The economic impact of COVID-19 on the creative industries: a sub-regional input-output approach.

The creative industries are a strategically important sector for the Cardiff Capital Region (CCR) which houses large public sector broadcasters and an ecosystem of IT and software businesses. The CCR is an administrative boundary in Wales which captures just under half of the Welsh population but over half of the Welsh economy. The pandemic and resultant lockdown restrictions have had profound impacts on the creative industries, a sector which depends heavily on in-person interaction. The creative industries are not one homogenous sector, but a collection of different activities some of which faced different supply and demand conditions due to the COVID-19 shock. To understand the impact of the shock in fine inter-industry detail and at a sub-regional scale an input-output table for the Cardiff Capital Region (the CCRC-IO) is utilized. The CCRC-IO estimates that the direct, indirect, and induced impacts of the shock see output fall by £457 m (0.53% of CCR output), GVA by £147 m (0.58% of CCR GVA) and FTE employment by 2416 (0.58% of CCR FTE). The paper finds that the economic impact of the COVID-19 shock varies considerably by both geography and sub-sector.

Creative Approach to Development: Leveraging the Sino-African Belt and Road Initiatives to Boost Africa's Cultural and Creative Industries for Africa's Development.

The present study identifies investment in Africa's cultural and creative industries (CCIs) as one of the strategic moves in the right direction for achieving sustainable development across the African continent. Cultural and creative industries (CCIs) offer an alternative approach to development through their wealth creation potential, socioeconomic development, employment opportunities, and promotion of cultural diversity. Nevertheless, CCIs are yet to feature categorically as a development strategy, owing to their many challenges, as indicated by the study. The study submits that partnerships under the Belt and Road Initiatives (BRI) could offer an alternative source of mobilizing support for CCIs, as the BRI is a development framework with robust financing, infrastructure, and human resources development. However, it will require the pragmatic support of policymakers to leverage BRI and boost the expansion of CCIs in Africa.

Financing the cultural and creative industries through crowdfunding: the role of national cultural dimensions and policies.

The trend towards digitalisation and technological innovation has reshaped the cultural and creative industries (CCIs) by changing the existing funding models and structures. The aim of this article is to explore the impact of cultural dimensions and policies on the adoption of reward-based crowdfunding as a new form of finance for firms in the CCIs in 12 different European countries during the 2015-2019 period. Our results show that national cultural dimensions and policies significantly affect the demand for cultural and creative crowdfunding. Specifically, the adoption of crowdfunding is broader in individualistic countries and in societies characterised by higher uncertainty avoidance, indulgence, short-term orientation, and lower levels of discrimination between genders. Furthermore, we find that the liberal welfare state model, characterised by limited government interference, market orientation, privatisation and a focus on self-responsibility, and the Southern European welfare model, based on a weak and inefficient state, increase the adoption of crowdfunding in the CCIs. The presence of a central ministry with cultural competence also increases the adoption of crowdfunding in the CCIs. Our findings show a U-shaped relationship between European grants and the demand for crowdfunding, mainly driven by a high or low European involvement within these sectors. We also identify a moderation effect of EU grants on the relationship between cultural dimensions and crowdfunding adoption, suggesting that the magnitude of this relationship depends on the amount of EU grants awarded in a specific country. As a robustness check, we run a set of Poisson regressions with correlated random effects (CREs), confirming our main results.

'The show must go on!': Hustling through the compounded precarity of Covid-19 in the creative industries.

The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative work: digitalization, diversification, and social engagement. We present a new way of conceptualizing creative work in precarious geographies by theorizing hustling, and the associated worker resourcefulness, improvisation, savviness, hopefulness, and caring not merely as an individualized survival strategy, but rather as an agentic and ethical effort to turn the vicissitudes of life into situated advantages and opportunities, and even social change.

Changes in Consumer Purchasing Behavior of Cultural and Creative Products During the COVID-19 Pandemic.

