经济增长的源泉：正如欧洲创意产业峰会的报告所强调的那样，“文化和创意产业占欧洲经济的4.5%，这要归功于在欧洲各地创造和传播创意内容的近140万家中小企业。在危机期间，文化和创意产业表现出极大的韧性——它们实际上在继续增长——同时刺激了其他产业的创意和创新溢出。欧洲各地约有850万人受雇于创意产业——如果我们考虑到他们对旅游业和信息技术等其他部门的影响，还会有更多的人就业。”