Table 1.1
Classification systems for the creative industries derived from different models
Advertising Architecture Art and antiques market Crafts Design Fashion Film and video Music Performing arts Publishing Software Television and radio Video and computer games
2. Symbolic texts model
3. Concentric circles model
Core cultural industries
Core creative arts
Core copyright industries
Advertising Film Internet Music Publishing Television and radio Video and computer games
Literature Music Performing arts Visual arts
Advertising Collecting societies Film and video Music Performing arts Publishing Software Television and radio Visual and graphic art
Peripheral cultural industries Creative arts
Borderline cultural industries Consumer electronics Fashion Software Sport
Other core cultural industries Film Museums and libraries
Wider cultural industries Heritage services Publishing Sound recording Television and radio Video and computer games
Related industries Advertising Architecture Design Fashion
the concentric circles model, are regarded as peripheral in the symbolic texts construction. There is no “right” or “wrong” model of the creative industries, simply different ways of interpreting the structural characteristics of creative production. The attractiveness of the various models may therefore be different, depending on the analytical purpose. From the viewpoint of statistical data collection, however, a standardized set of definitions and a common classification system are needed as a basis for designing a workable framework for dealing with the creative industries within the larger standard industrial classification systems that apply across the whole economy.
1.1.6 The UNCTAD classification of the creative industries
A significant landmark in embracing the concept of the “creative industries” was the UNCTAD XI Ministerial Conference in 2004. At this conference, the topic of creative industries was introduced into the international economic and development agenda, drawing upon recommendations made by a High-level Panel on Creative Industries and Development. This topic is further elaborated in chapter 9. The UNCTAD approach to the creative industries 10
4. WIPO copyright model
Interdependent copyright industries Blank recording material Consumer electronics Musical instruments Paper Photocopiers, photographic equipment
Concept and context of the creative economy
1. UK DCMS model
1
Partial copyright industries Architecture Clothing, footwear Design Fashion Household goods Toys
relies on enlarging the concept of “creativity” from activities having a strong artistic component to “any economic activity producing symbolic products with a heavy reliance on intellectual property and for as wide a market as possible”10 (UNCTAD, 2004). UNCTAD makes a distinction between “upstream activities” (traditional cultural activities such as performing arts or visual arts) and “downstream activities” (much closer to the market, such as advertising, publishing or media-related activities) and argues that the second group derives its commercial value from low reproduction costs and easy transfer to other economic domains. From this perspective, cultural industries make up a subset of the creative industries. Creative industries are vast in scope, dealing with the interplay of various sectors. These creative sectors range from activities rooted in traditional knowledge and cultural heritage such as art crafts, and cultural festivities, to more technology and services-oriented subgroups such as audiovisuals and the new media. The UNCTAD classification of creative industries is divided into four broad groups: heritage, arts, media and functional creations. These groups are in turn divided into nine subgroups, as presented in figure 1.3. The rationale behind this classification is the fact that most countries and institutions include various industries under the heading “creative industries”, but very few try to
Ibid. C R E AT I V E E C O N O M Y R E P O R T 2 0 1 0
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