Creative industries

The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries (especially in Europe (Hesmondhalgh 2002, p. 14)) or the creative economy (Howkins 2001), and most recently they have been denominated as the Orange Economy in Latin America and the Caribbean (Buitrago & Duque 2013 ).
Howkins' creative economy comprises
advertising , architecture, art , crafts,
design , fashion , film, music ,
performing arts , publishing, R&D ,
software , toys and games , TV and
radio , and video games (Howkins 2001, pp. 88–117). Some scholars consider that education industry, including public and private services, is forming a part of creative industry.
[1] There remain, therefore, different definitions of the sector (Hesmondhalgh 2002, p. 12)( DCMS 2006). Yet so far Howkins has not been internationally recognized. [ citation needed ]
The creative industries have been seen to become increasingly important to economic well-being, proponents suggesting that " human creativity is the ultimate economic resource," (Florida 2002, p. xiii) and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation" (Landry & Bianchini 1995, p. 4).
Definitions of the creative industries
Various commentators have provided varying suggestions on what activities to include in the concept of "creative industries" (DCMS 2001, p. 04)(Hesmondhalgh 2002, p. 12)( Howkins 2001, pp. 88–117)( UNCTAD 2008, pp. 11–12), and the name itself has become a contested issue - with significant differences and overlap between the terms "creative industries", "cultural industries" and "creative economy" (Hesmondhalgh 2002, pp. 11–14)( UNCTAD 2008, p. 12).
Lash and Urry suggest that each of the creative industries has an "irreducible core" concerned with "the exchange of finance for rights in
intellectual property", (Lash & Urry 1994, p. 117). This echoes the UK Government Department for Culture, Media and Sport (DCMS) definition which describes the creative industries as:
"those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property" (DCMS 2001, p. 04)
As of 2015 the DCMS definition recognizes nine creative sectors , namely: [2]
1. Advertising and marketing
2. Architecture
3. Crafts
4. Design : product , graphic and
fashion design
5. film, TV , video, radio and
photography
6. IT , software and computer services
7. Publishing
8. Museums , galleries and libraries
9. Music, performing and visual arts
To this list John Howkins would add
toys and games, also including the much broader area of research and development in science and technology (Howkins 2001, pp. 88–117). It has also been argued [by whom?] that gastronomy belongs in such a list. [3]
The various fields of engineering do not appear on this list, that emerged from the DCMS reports. This was due, probably, to the fact that engineers occupy relevant positions in "non-cultural" corporations, performing activities of project, management, operation, maintenance, risk analysis and supervision, among others. However, historically and presently, several tasks of engineers can be regarded as highly creative, inventive and innovative. The contribution of engineering is represented by new products, processes and services.
Hesmondhalgh reduces the list to what he terms "the core cultural industries" of advertising and marketing, broadcasting, film, internet and music industries, print and
electronic publishing , and video and computer games . His definition only includes those industries that create "texts"' or "cultural artefacts" and which engage in some form of industrial reproduction (Hesmondhalgh 2002, pp. 12–14).
The DCMS list has proven influential, and many other nations [which? ] have formally adopted it. It has also been criticised. It has been argued [by whom?] that the division into sectors obscures a divide between lifestyle business , non-profits, and larger businesses, and between those who receive state subsidies (e.g., film) and those who do not (e.g., computer games). The inclusion of the antiques trade often comes into question, since it does not generally involve production (except of reproductions and fakes). The inclusion of all computer services has also been questioned
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