The COVID-19 pandemic that began in 2020 has led the changes of many business models, including rapid growth in e-commerce that had made the change of consumers' shopping behavior from physical to online shopping. This study takes Taiwan's cultural and creative industry as an example to understand the relationship between the development of e-commerce and the design of commodity packaging during COVID-19, as well as the changes in consumer consumption patterns during the epidemic period. After exploring more than a dozen cultural and creative brand operators in the target research area using qualitative research methods, this study found that the epidemic has indeed affected the sales of some cultural and creative brands, but through the change of packaging design, consumers' visual perception stimulates the sales of goods and re-established pay attention to the cultural and creative brands when add some new packaging designs, and bring positive effects on e-commerce sales to the brand. Also, the good packaging design brought some more attention and procurement of goods, and also brings the effect of quality improvement.

Games-as-a-service: Conflicted identities on the new front-line of video game development.

As creative industries begin to experiment with service and subscriptions models, prior research suggests that such changes in production and consumption carry important implications for workers. Using the theoretical lens of occupational communities, this empirical study investigates the impact of servitization-that is, the transition from a product to a service-dominant logic-on the identity of video game developers. It theorizes that service workers' skills and mind-set, relationships with peers and players, internal and external reputation, as well as development principles and values all experience disruptions, leading to the emergence of a distinct identity.

Relative geographic concentration of creative, other traded, and local industries using establishment data and Harvard's U.S. Cluster Mapping Benchmark Definitions.

This paper examines the relative tendency of industries and industry clusters to be geographically concentrated. Creative industries defined as having distinct artistic creation and production-distribution components are examined. This extends previous observations that creative industries exhibit a relatively high degree of geographic concentration to examine whether two-sided market dynamics contribute to this concentration. Variance in the distribution of business establishments among U.S. metro areas for 978 industries is calculated using County Business Patterns data from the U.S. Census Bureau. The data is mapped to different clusters using Harvard University's U.S. Cluster Mapping Benchmark Definitions. The average variance of each cluster is calculated to measure relative concentration.•Richard Caves' definition of creative industries is used to identify industries characterized by a two-sided structure.•Harvard University's U.S. Cluster Mapping Benchmark Definitions are used to map creative industries to specific industry codes and industry clusters.•These two methods are applied to U.S. County Business Patterns data to examine the relative geographic concentration of two-sided creative clusters.

The impact of the COVID-19 pandemic on the creative industries: A literature review and future research agenda.

The ongoing COVID-19 pandemic has affected countless businesses, leading to serious disruptions for many industries. Drawing on the resilience literature, this study offers an understanding of the impact of the COVID-19 pandemic on the creative industries and their response to the challenges they have encountered. This study reviews 59 papers following the systematic literature review approach and reveals several positive implications of the COVID-19 pandemic within the creative industries (e.g., IT and software) as well as the negative (the music industry, festivals, cultural events). Identifying six themes related to the impact of the COVID-19 pandemic on the creative industries, we develop a response matrix based on the discussion of firms' digital capabilities and their ability to adapt to the COVID-19 crisis. We outline future research directions using a Theory-Context-Characteristics-Methodology (TCCM) framework.

New forms of finance and funding in the cultural and creative industries. Introduction to the special issue.

This Special Issue seeks to address the perennial question of support options for the cultural and creative industries (exacerbated due to the impact of COVID-19) by bringing together articles that examine and explain various dynamics in CCI financing and funding. The articles in the Issue are diverse in their approaches, methods and data. They range from conceptual, qualitative, and case studies, to analyses based on survey data and granular 'big data'. The articles mainly address digital fundraising technologies and investment practices. Strikingly absent in this collection of studies are modes of funding in which governments and public providers occupy center stage. Innovation in financing and funding appears to be more the result of new modalities (i.e., technology-driven) than of fundamental shifts in thoughts about how the cultural economy could be approached and how the CCI should be financially sustained. The articles in the Issue suggest the emergence of a new funding paradigm, which steps away from a clear demarcation between public and private in terms of interests and financing modes. This new paradigm embraces collaborative funding mechanisms such as crowdfunding, incubator and accelerator finance, and other pooled investments, as well as digital fundraising technologies that facilitate new modes of asset finance and tokenized funding. Future research themes are being suggested: the merging of project funding with structural budgets, the emergence of new business models and improved labor market conditions due to technology-driven aids, shifts in transaction costs, and issues related to regulation and legislation.

