The recently released Pocketbook on Cultural Statistics boasts an impressive array of numbers and figures on the cultural economy and activities in the EU-27. An important caveat should be made: it is not a comprehensive survey with clear methodological markers but rather an aggregation of available statistics coming from different sources.

Creativity permeates our daily lives from the moment we wake up in the morning to the time we retire in the evening. In modern 20th century society, this creativity and invention follows us throughout our day as we make our way to work, during our shopping sprees, at the groceries, and in the evenings as we catch the latest blockbuster movie at our favorite cinema.

The London Journal of Tourism, Sport and Creative Industries (LJTSCI) is a new on-line journal that seeks to publish articles on a variety of related topics encapsulating London's diversity and the nature of its local-global interactions. The journal addresses a broad subject field. While under the banner of tourism, sport and the creative industries it also includes, but is not restricted to, events, the arts including music and dance - heritage, hospitality, advertising & communications, music media & entertainment.

Given the reputation which economists have nowadays as desiccated calculating machines, you may have been surprised to find that any economist is interested in the arts, let alone spends part of his time chairing a body such as the Tasmanian Arts Advisory Board.

Released February 2006, this study finds that artists careers are strengthened and urban neighborhoods and smaller city downtowns are revitalized with the presence of dedicated space for artists to convene, share workspace and equipment, find mentors, and compete for grants and opportunities to exhibit/publish/present.

Over the last few decades, the culture and creative industries have become a major economic force. The creative industries, a complex of eleven economic sectors, aroused a lot of attention in 2006 due to its surprisingly high turnover and growth figures. The culture and creative industries subsequently gained a new importance on the political agenda in the Lisbon process for the strengthening of economic growth in Europe as well as in the UNESCO Convention on Cultural Diversity, which was ratified by Germany in February 2007. At the beginning of the German EU Presidency in 2007, the German Federal Government placed the issue of culture and creative industries on the agenda of the informal meeting of the European Ministers of Culture in Berlin.

This article analyses and contextualises a variety of relationships between the cultural industries and cultural policy. A principal aim is to examine policies explicitly formulated as cultural (or creative)industries policies. It seeks to address questions such as: What lies behind such policies? How do they relate to other kinds of cultural policy, including those more oriented towards media, communications, arts and heritage? The first section asks how the cultural industries became such an important idea in cultural policy, when those industries had been largely invisible in traditional (arts- and heritage-based) policy for many decades. What changed and what drove the major changes?

This paper deals with Born Globals (BG), i.e. companies which internationalise at an early stage and view the whole world as their activity field. The internationalisation concerns both the inward such as procurement as well as the outward (such as sales) in microbusinesses from two experience based, or so called creative, industries, Swedish Music and Fashion, seldom subject to internationalisation studies. The project investigates in which countries/markets these firms have international activities, why these countries/markets were selected and identifies direct or indirect connections between the inward and outward activities. The research provides a better understanding of the driving forces in internationalization at the micro-level, and gives help for the formulation of new EU export promoting policies.

The impact of technologies facilitating digital distribution of music on the recorded music industry has in the last few years received much attention in the popular press, and to some extent in the scholarly literature. However, there have been few attempts to explore the underlying factors explaining differences in innovative capabilities among record companies.

This thesis proposes that social networks and specific knowledge areas are important factors that can explain these differences among Norwegian record companies. The study therefore investigates the role of social networks and knowledge and their systemic properties related to innovation within digital distribution in the Norwegian recorded music industry.

Worldwide governments and regional authorities have begun to take seriously the idea that cultural and creative activities are crucial areas of economic activity. Industries such as music, film, media, advertising, gaming and design are seen to be increasingly worthy of not just cultural policy but also industrial policy support.

This article explores the growing significance of legal questions to innovation and creative practice in what are now being termed the creative industries. Noting that the case for strong copyright protection as the cornerstone of innovation is highly contested, it explores the significance of Creative Commons licences as an alternative to Digital Rights Management and copyright law. It also introduces the case studies of music, online computer games, and remix culture that are covered in this special issue of the Media & Arts Law Review.

The film industry in Sweden is in constant change. This thesis focuses on the different authors in film projects and their rights. We have examined how the rights affect the development of the industry. Interviews have been made with five production companies and other people involved in the film industry in an effort to map out how the Swedish industry looks today and what challenges it is facing. Who the author is has a great influence on the financial and legal structure within the business.

This paper was published in July 2006 by Institute for Public Policy Research. It presented what copyright industries it is the author Anthony Lilley in mind. He also highlighted three tasks for policy makers: to look at how copyright works as part of overall system of value transfer and to reduce inefficiencies and friction, to concern the context in which copyright work is placed, and to influence the content in the market place and the mode of copyright.

In October, 2006, Live Performance Australia released this report Ticket Attendance and Revenue Survey Live Entertainment Industry in Australia, which aimed to give an overview of the financial development of entertainment and live performance industries in 2005 by statistics and analysis.

The box office raised up 21% on 2004, and attracted 13.7 million audiences.

The paper considers recent policy changes to the copyright law and its management, particularly digital rights management, and asks how they can be evaluated. Copyright law is perhaps the most important policy tool affecting the cultural industries and it provides the regulatory environment in which all enterprises in the music, film, book publishing, broadcasting and other media industries function. Digitalisation is now affecting all art forms and the management of rights is becoming an issue for arts managers as well. In Europe, the European Commission is seeking to increase competition into rights management but it is argued this may lead to restriction of cultural diversity and other cultural policy aims.