Creative industries: Setting the research agenda (2009)
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1. UK DCMS model. This model derives from the impetus in the late 1990s in the United Kingdom to reposition the British economy as an economy driven by creativity and innovation in a globally competitive world. “Creative industries” are defined as those requiring creativity, skill and talent, with potential for wealth and job creation through the exploitation of their intellectual [property] (DCMS, 2001).
2. Symbolic texts model. This model is typical of the approach to the cultural industries arising from the critical-cultural studies tradition as it exists in (Western) Europe and especially the United Kingdom (Hesmondhalgh, 2007). This approach sees the “high” or “serious” arts as the province of the social and political establishment and therefore focuses attention instead on popular culture. The processes by which the culture of a society is formed and transmitted are portrayed in this model via the industrial production, dissemination and consumption of symbolic texts or messages, which are conveyed by means of various media such as film, broadcasting and the press.
3. Concentric circles model. This model is based on the proposition that it is the cultural value of cultural goods that gives these industries their most distinguishing characteristic. Thus the more pronounced the cultural content of a particular good or service, the stronger is the claim to inclusion of the industry producing it (Throsby, 2001). The model asserts that creative ideas originate in the core creative arts in the form of sound, text and image and that these ideas and influences diffuse outwards through a series of layers or ‘concentric circles’, with the proportion of cultural to commercial content decreasing as one moves further outwards from the centre. This model has been the basis for classifying the creative industries in Europe in the recent study prepared for the European Commission (KEA, 2006).
4. WIPO copyright model. This model is based on industries involved directly or indirectly in the creation, manufacture, production, broadcast and distribution of copyrighted works. The focus is on intellectual property as the embodiment of the creativity that has gone into the making of the goods and services included in the classification. A distinction is made between industries that actually produce the intellectual property and those that are necessary to convey the goods and services to the consumer. A further group of ‘partial’ copyright industries comprises those where intellectual property is only a minor part of their operation (UNCTAD, 2008).
| 1. UK DCMS model | 2. Symbolic texts model | 3. Concentric circles model | 4. WIPO copyright model |
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Advertising Architecture Art & antiques market Crafts Design Fashion Film & video Music Performing arts Publishing Software TV & radio Video & computer games |
Core cultural industries Advertising Film Internet Music Publishing TV & radio Video & computer games Peripheral cultural industries Creative arts Borderline cultural industries Consumer electronics Fashion Software Sport |
Core creative arts Literature Music Performing arts Visual arts Other core creative arts Film Museums & libraries Wider cultural industries Heritage services Publishing Sound recording TV & radio Video & computer games Related industries Advertising Architecture Design Fashion |
Core copyright industries Advertising Collecting societies Film & video Music Performing arts Publishing Software TV & radio Visual & graphic art Interdependent copyright industries Blank recording material Consumer electronics Musical instruments Paper Photocopiers, photographic equipment Partial copyright industries Architecture Clothing footwear Design Fashion Household goods Toys |
Fig 1. Classification systems for the creative industries (UNCTAD, 2008).
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