The Impact of the COVID-19 Pandemic on Independent Creative Activities in Two Large Cities in Romania.

The COVID-19 pandemic has had both financial and activity-related effects on a number of areas of activity, among which those involving the creative industries have proved to be weak in their capacity to survive the halting of all events held in physical spaces. The long-term effects of the current health crisis are bringing about changes in cultural demand and offer and highlighting the need to adapt and to think of new ways of functioning. Taking its cue from this situation, the research underlying our article set out to investigate the ways in which Romania's independent creative sector is adapting. We achieved this by means of conducting 25 semi-structured interviews and undertaking case studies of two cities that are among the most effervescent from the point of view of cultural and creative industries, Timișoara and Cluj-Napoca. With the strengthening of this sector as the aim in view, the forms of early social resilience we identified are capable in the short term of taking action to ensure the survival of some of the spaces; in the medium term, through activating mechanisms that encourage entrepreneurial spirit, they will be able to adapt to any external shock.

O trabalho criativo em carreiras sem fronteiras: o caso da Boundary VFX / Creative work in careers without borders: The Boundary VFX case / El trabajo creativo en carreras sin fronteras: el caso de Boundary VFX

O estudo discute a respeito do entendimento acerca de novos formatos de trabalho que emergem na sociedade pós-industrial, tendo a criatividade e a inovação como forças motrizes da economia contemporânea. O objetivo foi evidenciar o entendimento acerca de novos formatos de trabalho que emergem na sociedade pós-industrial, evidenciados na forma de carreiras sem fronteiras. Investigou-se uma empresa que opera com efeitos visuais (VFX) e presta serviços para produções cinematográficas ao redor do mundo. Foram utilizados dados secundários oriundos de redes sociais, portais na internet, artigos de imprensa e fóruns e dados primários, obtidos por meio de entrevista não estruturada. A análise revela que a fragmentação da força de trabalho na indústria criativa possibilita sua divisão por redes telemáticas, extrapolando as condições limitantes das fronteiras físicas.

The study discusses the understanding of new forms of work that emerge in post-industrial society, with creativity and innovation as driving forces of the contemporary economy. The objective of the study isto show the understanding about new work paths which emerge in post-industrial society, evidenced in the form of the boundaryless career. This case study investigates a company that operates with visual effects (VFX) and provides cinematographic productions services around the world. The study used secondary data from social networks, internet portals, press articles, forums, and primary data obtained through unstructured interviews. The analysis reveals that the fragmentation of the workforce in the creative industry allows its division by telematic networks, overcoming limiting conditions of physical borders.

El estudio discute sobre el entendimiento de nuevas formas de trabajo que surgen en la sociedad postindustrial, teniendo la creatividad y la innovación como fuerzas motrices de la economía contemporánea. El objetivo fue comprender las nuevas formas de trabajo que surgen en la sociedad postindustrial, evidenciada en forma de carrera sin fronteras. Se investigó una empresa que opera con efectos visuales (VFX) y presta servicios para producciones cinematográficas alrededor del mundo. Fueron utilizados datos secundarios provenientes de redes sociales, portales en Internet, artículos de prensa, foros y datos primarios, obtenidos por medio de entrevista no estructurada. El análisis revela que la fragmentación de la fuerza de trabajo en la industria creativa posibilita su división por redes telemáticas, extrapolando las condiciones limitantes de las fronteras físicas.

The future of French museums in 2030.

