Pub Date : 2021-09-24DOI: 10.1080/17510694.2021.1980672
Á. Dias, M. González‐Rodríguez, M. Patuleia
Abstract Creative tourism has been approached from several points of view: products and processes, enabling elements, marketing, sustainability, etc. However, to our best knowledge, there is no integrative model that brings together all its dimensions and enables a ‘bird’s eye’ perspective of creative destination competitiveness. As such, this article aims to present a competitiveness model for a creative tourism destination. The model presents four essential dimensions: core elements (products and processes, travellers and entrepreneurs), enablers (community engagement, stakeholders competences, and creative atmosphere), and developers (marketing and communication). Avenues for future research are presented based on the identification of areas to expand existing knowledge on creative tourism research, mainly by proposing measurement instruments which may contribute to operationalize the proposed model.
{"title":"Creative tourism destination competitiveness: an integrative model and agenda for future research","authors":"Á. Dias, M. González‐Rodríguez, M. Patuleia","doi":"10.1080/17510694.2021.1980672","DOIUrl":"https://doi.org/10.1080/17510694.2021.1980672","url":null,"abstract":"Abstract Creative tourism has been approached from several points of view: products and processes, enabling elements, marketing, sustainability, etc. However, to our best knowledge, there is no integrative model that brings together all its dimensions and enables a ‘bird’s eye’ perspective of creative destination competitiveness. As such, this article aims to present a competitiveness model for a creative tourism destination. The model presents four essential dimensions: core elements (products and processes, travellers and entrepreneurs), enablers (community engagement, stakeholders competences, and creative atmosphere), and developers (marketing and communication). Avenues for future research are presented based on the identification of areas to expand existing knowledge on creative tourism research, mainly by proposing measurement instruments which may contribute to operationalize the proposed model.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"180 - 203"},"PeriodicalIF":1.1,"publicationDate":"2021-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48379924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-21DOI: 10.1080/17510694.2021.1978690
M. Behlil
ABSTRACT In the complex sphere of global television dramas, South Korea has emerged as a regional force in the last few decades, followed by Turkey in the 2000s. Turkish TV dramas are sold to over 140 countries throughout the world, demanding a constant supply of new content, met in part by remakes. While Korean productions receive limited distribution in Turkey, a significant number of these have been remade by Turkish companies. Since 2013, Korean dramas have replaced Hollywood series as the primary source of adaptations for Turkish dramas. There appear to be shared sensibilities that make the Korean stories palatable to Turkish audiences, but more significantly, certain production practices make Korean sources a more viable choice than Hollywood series for Turkish producers. This article explores these sensibilities from an industrial point of view, employing testimonies from leading industry informants who have been instrumental in introducing Korean source material to Turkish television.
{"title":"Turkish remakes of Korean TV dramas","authors":"M. Behlil","doi":"10.1080/17510694.2021.1978690","DOIUrl":"https://doi.org/10.1080/17510694.2021.1978690","url":null,"abstract":"ABSTRACT In the complex sphere of global television dramas, South Korea has emerged as a regional force in the last few decades, followed by Turkey in the 2000s. Turkish TV dramas are sold to over 140 countries throughout the world, demanding a constant supply of new content, met in part by remakes. While Korean productions receive limited distribution in Turkey, a significant number of these have been remade by Turkish companies. Since 2013, Korean dramas have replaced Hollywood series as the primary source of adaptations for Turkish dramas. There appear to be shared sensibilities that make the Korean stories palatable to Turkish audiences, but more significantly, certain production practices make Korean sources a more viable choice than Hollywood series for Turkish producers. This article explores these sensibilities from an industrial point of view, employing testimonies from leading industry informants who have been instrumental in introducing Korean source material to Turkish television.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"163 - 179"},"PeriodicalIF":1.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48219052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-20DOI: 10.1080/17510694.2021.1979278
J. Bérubé, J. Gauthier
Abstract For about the last ten years, the creative industries have been structuring themselves around projects; this is called projectification. With this research, we study the tension between artistic and project management values and compromises in projects in creative industries. Drawing on the Making Projects Critical approach, we used the Economies of Worth framework to analyze the results of an instrumental multiple case study of creative industries. We undertook semi-structured interviews with creative workers, art directors and project managers of small advertising agencies. This article highlights compromise between artistic and project management values as a condition for the viability of projects in creative industries. Our conclusion is that compromise is attainable if project managers focus not only on instrumental project management principles but also on the satisfaction and daily support of creative workers, and an educational-type relationship with customers. Given the tension between creative and project management values, achieving a compromise is a condition for the viability of projects in creative industries.
