"The second chapter is devoted to the public service media as producers, commissioners, distributors, disseminators and mediators of high-quality cultural content. The author has been able to identify many substantial improvements in the legislative base for media freedom and diversity, as governmen
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ts update their public service media goals and systems. She notes that creativity and diversity in both the public service and private media are being enhanced through quota regulations, currently applied by 90 countries around the world. New policy frameworks adapted to the digital context are beginning to respond to the challenges of horizontal and vertical media convergence. Yet gaps remain. Notably, there is an overriding need for a forward-looking public service media policy model that serves the needs of all individuals and groups and responds to changes in public thinking as well as processes of convergence." (Executive summary, page 14)
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"The Republic of Korea has been successful in investing in its people and its talents. It is now investing in the potential for the youth to be great entrepreneurs. We hope that this report will be useful to developing countries and encourage them to look into new growth opportunities and sustainabl
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e development based on creative new industries. There is no one single model for success in the creative economy. What really matters is what can be achieved by developing and investing in a creative and innovative economy, new jobs, new export opportunities and a more inclusive society. The Creative Economy report for the Republic of Korea is structured in five chapters. Chapter 1 gives a general introduction of the country's economic growth and success and the reasons for a shift to a new economic model and the creation of new jobs. Chapter 2 introduces the creative economy promotion strategy of the Republic of Korea that utilizes its science, information and communications technology capacity, all of which are the country's strengths. Whilst addressing strategic added value. Chapter 3 addresses the government strategy which is oriented to promoting small and medium-sized industries and start-ups, particularly in the creative content industries. Chapter 4 describes the 'creative economy valley' which is a government driven strategy to support the 'convergence of science and technology with industry, the fusion of culture, and industry and creativity and entrepreneurship. Chapter 5 provides conclusions and recommendations for future steps." (Executive summary)
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"The survey establishes that from 2010 to 2014, copyright industries in Ecuador experienced rapid growth and increased their share of GDP from 3.65 per cent to 4.47 per cent, or 3,116 million US dollars in monetary terms. In 2014, the creative sector generated 3.47 per cent of national employment (2
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40,497 jobs), a decline from the 4.03 per cent generated in 2010. During this period, Ecuador remained a net importer of creative goods and services. While the Ecuadorian economy expanded during this period by 23.5 per cent, the valueadded in constant prices generated by the creative sector rose by 51 per cent, suggesting a sustained positive trend and considerable growth. The largest contribution was generated by the core copyright industries, which accounted for 57 per cent of the total value-added by the sector and themselves grew by 76.3 per cent, cementing their status as the most dynamic component of the creative sector. Among the core copyright industries, the main drivers were software and databases (33.8 per cent with a growth rate of 196 per cent), followed by advertising services (32.1 per cent with a growth rate of 102.5 per cent). The traditionally strong publishing industry (press and literature) saw its share decrease from 30.3 per cent to 16.8 per cent, but remained the largest employer in the creative sector with 28 per cent of total employment, followed by advertising (17 per cent), software (12 per cent) and radio and television (11 per cent). Collecting societies experienced remarkable growth – 215.3 per cent – in the collection and distribution of copyright royalties." (Executive summary, page 7)
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"The objective of the Study Module is to enhance the business knowledge of undergraduate and graduate students of arts, humanities and media and communications, i.e. individuals, who have potential to be (self) employed after their graduation in the field of creative industries. Special focus in the
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study module is given to the latent entrepreneurial propensities, i.e. personal qualities and skills of the individual that would enable students to pursue an entrepreneurial career when given the opportunity or incentive to new venture creation." (Page 4)
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"International trade in creative industries showed sustained growth in the last decade. The global market for traded creative goods and services totaled a record $547billion in 2012, as compared to $302 billion in 2003. Exports from developing countries, led by Asian countries, were growing faster t
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han exports from developed countries. Among developed country regions, Europe is the largest exporter of creative goods. In 2012, the top 5 creative goods exporters included Germany, France, Switzerland, the Netherlands and Belgium. Exports of creative goods from developed economies grew during the period 2003 to 2012, with export earnings rising from $134 billion to $197 billion. Among developing countries, China is the largest exporter of creative goods. In 2012, the top 5 exporters were China, Hong Kong, China, India, Turkey and South Korea. Exports of creative goods from developing economies grew during the period 2003 to 2012, with export earnings rising from $87 billion to $272 billion. Developing countries are playing an increasingly important role in international trade in creative industries." (Executive summary)
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"Christiaan scrutinizes existing concepts of cultural and creative industries, as applied in public policies in African countries and largely inluenced by programmes of intergovernmental development agencies. He then searches for empirical evidence of their true value for human development. He looks
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into the role of the music industries in Ghana and Burkina Faso in particular and in doing so is able to draw conclusions on the potential and deicits in the existing development approaches for these areas. He considers the cultural industries as a source for diversity that goes beyond the economic debate on growth, and looks into possibilities to build more organic relations between existing concepts, policies and practices. This research will undoubtedly advance cultural policy thinking and debate in Europe on three levels: it gives an insight into the way a European debate resonates and has a meaning in a global perspective; it advances the empirical understanding of the cultural industries in West Africa and; it challenges the extent to which European action can and should inform progress of the cultural industries elsewhere." (Foreword, page 10)
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"Ce glossaire critique explore les relations qui lient la diversité culturelle et le numérique. Il aborde une soixantaine de termes, d'« agrégateur » à « virtuel » et propose des définitions des pratiques avec leurs usages. Véritable outil d'aide à la réflexion et à la décision, il s'a
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dresse à la fois au grand public et à l ensemble des acteurs et décideurs concernés par les questions de culture et d éducation, et plus largement de gouvernance du numérique." (Description de la maison d'édition)
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"La cultura es la riqueza de los pueblos que defienden su identidad y que tratan de reinventarse en un mundoglobalizado, multicultural y diverso. Es imprescindible, pues, impulsar la reflexión sobre el papel de la cultura en su desarrollo. Esta segunda edición del estudios "Cultura y desarrollo ec
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onómico en Iberoamérica" aborda el efecto de la cultura en el desarrollo económico de nuestros paíse, y llega a una conclusión impactante: los aportes de la cultura al desarrollo económico de los países son muy superiores a los presupuestos que los mismos países beneficiados invierten en el desarrollo de la cultura. Finalmente, el estudio pon en relieve que aún falta mucho camino por recorrer para que todos los países lleguen a destinar al menos el 1% de su presupuesto a la inversión cultural, tal como se aprobó en la Conferencia de Ministros de Cultura celebrada en Chile, en Julio de 2007." (Tapa posterior)
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"This edition is “special” as it provides a rich body of evidence demonstrating local creative economy decision makers and stakeholders in action that did not exist before. The evidence and analysis are presented in two formats: in this printed report and in a new webdocumentary that accompanies
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this publication, capturing the dynamism of the creative economy in developing countries. Case studies are provided across the global South from the Asia and the Pacific region to the Arab world, from Africa to Latin America and the Caribbean. This is strengthened by the first portfolio analysis of the impact of initiatives funded through the UNDP-Spain Millennium Development Goals Achievement Fund Thematic Window on Culture and Development and the UNESCO International Fund for Cultural Diversity demonstrating that local decisions makers are shaping their own creative economy development pathways." (Foreword, page 10-11)
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