The purpose of this article is to describe the possible futures of French museums up to 2030. To do this we rely on a Delphi study that took place between late 2017 and early 2018 with 99 experts from the field. We propose three scenarios. The first aims to create museums centered around youth and to democratize culture. The second corresponds to the reaction of museums facing a decrease in public funding. The third is a breakdown scenario, where museums undergo evolutions. In this latter scenario, a direct participation of nearby stakeholders is observed, unlike the other two scenarios.

Efficiency Measurement and Heterogeneity Analysis of Chinese Cultural and Creative Industries: Based on Three-Stage Data Envelopment Analysis Modified by Stochastic Frontier Analysis.

Industry sustainability plays a vital role in shaping the environment for cultural and creative business development. However, considering the influence of the external environment and random factors on the technical efficiency (T.E.) of cultural and creative industries with the inherent defects of the traditional data envelopment analysis (DEA) model; this manuscript analyzed the operating efficiency of 56 cultural and creative enterprises using the three-stage DEA model from 2012 to 2018. An analysis of the results shows that differences in efficiency exist between stage one and stage three DEA. Furthermore, the environmental elements and statistical noise measured by the stochastic frontier analysis (SFA) in stage two reveal positive and negative influences on the creative cultural enterprises at different stages. As a result, the overall efficiency of the listed cultural and creative industries was revealed to be low in China. Finally, this study suggested effective countermeasures and recommendations for better-operating efficiency systems for cultural and creative enterprises.

Economies of scope in artists' incubator projects.

Although economies of scale are relatively well studied in the arts, economies of scope have received less attention. Yet recent trends toward freelancing and technological connectivity make scope economies especially timely in addressing structural challenges to artist-led incubators. This paper offers a conceptual framework for cooperative strategies that employ economies of scope both in the economic sense of joint production and in the financial sense of risk pooling. This framework distinguishes franchise, federation, and resource-sharing organizational structures as developed through case studies of two US-based organizations: ArtBuilt and REC (Resources for Every Creator), placed in a larger context of cooperative organizational strategy in the USA and Europe. The proposed strategies of cooperative networks (quasi-franchises, federations, or resource-sharing networks) also draw on a literature of spatial agglomeration in creative industries. The framework leads to more speculative ideas of "balance-sheet philanthropy" through credit backstopping by foundations, and of novel investment trusts that can be piloted across a range organizations including foundations, grant-makers, artist residency programs, and even for-profit companies engaged in reinsurance. The paper contributes managerial tools and strategies for the creative engagement of capacity building in arts organizations.

Innovation and diversity in the digital cultural and creative industries.

The cultural and creative industries (CCIs) are increasingly being recognised in South Africa, as in other countries, as wealth-creating, given appropriate investment, rather than primarily a non-market subsidized sector. However, national innovation policy is still predominantly focused on STEM (science, technology, engineering and mathematics) skillsets and related product markets. This paper analyses how the CCIs in the Cape Town cluster innovate by combining digital technology, creative inputs, and workforce diversity. Based on a similar study conducted in Brighton, UK, a cluster of innovative CCI firms was identified that are to varying degrees "fused", defined as combining digital technology and creative design in production. Fused firms have higher levels of innovation in business processes, goods and services. Fused firms were also more likely to employ demographically diverse people, adding insights from the South African mix to the UK studies on disciplinary diversity. While fused creative-digital firms employ greater diversity, a qualitative analysis of SA gaming and animation firms nevertheless demonstrates the challenges for improving diversity in a developing country context.

Ócio jovem e o consumo de videoclipes pop ­ um estudo exploratório / Young leisure and the consumption of pop music videos - an exploratory research