{"title":"Managing projects in creative industries: a compromise between artistic and project management values","authors":"J. Bérubé, J. Gauthier","doi":"10.1080/17510694.2021.1979278","DOIUrl":"https://doi.org/10.1080/17510694.2021.1979278","url":null,"abstract":"Abstract For about the last ten years, the creative industries have been structuring themselves around projects; this is called projectification. With this research, we study the tension between artistic and project management values and compromises in projects in creative industries. Drawing on the Making Projects Critical approach, we used the Economies of Worth framework to analyze the results of an instrumental multiple case study of creative industries. We undertook semi-structured interviews with creative workers, art directors and project managers of small advertising agencies. This article highlights compromise between artistic and project management values as a condition for the viability of projects in creative industries. Our conclusion is that compromise is attainable if project managers focus not only on instrumental project management principles but also on the satisfaction and daily support of creative workers, and an educational-type relationship with customers. Given the tension between creative and project management values, achieving a compromise is a condition for the viability of projects in creative industries.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"76 - 95"},"PeriodicalIF":1.1,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42377691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-20DOI: 10.1080/17510694.2021.1938924
Hsing-Hua Chang, Tsung-Chi Cheng
Abstract This research analyzes Taiwan data from a national attendance survey of four performing arts categories - music, dance, contemporary drama, and traditional theatre - and uses econometric models to examine the determinants of performing arts attendance for these four genres from various aspects. We find that the audience of traditional theatre is quite different from the audiences of the other three performing arts categories, and that the pair-wise correlation coefficients for the participations among music, dance contemporary, and traditional theatre performing arts are all positive. The study further categorizes the audiences into four groups based on variety and frequency of participation: sporadic univores, sporadic omnivores, frequent univores, and frequent omnivores. A multinominal logistic regression identifies what factors influence a respondent’s decision to attend more than one type of performing arts events, allowing to identify segments of the audiences that exhibit a high degree of omnivorousness.
{"title":"Omnivorous audiences of performing arts: evidence from Taiwan","authors":"Hsing-Hua Chang, Tsung-Chi Cheng","doi":"10.1080/17510694.2021.1938924","DOIUrl":"https://doi.org/10.1080/17510694.2021.1938924","url":null,"abstract":"Abstract This research analyzes Taiwan data from a national attendance survey of four performing arts categories - music, dance, contemporary drama, and traditional theatre - and uses econometric models to examine the determinants of performing arts attendance for these four genres from various aspects. We find that the audience of traditional theatre is quite different from the audiences of the other three performing arts categories, and that the pair-wise correlation coefficients for the participations among music, dance contemporary, and traditional theatre performing arts are all positive. The study further categorizes the audiences into four groups based on variety and frequency of participation: sporadic univores, sporadic omnivores, frequent univores, and frequent omnivores. A multinominal logistic regression identifies what factors influence a respondent’s decision to attend more than one type of performing arts events, allowing to identify segments of the audiences that exhibit a high degree of omnivorousness.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"160 - 175"},"PeriodicalIF":1.1,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47999601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-07DOI: 10.1080/17510694.2021.1975075
Yuri Cartland, Steven Maras
Abstract Start-up enterprises are perceived as key drivers of economic growth within a region and as a result have been subject to increased interest from governments and researchers. However, little research has focused on social learning within start-up communities and the broader start-up ecosystem. This study focuses on the start-up community in Perth, Western Australia. It has two research aims: firstly, to re-contextualise start-up communities as social learning systems (SLS), as defined by Étienne Wenger. Secondly, to explore the place of social learning within the start-up ecosystem. The two research aims are pursued through semi-structured interviews, and theoretically directed thematic analysis, both informed by Wenger’s work on communities of practice and social learning systems. The study finds that the start-up community’s role within the ecosystem is to act as a forum that accumulates and disseminates knowledge, that is essential to direct social interaction with others and shapes individual and community identities, grounding the start-up ecosystem in norms of Alignment, Engagement and Imagination. This article enhances understanding of the start-up community as an object of study in its own right, which can be approached as a social learning construct.
