The creative industries are those that take traditional creative talents in design, performance, production and writing, and merge these with media production and distribution techniques and new interactive technologies (for customization) in order to create and share out creative content all through the service sector of the new economy. The form of production is ‘Hollywood’ not ‘Detroit’ – project-based and innovative, relatively than industrial and standardized.
It is distinguished by networks and partnerships. Consumers have given means to users – interactive partners in further development of the creative product. The creative industries give content products for the new knowledge economy. It is here that the main social and consumer impact of new interactive media technologies is felt, as people are much more involved in content than in technologies as such. The appeal lies in the story, view, song or speech, not in the carrier mechanism.
This is increasingly true where the prospective for distribution of creative content via the Internet and other new interactive communication forms is being realized. Additionally, audiences increasingly anticipate high-tech content, interactivity and customization in traditional arts, media and entertainment industries. In this context, creative content is not restricted to leisure and entertainment products, but expands to commercial
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As the new interactive media technologies develop from b2b to b2c applications, creative content will be the fundamental requirement, whether the application is for a bank, an educational institution or an entertainment provider, or whether the user is in ‘ sit up ‘ or ‘ sit back ‘ mode. Previously distinctive industries have rapidly incorporated. Advances in technology and increases in system performance have formed a fertile environment for the incubation and growth of new sectors and the prospect for existing disciplines to find new commercial applications.
For example, animation and creative writing both found new application in the growth of computer games, which themselves have developed from one-person to interactive games, with several players, via the Internet. The inspiration of the ‘intangible’ sector relies more than ever on creativity, style and risk-taking imagination – on creative enterprises feeding continuously updated new content into technologically advanced knowledge-based industries. But content providers no longer require being located in metropolitan centers or one of the many ‘silicon valleys’ in order to play a global role.
“The creative industries are the key new growth sector of the economy, both nationally and globally, and thus, against a background of manufacturing sector decline, they are the key source of future employment growth and export earnings” . Music, animatronics, design, publishing, interactive media, e-commerce and entertainment are all cottage industries on the creative or supply side, relying on small/medium enterprises (SMEs) and freelance creative talent working through short-lived projects.
The requirement in this context is for interdisciplinary clusters, flexible and extremely porous teams, and creative enterprises to a certain extent than large-scale vertically integrated industries. The creative industries are a considerable sector of the global economy. The UK government has identified the following cluster as the creative industries: Advertising “Such listings inherently carry an ad hoc and pragmatic element to them.
In the UK case, the inclusion of sectors such as architecture and antiques is connected to the institutionally alignment of culture with the heritage sector, while the inclusion of areas such as designer fashion may reflect both the fact that Britain is a world leader in this area, and the Blair Government’s attempts to ‘rebadge’ the ‘old country’ as ‘Cool Britannia’” It may be argued that the ‘creative industries’ expand and dissolve ever further into the services sector and that this complete sector is faced with the challenge of using creative inputs to sustain core business.
Furthermore, entire industries have emerged to hold the creative sector, including impresarios, agents, management companies, publicists, events and exhibition managers, and knowledge and cultural entrepreneurs (Leadbeater and Oakley, 1999). ‘Creative Industries’ Cultural Policies The cultural industries is based completely on academic texts; this ignores the degree to which the term was made to work given meaning and operationalized across diverse policy terrains and in the service of different interest groups (Hesmondhalgh, 2002).
The major site for this is the local city and latterly regional level. The late 1980s and early 1990s saw a migration of cultural industry arguments from the GLC to other municipal regions in the U. K. – through both consultants and policy makers. They became tangled with local agendas and narratives of decline and renewal in different ways and with different success. Certainly, despite the growing globalization of the cultural industries in the last twenty years the story of cultural industry policy is exceptionally much one of the local and urban.
It could also be argued that this construction of a new policy object, this reconfiguring of the cultural policy field, moving it much quicker to the “hard hitting” fields of economic development, urban revival and to a lesser extent social policy has also seen the discrete cultural politics of the GLC policy – its stress on the local and the independent being so significant for its subsequent pursuit in another place increasingly buried under the discourse of economic development.