P OLICY AND R EGULATION Speaker: Chang, Vivian T. Y. Kung, Shiann Far Institute of Creative Industries Design, National Cheng Kung University Date: Dec

OUTLINE What is creative industry? Why “Creative” rather than “Cultural”? Cultural industry 4 prongs--History description Creative industries’ historical shift Business Economics perspective Creative industries definition Network among creative industries Economic perspectives Cultural perspectives Education perspectives Policy tools 2

W HAT IS CREATIVE INDUSTRY ?—UK CASE J OHN HOWKINS Idea How to make money? Knowledge Economy (Information Economy) Creative Economy (National Wealth) 3 Resource: John Howkins, The Creative Economy: How People make Money from Ideas (2001) Cultural Industries Creative Industries ？

W HAT IS CREATIVE INDUSTRY ? Culture is abandoned as elitist and exclusive. Creativity is embraced as democratic and inclusive. Cultural industries were essentially, and concatenation that didn’t hold.(Cunningham, 2001) 4 Cultural Industries Creative Industries ？ Traditional culture Advanced technology Value

W HY “C REATIVE ” RATHER THAN “C ULTURAL ”? (A DORNO & H ORKHEIMER 1979) Saw the problems of mass culture and relationship between ideology and capitalism in terms either of an elite/mass or a base/superstructure distinction. From analysis of social structure and class to analysis of culture. (focused on political and policy discourse in the late 1960s). 5

W HY “C REATIVE ” RATHER THAN “C ULTURAL ”? (N ICHOLAS G ARNHAM,2005) “ Culture” had the following meanings : 1. It emphasized, influenced by information economics, the special features of the economic structure and dynamics of symbolic production, distribution and consumption. 2. Rather than the Frankfurt School’s references to a very general model of the capitalist economy as a whole. 3. It referred to the processes of vertical and horizontal concentration and conglomeration that were increasingly creating, out of what had previously been the distinct industries of print publishing, film, broadcasting and music, a unified economic sector on a global scale. 6 Resource: Nicholas Garnham, “’From culture to creative industry’, International Journal of Cultural Policy, 11:1,15-29 (2005)

W HY “C REATIVE ” RATHER THAN “C ULTURAL ”? (N ICHOLAS G ARNHAM,2005) “ Culture” had the following meanings : 4. In the economic analysis of the cultural sector between cultural industries and creative industries approach is continuous and disjunctive. 5. There is no opposite views between culture and markets, or between culture and economics. 6. It needs to take the economics of the sector and the operation of the markets for symbolic goods and services seriously in crafting policy. 7. The differences lie rather in the type of economic analysis made and thus the policy conclusions drawn from it. 7 Resource: Nicholas Garnham, “’From culture to creative industry’, International Journal of Cultural Policy, 11:1,15-29 (2005)

C ULTURAL INDUSTRY 4 PRONGS --H ISTORY DESCRIPTION ~ ~ Negative Version Established Commercial Industry as Cultural Industry Applied Arts Practices (For e.g. Urban Regeneration) The application of neoclassical economics to the arts Resource: Stuart Cunningham, “From Cultural to Industries: Theory, Industry, and Policy Implications”, Creative Industries Research and Applications Center, Queensland University of Technology(2001)

C REATIVE INDUSTRIES ’ HISTORICAL SHIFT 9 Neo-Classic Economy New Economy Subsidy public Arts Interactivity, Convergence, Customization, Collaboration and network National Global, local, Regional

B USINESS E CONOMICS PERSPECTIVE 10 Creative Economy PatentCopyright Design Industry Trademark Remark: It includes all patent-based R&D in all science- engineering-technology based sectors Resource: John Howkins, The Creative Economy: How People make Money from Ideas (2001)

C REATIVE INDUSTRY DEFINITION --UK The fastest sector of economic growth. Stress on the training of creative workers(i.e. artist worker) Stress on the protection of intellectual property. 11 Creative Industries Potential Industries IP protection Content Producers Artists, Creative Workers Market Macro Level-- Global Micro Level-- Small, SME

C REATIVE INDUSTRIES DEFINITION --S USAN G ALLOWAY AND S TEWARD D UNLOP, 2007 Five Criteria(O’Connor,1999) 12 Creativity Intellectual Property Symbolic meaning Use Value Methods of Production

D EFINITION Creativity--Any kind of activity should involve creativity which necessarily be “creative”. Intellectual Property—People could own the products of their creativity. (i.e. Copyright) Symbolic meaning—Culture was used to describe activities that contributed to the intellectual and artistic development of individuals. Use Value—means symbolic goods.(Goods whose primary economic value is derived from their cultural value.) Generate and communicate symbolic meaning. This includes industries that may produce some cultural goods in the sense used above. Production methods— A combination of symbolic meaning and industrial-scale production methods that is understood to characterize the cultural industries (Garnham,1990; Hesmondhalgh 2002) 13

C REATIVE INDUSTRIES DEFINITION --S USAN G ALLOWAY AND S TEWARD D UNLOP, 2007 “Creative industries” have enjoyed high economic growth rates, and that this “creativity” can be applied to the rest of the economy. 14 Economic growth rates Use value Symbolic meaning Creative activities Cultural activities

N ETWORK AMONG CREATIVE INDUSTRIES --E CONOMIC S URVEY IN S INGAPORE

P OLICY PERSPECTIVES Economy Policy Education Policy Culture Policy 16

E CONOMIC PERSPECTIVES Mass customers are willing to pay for art (Commercial purpose). Pursue the market value Driving force of economic growth within nation. Job opportunities creation Intellectual Property Protection Copyright usage Design industries occur. 17

C ULTURE PERSPECTIVES Emphasize the subsidy policy Social factors are important Culture preserves are important for politic, social purpose. Exclude technology, innovation consideration. Cultural policy usually follows the national political target. Cultural development is obedient to government policy. Art workers are the mainstream of development. 18

E DUCATION PERSPECTIVES Focused on Art Elites. Emphasized on art talents training IP producer will be leaded by university (school). Artist incubation is important for achieving the economic growth target. Creative activities combined with technology need scientists, artists, and designer. The above elites come from university. 19

P OLICY TOOLS Intervention – budget support, regulation, rules, Strategies —experts economic, talents incubation, digit content development, ICT application, cluster effectiveness. Normative —Organization, community, communication, social status 20