{"title":"Re-contextualising start-up communities as social learning systems","authors":"Yuri Cartland, Steven Maras","doi":"10.1080/17510694.2021.1975075","DOIUrl":"https://doi.org/10.1080/17510694.2021.1975075","url":null,"abstract":"Abstract Start-up enterprises are perceived as key drivers of economic growth within a region and as a result have been subject to increased interest from governments and researchers. However, little research has focused on social learning within start-up communities and the broader start-up ecosystem. This study focuses on the start-up community in Perth, Western Australia. It has two research aims: firstly, to re-contextualise start-up communities as social learning systems (SLS), as defined by Étienne Wenger. Secondly, to explore the place of social learning within the start-up ecosystem. The two research aims are pursued through semi-structured interviews, and theoretically directed thematic analysis, both informed by Wenger’s work on communities of practice and social learning systems. The study finds that the start-up community’s role within the ecosystem is to act as a forum that accumulates and disseminates knowledge, that is essential to direct social interaction with others and shapes individual and community identities, grounding the start-up ecosystem in norms of Alignment, Engagement and Imagination. This article enhances understanding of the start-up community as an object of study in its own right, which can be approached as a social learning construct.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"146 - 162"},"PeriodicalIF":1.1,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49555689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-30DOI: 10.1080/17510694.2021.1969804
P. Purg, S. Cacciatore, Jernej Čuček Gerbec
Abstract The article explores cross-innovation between CCIs and SMEs. To enable such innovation, the DIVA project developed a set of tools and methods, based on an analysis of field-specific stakeholder requirements. By looking at specific cases of interaction between designers and artists on one side and business firms on the other, also leaning on the Cross Innovation project and considering a wide range of secondary research, the article captures both the existing mechanisms, as well as detects tacit potentials and new possibilities for deep cross-fertilization. Based on a theoretical reference framework presented in the first part of the article, the findings of a multi-stakeholder SWOT analysis carried out by the DIVA project indicate new innovative paradigms brought about by introducing art thinking next to the predominant paradigm of design thinking within traditional industry realms. Upon the empirical evidence of analyzed cooperation potentials, a Europe-wide selection of good practice cases and through focused interviews, the article digests a set of business-needs transformations that call for a profound cross-fertilization between art and entrepreneurship. These evidence-based guidelines present the potential of a new ‘innovation catalyst’ profile who facilitates the shift from unintentional spillovers to art-thinking based crossovers.
{"title":"Establishing ecosystems for disruptive innovation by cross-fertilizing entrepreneurship and the arts","authors":"P. Purg, S. Cacciatore, Jernej Čuček Gerbec","doi":"10.1080/17510694.2021.1969804","DOIUrl":"https://doi.org/10.1080/17510694.2021.1969804","url":null,"abstract":"Abstract The article explores cross-innovation between CCIs and SMEs. To enable such innovation, the DIVA project developed a set of tools and methods, based on an analysis of field-specific stakeholder requirements. By looking at specific cases of interaction between designers and artists on one side and business firms on the other, also leaning on the Cross Innovation project and considering a wide range of secondary research, the article captures both the existing mechanisms, as well as detects tacit potentials and new possibilities for deep cross-fertilization. Based on a theoretical reference framework presented in the first part of the article, the findings of a multi-stakeholder SWOT analysis carried out by the DIVA project indicate new innovative paradigms brought about by introducing art thinking next to the predominant paradigm of design thinking within traditional industry realms. Upon the empirical evidence of analyzed cooperation potentials, a Europe-wide selection of good practice cases and through focused interviews, the article digests a set of business-needs transformations that call for a profound cross-fertilization between art and entrepreneurship. These evidence-based guidelines present the potential of a new ‘innovation catalyst’ profile who facilitates the shift from unintentional spillovers to art-thinking based crossovers.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"115 - 145"},"PeriodicalIF":1.1,"publicationDate":"2021-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46679518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-09DOI: 10.1080/17510694.2021.1960705
Daniel A. Walzer
Abstract For years, creativity has been a topic of interest for scholars in psychology, human development, and the arts. Research on creativity has produced a growing body of literature in the art and science of music production. Correspondingly, the entertainment sector has undergone what business and entrepreneurship scholars refer to as disintermediation or a reduction of skilled labor affecting the roles and responsibilities of those working in music production. Research on creativity with independent music production (IMP) is less common. Little is known about creativity by those without access to particular domains. As the music and recording industries remain untethered, an increase in autodidactic and incremental learning processes seems likely along with the growth of new models of independent music production. Using a Bourdieusian theoretical framework, the article analyzes two skill areas in IMP, experimentation, and critical listening, and calls for a more equitable and imaginative analysis of creativity.
