Abstract
The aim of the contribution is to analyse the current state of the supporting sectors within the creative industries, to identify and quantify the role of the supporting sectors in the Slovak economy. In the European union, there are huge expectations associated with the creative industries. Based on the following findings, we can conclude that the low level of external investments is caused by the low possibility to get the loans. There is no relation between the regional density of supporting sectors’ enterprises and the economic results reached by these regions.
Highlights
The well-known authors and researchers [1,2,3,4] tried to considerate a new aspect, that is, the multidimensional nature of creativity and the potential synergic and complementary effects of creative talents of different nature
We articulated the following research questions: xResearch question no. 1: Are supporting sectors of the creative industries inferior? xResearch question no. 2: Have the supporting sectors of the creative industries reported the weak results in the selected indicators? xResearch question no. 3: Are the clusters with the highest amount of supporting sectors’ enterprises located in the regions with the highest GDP per capita? Supporting sectors of the creative industries include the following business activities according to the numeral classification provided by the Statistical Office of the Slovak Republic:
We collected the information about all enterprises, which are active in Slovakia and belong under the selected SK NACE codes
Summary
The well-known authors and researchers [1,2,3,4] tried to considerate a new aspect, that is, the multidimensional nature of creativity and the potential synergic and complementary effects of creative talents of different nature. The merging of talents is, a source of original, complex and synergic ideas which are at the basis of the positive relation between creativity and local development. The objectives of the first companion of cultural economists—a few of them are even in our midst—were good. They wanted to prove all other economists that their mechanisms are applicable in a study of the arts, too, and looked for recognition for their exercise. Maybe some hoped to influence the world of economists as well
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