"Este estudio presenta un análisis de las distintas variables que afectan a las industrias culturales y creativas (ICC) en el contexto de un mercado global, tratando de determinar su potencial de la internacionalización. Partimos de datos que tiene un gran peso en nuestra economía: las ICC alcanz
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aron el 5,6% del VAB a nivel nacional y el 6,3% del empleo en 2008. Pero partimos también de la base de que disponemos de un desactualizado que responde a una realidad obsoleta, basada en el ámbito de intercambios analógicos. Y lo mismo ocurre con las políticas públicas. Pensamos que tanto las normas como las políticas deben cambiar su enfoque de manera radical. Entre los factores que influyen positivamente, detectamos que las Industrias culturales y creativas españolas tienen generalmente altas tasas de retorno de inversión, altos niveles de competitividad en comparación con otros sectores, y un capital humano más cualificado. A esto se suman otros factores relacionados con nuestro capital cultural y simbólico: la lengua, el patrimonio, la creatividad… Dado su potencial real en la economía digital y como principal recurso para la competitividad, el crecimiento sostenible y la creación de empleo, se ha puesto de relieve en los últimos años la relevancia que la cultura ha ido adquiriendo como elemento fundamental de la imagen que nuestro país proyecta en el exterior. El estudio trata de los aspectos fundamentales que deben ser tenidos en cuenta a la hora de impulsar la inserción de nuestra industria en un mercado global: Un análisis por sectores culturales y creativos, puesto que cada uno atiende a especificaciones concretas y parte de momentos diferentes respecto de su internacionalización; Un marco de análisis de la legislación y de las políticas públicas en los ámbitos del comercio internacional, el empleo, las tecnologías, el arte y la cultura y la educación y formación; Una apuesta decidida por el entorno digital como espacio propicio, de referencia y de oportunidades para la internacionalización del sector cultural y creativo. Concluimos que las ICC españolas, aún estando lejos de alcanzar todo su potencial de internacionalización, tienen los mimbres necesarios para crecer y salir y para ello proponemos una serie de medidas y recomendaciones, tanto en el terreno de la intervención pública, como en él ámbito de las necesarias transformaciones estratégicas del sector." (Resumen ejecutivo, página 4-5)
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"The article analyses the turnaround in guidelines occurring in public policies for culture in Brazil. This is placed in the context of the transition from the government of Luiz Inácio Lula da Silva to the Dilma Rousseff administration, including the end of the cycle of shared leadership between M
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inisters Gilberto Gil (2003-8) and Juca Ferreira (2008-10) and the beginning of Ana de Hollanda's administration of the Ministry of Culture. The analysis starts with evaluation of the inaugural speeches of Ministers Gil and Ana de Hollanda as moments for the enunciation of their differing strategic perspectives. It focuses on the consequences of their contrasting views in three spheres: (1) creative economy; (2) copyright; (3) the Alive Culture program. The article concludes that, in a continuing government program, Brazil is undergoing a reversal of cultural policy with large-scale implications." (Abstract)
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"This book is the first to present an organized study of the key concepts that underlie and motivate the field of creative industries. Written by a world-leading team of experts, it presents readers with compact accounts of the history of terms, the debates and tensions associated with their usage,
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and examples of how they apply to the creative industries around the world." (Publisher description)
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"In 2003 WIPO published common guidelines on carrying out such research throughout the world. This methodology outlines four groups of copyright industries, identified on the basis of their level of dependence on copyright material. It establishes a set of major indicators – contribution to GDP, e
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mployment and foreign trade, and lays out research standards and approaches. The WIPO guidelines were developed on the basis of best international practices reviewed by an expert group of renowned economists. The guidelines have been implemented in over 40 countries around the world (30 studies have been completed and published) and their improvement continues with the experience gained. The present analysis is built on data from 30 national studies which have been finalized until December 2011. The analysis seeks to present the available data in a unified manner in order to facilitate further research and investigation in this area. The data matrix that has been created enables constant update of the overview of results from country studies and the presentation of the variables surveyed. Currently the data base includes over 60 variables, including data from other relevant sources that enhance reporting and analysis on the subject matter. The analysis and conclusions contained in this document present an overview of the performance of the copyright industries in selected countries in terms of macroeconomic indicators, compares this performance with other economic indicators and analyses the structure of this economic contribution, outlining trends and patterns in a comparative perspective." (Page 1)
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"Based on the study estimates, the total contribution of CBIs to the Bhutanese economy in 2008 was 5.5% of GDP or Nu.3,009 million; 10.1% of total employment or 25,215 persons; 4.0% of total exports or Nu. 912.4 million; 6.9% of total imports or Nu.1,604.8 million. The contribution of CBIs to GDP wa
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s only Nu. 648.8 million or 2.8% in 2001, but it increased almost fivefold by 2008. In other words, CBIs grew at a rapid pace of about 21.3% per annum, outperforming the national economy, which grew at 9.0% during the period. Interestingly, each of four CBI groups surpassed the national growth rate during this period. The core and interdependent CBIs grew the fastest at 123% per annum, followed by the non-dedicated support industries at 14.5%. The high rate of growth of core CBIs during this period is due to the low base of growth. Prior to the year 2000, the main core CBIs such as printing press, literature, films, TV and cable TV, IT and IT-enabled services hardly existed. Their significant growth took place only after the year 2000. Given the unique structure of the Bhutanese economy and the differing growth among CBI groups, the partial CBIs are relatively more significant in Bhutan. The core and partial CBIs accounted for an overwhelming 75% of the total CBI share of GDP in 2008. This is because many of the core and partial CBIs flourished due to economic liberalisation, which became more systemic, especially after 2005. This is also due to the promotion of cultural tourism. The core CBIs accounted for about 34%, partial contributed 41%, non-dedicated support industries accounted for 14%, and the interdependent CBIs 11% of the total value added of CBIs. The relatively small share of the interdependent CBIs is due to the weak manufacturing base in Bhutan." (Executive summary, page 5-6)
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"El libro comienza con una introducción histórica para entender la transformación desde la producción artesana de cultura a la era del consumo masivo de cine, teatro, música, libros, radio y televisión, museos… Ya en la actualidad, se defi ne y delimita el sector, estudiando el funcionamient
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o de cada una de las “industrias culturales y creativas”, y midiendo su importancia relativa en el conjunto de la economía españolaDespués se analiza el peso del español en cada una de las áreas culturales y de entretenimiento." (Cubierta del libro)
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"This report created by Justin O'Connor, Professor of the Creative Industries Faculty, Queensland University of Technology, Brisbane, Australia, gives a thorough overview of literature that deals with the relationship between culture and economics that lie at the heart of this terminology. This acco
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unt takes a sixty-year trip, starting from the culture industry, leading through the cultural industries, and ending at the creative industries. It explores the history of the idea of the cultural industries, and how it has changed and developed the current interest in the creative economy. The work focuses on the conceptual ideas behind thinking in this area, and lays out the reasons behind the shifts in terminology and policy. The second edition of the report presents some additional reflections on the implications of the internet and the mobile communication technologies on the creative industries." (www.culturelink.org, September 27, 2011)
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