{"title":"Towards an understanding of creativity in independent music production","authors":"Daniel A. Walzer","doi":"10.1080/17510694.2021.1960705","DOIUrl":"https://doi.org/10.1080/17510694.2021.1960705","url":null,"abstract":"Abstract For years, creativity has been a topic of interest for scholars in psychology, human development, and the arts. Research on creativity has produced a growing body of literature in the art and science of music production. Correspondingly, the entertainment sector has undergone what business and entrepreneurship scholars refer to as disintermediation or a reduction of skilled labor affecting the roles and responsibilities of those working in music production. Research on creativity with independent music production (IMP) is less common. Little is known about creativity by those without access to particular domains. As the music and recording industries remain untethered, an increase in autodidactic and incremental learning processes seems likely along with the growth of new models of independent music production. Using a Bourdieusian theoretical framework, the article analyzes two skill areas in IMP, experimentation, and critical listening, and calls for a more equitable and imaginative analysis of creativity.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"42 - 55"},"PeriodicalIF":1.1,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42418249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-05DOI: 10.1080/17510694.2021.1959087
Stuart Cunningham, M. McCutcheon
Abstract There is a fraught history to the relationship between creative industries policy and programs on the one hand, and on the other, innovation and entrepreneurship policy and programs, which have rarely been inclusive of creative industries, although there are developments which run counter to this neglect. But structural changes to modern economies mean that innovation policy needs to shift to accommodate creative industries. The article reviews some of the problems associated with that shift, and notes that a major innovation lever used by governments—precinct or cluster development—has had a mixed record when applied to culture. A focus on one site—Adelaide, South Australia—demonstrates that progress can be made when a clear vision is articulated of the integral role that creative industries can play in innovation policies for economic growth and infrastructure support. Six precincts in inner-urban Adelaide—ranging from pure arts to advanced manufacturing—interact to produce additionality rather than simply aggregation, enacting a productive ecosystem for both creative industries and STEM. The precincts ecology enhances practical creative entrepreneurship, acts as a conduit for the movement of talent as it seeks greater challenge and opportunity, disrupts existing norms in innovation practice; and facilitates access to new markets.
{"title":"Rearticulating the creative industries-STEM relationship: the case of innovation precincts in South Australia","authors":"Stuart Cunningham, M. McCutcheon","doi":"10.1080/17510694.2021.1959087","DOIUrl":"https://doi.org/10.1080/17510694.2021.1959087","url":null,"abstract":"Abstract There is a fraught history to the relationship between creative industries policy and programs on the one hand, and on the other, innovation and entrepreneurship policy and programs, which have rarely been inclusive of creative industries, although there are developments which run counter to this neglect. But structural changes to modern economies mean that innovation policy needs to shift to accommodate creative industries. The article reviews some of the problems associated with that shift, and notes that a major innovation lever used by governments—precinct or cluster development—has had a mixed record when applied to culture. A focus on one site—Adelaide, South Australia—demonstrates that progress can be made when a clear vision is articulated of the integral role that creative industries can play in innovation policies for economic growth and infrastructure support. Six precincts in inner-urban Adelaide—ranging from pure arts to advanced manufacturing—interact to produce additionality rather than simply aggregation, enacting a productive ecosystem for both creative industries and STEM. The precincts ecology enhances practical creative entrepreneurship, acts as a conduit for the movement of talent as it seeks greater challenge and opportunity, disrupts existing norms in innovation practice; and facilitates access to new markets.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"16 1","pages":"22 - 41"},"PeriodicalIF":1.1,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1959087","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43718420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-04DOI: 10.1080/17510694.2021.1952735
G. Harper
{"title":"Sustainable development and the creative economy","authors":"G. Harper","doi":"10.1080/17510694.2021.1952735","DOIUrl":"https://doi.org/10.1080/17510694.2021.1952735","url":null,"abstract":"","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"14 1","pages":"107 - 108"},"PeriodicalIF":1.1,"publicationDate":"2021-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1952735","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49180721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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