A música, especialmente a que é cantada, é companheira diária das populações ocidentais, muito particularmente dos jovens. Como tal, a produção musical é fortemente cobiçada pelas indústrias criativas, nomeadamente as discográficas que, explorando-a, procuram sempre novas potencialidades e novos mercados. Por exemplo, a imagem tornou-se constituinte praticamente indissociável da canção, fomentando, consequentemente, um produto mais vendável, através de internet, e de acesso fácil a qualquer jovem em qualquer lugar. O objetivo deste artigo é avaliar o impacto, nos jovens, de videoclipes de música pop, que lhe são especialmente dirigidos. Neste estudo escolhemos analisar um dos mais populares desses videoclipes, procurando compreender quais os sentidos, quer da música, quer do respetivo videoclipe, procurando aprofundar os modos, como estes condicionam a vivência do tempo de ócio dos adolescentes. Assim, a questão nuclear aqui colocada relaciona-se com os sentidos e respetiva descodificação que esta mais recente extensão da música (os videoclipes) poderão ter nos jovens. A principal questão que colocamos é a seguinte: Será que a dimensão visual da música, e a sua omnipresença, influi na qualidade da experiência de momentos de ócio por parte dos jovens? A presente investigação aborda esta questão a partir dos Estudos Culturais, entendidos estes como uma área interdisciplinar que nos permite articular temáticas das Indústrias Culturais e Criativas, a área dos estudos de ócio e o modelo de comunicação de Stuart Hall1 , enconding and decoding, para proceder à análise do material empírico que produzimos a propósito da visualização de um videoclipe por um grupo de jovens. O estudo que aqui apresentamos é exploratório e integra-se numa investigação mais vasta que deverá conduzir a uma dissertação de doutoramento...(AU)

A song, especially that which is sung, is a daily companion of the western people, very particular of the young. As such, musical production is strongly coveted by the Creative Industries, especially the record companies which, by exploring it, always look for new potentialities and new markets. For example, image became a composite virtually inseparable from the song, thus fostering a more salable product, via the internet, with easy access to any young person anywhere. The purpose of this article is to evaluate the influence in the young, of pop music video clips, to whom they are specially directed. In this study we chose to analyze one of the most popular video clips, looking to understand them, specifically the part of their music and of the respective images on the videoclip, and to profoundly appreciate how these conditionate the ways teenagers enjoy their leisure time. Thus, a core issue here is related to the ways, and their decoding, that these latest extensions of music (the video clips) can have on the young people. The main question that arises is: what kind of influences visual music, and its omnipresence, imposes in the quality of leisure moments experience by the young? The present research approaches this subject from a point of view of the Cultural Studies, understood as an area of interdisciplinarity that allows us to articulate thematics from the Cultural and the Creative Industries, the areas of leisure studies and the model of communication by Stuart Hall1 , "enconding and decoding", to proceed to the empirical material analysis that was produced from the visualization of a video clip by a group of young people. The study presented here is exploratory and integrates a larger area of scientific investigation leading to a doctoral thesis...(AU)

Reluctant entrepreneurs: musicians and entrepreneurship in the 'new' music industry.

Changing labour conditions in the creative industries - with celebrations of autonomy and entrepreneurialism intertwined with increasing job insecurity, portfolio careers and short-term, project-based contracts - are often interpreted as heralding changes to employment relations more broadly. The position of musicians' labour in relation to these changes is unclear, however, given that these kinds of conditions have defined musicians' working practices over much longer periods of time (though they may have intensified due to well-documented changes to the music industry brought about by digitization and disintermediation). Musicians may thus be something of a barometer of current trends, as implied in the way that the musically derived label 'gig economy' is being used to describe the spread of precarious working conditions to broader sections of the population. This article, drawing on original qualitative research that investigated the working practices of musicians, explores one specific aspect of these conditions: whether musicians are self-consciously entrepreneurial towards their work and audience. We found that, while the musicians in our study are routinely involved in activities that could be construed as entrepreneurial, generally they were reluctant to label themselves as entrepreneurs. In part this reflected understandings of entrepreneurialism as driven by profit-seeking but it also reflected awareness that being a popular musician has always involved business and commercial dimensions. Drawing on theoretical conceptions of entrepreneurship developed by Joseph Schumpeter we highlight how the figure of the entrepreneur and the artist/musician share much in common and reflect various aspects of romantic individualism. Despite this, there are also some notable differences and we conclude that framing musicians' labour as entrepreneurial misrepresents their activities through an overemphasis on the economic dimensions of their work at the expense of the cultural.

