Following an open invitation to tender (DE), the European Commission selected KEA European Affairs to carry out this study. KEA worked together with Media Group (Turku School of Economics) and MKW Wirtschaftsforschung GmbH.
This study is a first at European level. It highlights the direct (in terms of GDP, growth and employment) as well as the indirect (links between creativity and innovation, links with the ICT sector, regional development and attractiveness) contribution of the cultural and creative sectors towards the Lisbon Agenda.

The contents of this final report include the overall positioning and the trend of integrated development, and an overview of the development, challenges and opportunities of cultural and creative industries in the Pearl River Delta.

Otherwise, it provides the analysis of the status of advertising, architecture, art, antiques & crafts, design, music, performing arts and other fields in Hong Kong.

Without doubts, during these years, creative industries are the largest and fastest blooming industries. It brings governments notice - both in Western and Eastern. This research report not only presents why it influences the economies so deeply through some examples and statistics, but also reviews the existing circumstances. Are there any challenges in creative industries? Or what are the opportunities for countries?

This paper aimed to examine creative industries in Peoples Republic of China and Latin America. It appears that there has long distances between two regions; however, both of them have vast populations and huge markets.

Creative Industries have become a major new consideration in urban economics and city politics mentioned by Richard Brecknock at this paper Creative Capital: creative industries in the creative city. And he conceived that lots of successful creative products, because of the abundant local cultures.

At this paper, Joost Smiers, Professor of Utrecht School of the Arts, doubted that people call the activities, which take place more and more, are cultural industries. On the other hands, he questioned whether the present copyright system and practice is helpful in the promotion of cultural diversity.

This issue is all about creative industries.

The Spanish Ministry of Culture presented a new Action Plan with the aim to improve the infrastructure of the whole film sector in Spain: i.e. development, production, distribution and exhibition.

In 2005, excluding the last weeks of the year, the number of Spanish cinema audience increased to the previous year from 19.282.967 to 19.442.669 spectators, according to the provisional annual report of the Spanish Ministry of Culture.

Interview by Patricia Dewey (Arts Management Network Correspondent) with Raymond T. Grant, Artistic Director of the 2002 Olympic Arts Festival, Salt Lake Organizing Committee, Olympic Winter Games of 2002

A Multi-country Study

A cross-cultural study was conducted with Austrian, Canadian, Colombian and Italian moviegoers. Based on Hofstede's well-known value framework as well as some findings in the consumer information search literature, seven research hypotheses were put forward and tested.

2004 turned out to be probably the most successful year for the Israeli film industry ever. 18 productions were shown on the screen viewed by 1.3 mil. viewers an estimated 13% of the total. This number is twice as big as the number in 2003 although in includes one production "End of the world - left" which drew 460,000 viewers. But even if we disregard it completely the number of cinema viewers grew by some 30%.

Mainland Chinas film industry finds itself at a critical juncture. The governments decision to embrace market capitalism and booming economic growth are transforming all aspects of society...

The Australian Government has initiated an industry action agenda for the digital content industries following two years of research by the Creative Industries Cluster Study...

The third "Art of The Land " festival opens in Tel Aviv 65 years old power station on October 3rd. This is an unusual festival in the sense that it is open for three evenings only in spite of the fact that it exhibits some 40 contemporary artists and that numerous works are being created especially for this festival...

A thorough understanding of the creative process is key to social production in the television and film industry. The work carried out in complex environments as reflected by the number and variety of employees, type of organization and organizational relationships is described as craft-like, non-routine, unpredictable, and characterized by ambiguity, informality and negotiation. The creative process is described as one in which there is a division of labour, the absence of control, team work and a need for creative skills. The dynamics of the creative production process are intertwined with some basic necessary conditions, like having the right team members, and a series of possible consequences, like trust being present or having a positive perception of the outcome of the project, which brings an overall unity to the creative process. This reflection points to the need for increased understanding of the dynamics of the creative process.

A submission for the "White Book on Cultural Industries", Institut Català de les Industries Culturals, by Mark J. Schuster

NEW YORK, December 2003 - New York cultural leaders are optimistic about the future of the industry. According to the most recent DHR International cultural confidence survey, the index is now at 57, as compared to 30 when these were leaders polled in the spring (the index is measured on a scale of 1 to 100, with 50 as neutral and 100 as most optimistic). The majority of those surveyed believe that attendance, fund raising, their organizations overall performance and that of the industry will improve over the next six months.

CHICAGO, December 2003. Cultural leaders surveyed recently in Chicago are optimistic about the future for the industry and the confidence index is now at 62 for the industry, according to the most recent DHR International cultural confidence index (the index is based on a scale of 1 to 100, with 50 as neutral and 100 as most optimistic). This is in comparison to a much more pessimistic view of the industry expressed six months ago, when the majority of the cultural leaders believed the future for the industry was pessimistic and the index was at an all time low of 40.

This article analyses the economic dimension of a set of activities grouped under the heading, Culture and Leisure Industry, from three complementary perspectives: national (Spain), sectoral and regional.