Betwixt and between: Role conflict, role ambiguity and role definition in project-based dual-leadership structures.

Project-based organizations in the film industry usually have a dual-leadership structure, based on a division of tasks between the dual leaders - the director and the producer - in which the former is predominantly responsible for the artistic and the latter for the commercial aspects of the film. These organizations also have a role hierarchically below and between the dual leaders: the 1st assistant director. This organizational constellation is likely to lead to role conflict and role ambiguity experienced by the person occupying that particular role. Although prior studies found negative effects of role conflict and role ambiguity, this study shows they can also have beneficial effects because they create space for defining the role expansively that, in turn, can be facilitated by the dual leaders defining their own roles more narrowly. In a more general sense, this study also shows the usefulness of analyzing the antecedents and consequences of roles, role definition, and role crafting in connection to the behavior of occupants of adjacent roles.

'Like Skydiving without a Parachute': How Class Origin Shapes Occupational Trajectories in British Acting.

There is currently widespread concern that access to, and success within, the British acting profession is increasingly dominated by those from privileged class origins. This article seeks to empirically interrogate this claim using data on actors from the Great British Class Survey (N = 404) and 47 qualitative interviews. First, survey data demonstrate that actors from working-class origins are significantly underrepresented within the profession. Second, they indicate that even when those from working-class origins do enter the profession they do not have access to the same economic, cultural and social capital as those from privileged backgrounds. Third, and most significantly, qualitative interviews reveal how these capitals shape the way actors can respond to shared occupational challenges. In particular we demonstrate the profound occupational advantages afforded to actors who can draw upon familial economic resources, legitimate embodied markers of class origin (such as Received Pronunciation) and a favourable typecasting.

Desempenho, autorregulação e competências de empreendedores de indústrias criativas brasileiras / Performance, self-regulation, and competencies of entrepreneurs in Brazilian creative industries

RESUMO O objetivo deste artigo foi testar o poder preditivo das competências empreendedoras sobre o desempenho de profissionais nas indústrias criativas. O desempenho foi mensurado com base na percepção dos empreendedores sobre indicadores de resultado do negócio (e.g., lucratividade) e sobre relacionamentos sociais e carreira (e.g., a imagem do negócio e os avanços na própria carreira). A mediação exercida pela autorregulação também foi testada. Participaram 295 profissionais das indústrias criativas brasileiras. Os dados foram analisados por meio de análises fatoriais e de análise de regressão multivariada. Os resultados indicam que as competências de estratégia e planejamento foram preditores da percepção de desempenho, tanto dos indicadores de resultado do negócio (R2 RF = 0,20) quanto dos relacionamentos sociais e de carreira (R2 RF = 0,24). Uma dimensão da autorregulação, automonitoramento, apresentou mediação parcial sobre a variável-critério (0,09 e 0,10, respectivamente, p<0.001). Os empreendedores do setor de música apresentaram escores significativamente mais elevados nas competências avaliadas. Implicações práticas dos resultados são discutidas.

ABSTRACT The prediction of entrepreneurial competencies on the perception of business performance by creative industries professionals was tested. Performance was measured based on the entrepreneurs’ perception concerning their satisfaction with the enterprise performance indicators (e.g., profitability) and their social relationships and career (e.g., the image of the enterprise and personal career advancement). Mediation of self-regulation was also tested. Participants were 295 professionals from the Brazilian creative industries. Data were analyzed using both the factor analysis and multivariate multiple linear regression. Strategy and Planning competencies were predictors of performance perception, regarding enterprise performance indicators (R2 FR = 0.20) and social relationship and career (R2 FR = 0.24). The self-monitoring dimension of self-regulation showed partial mediation (0.09 and 0.10, respectively, p<0.001). Entrepreneurs from the music industry had significantly higher scores. Practical implications of these results are discussed.