Doprinos kulturnih i kreativnih industrija gospodarstvu županije: studija slučaja dviju turističkih regija u Hrvatskoj

Engineers in the Creative and Cultural Industries (CCIs) are underrepresented, despite high demand for their expertise resulting from digitalization. Increasing the quantity of engineers in CCIs has emerged as a policy goal, since experiments have shown that combining engineering and creative abilities enhances productivity and innovation output. It is therefore unsurprising that the high and unmet demand for engineers in CCIs is well documented. However, the factors contributing to them not taking up jobs in these sectors are not well understood. The existing knowledge mostly comes from the analysis of deficiencies within the CCIs, including cultural disparities, skill profiles and economic factors. But why engineers themselves consider CCIs to provide inappropriate career tracks is little understood. The present study aims to bridge this knowledge gap through two main pillars. First, it develops a novel theoretical framework that aims to provide a taxonomy operationalizing the reasons for which engineers do not engage with the CCIs. This framework categorizes the social and economic barriers that keep engineers from pursuing careers in the CCIs. It includes economic factors, educational path dependencies, integration and interest. Second, our study offers preliminary quantitative insights into how the framework operates in practice, identifying key barriers without drawing definitive classifications. This analysis serves to highlight patterns and considerations for the future. The data source used is a survey among 104 university engineering and STEM students. Our results indicate that economic factors, such as poor salaries and job instability that are both prevalent in the CCIs are not the major barriers keeping engineers from the CCIs. They do not feel that educational investment would bear insufficient return. Instead, they feel ill-equipped to integrate into CCIs because of perceived deficiencies in artistic abilities. Furthermore, educational path dependencies for engineers do not necessarily support multidisciplinary education or counseling toward careers in the CCIs. These further exacerbate their worries regarding integration in the CCIs. These issues identified by our exploratory study can be resolved, predominantly because engineering students demonstrate inherent interest in arts and culture. Our research identifies the need for implementing specific changes to promote education and career guidance that span several disciplines.

The ongoing transition within the Chinese economy assumes a pivotal role in shaping the landscape of the cultural and creative industries (CCI). Renowned for its environmentally sustainable attributes, coupled with high productivity, CCI has garnered considerable attention across diverse societal strata. This study endeavors to delineate the determinants influencing the developmental trajectory of CCI, with a focal point on City A as the primary subject of investigation, juxtaposed against Cities G, D, B, H, and X for comparative analysis, leveraging developmental data from the year 2021. Initially, the study elucidates the conceptual framework underpinning CCI and its intrinsic significance in facilitating urban metamorphosis. Subsequently, the positive impact of CCI through deep learning and information management technology is emphasized, and a cultural and creative recommendation model based on LSTM algorithm is constructed. Through performance evaluation, the recommendation accuracy for cultural and creative projects reaches 94.74 %. A robust developmental assessment model for CCI is then constructed via meticulous factor analysis of pertinent influencers. Employing factor analysis techniques, the study identifies two primary determinants exerting sway over CCI development: sustainable profitability factors and cultural influence factors. Noteworthy among the factors influencing CCI development within City A are fixed asset investment, cultural industry financing, the proliferation of university-based research institutions, and per capita cultural expenditure by residents. Of these, fixed asset investment, cultural industry financing, and the density of university research institutions prominently impinge upon sustainable profitability, with a discernible impact weight of 0.738 in the evaluative framework of CCI development, thus significantly shaping its trajectory. Moreover, consumer psychological factors, particularly market consumption patterns, are observed to exert a discernible influence on CCI evolution. This study augurs fresh insights into the realm of CCI development, infusing it with renewed vigor and vitality. Moreover, it underscores the inherent interdependence and positive correlation among the various research factors, offering novel perspectives and methodologies germane to the advancement of urban CCI.

This paper surveys the research literature on cultural and creative industries (CCI). Academic discussions on CCI have grown extensively after the Department of Culture, Media and Sport (DCMS) identified 13 sectors as constituting creative industries in the UK in 1998. The public has also become gradually convinced of the significance of CCI as being important for economic growth. We adopt a systematic and quantitative method to review the academic CCI literature. After collecting data, we first investigate the research fields under which the journals that publish CCI papers are categorized, finding that Business, Economics and Geography are the top three research fields. A second examination on the authors’ nationality indicates that their cultural background induces a different emphasis on their research field. We lastly apply the multiple main paths analysis to uncover the development trajectories of CCI research, with the result showing that the research agenda has changed along with a better understanding of the essential elements of CCI. Based on the literature on the main path, we observe the top five discussed themes: information technology, global cooperation, micro and fragmentary creative activities, remote places, and country/regional characteristics. Monitoring the discussions on these themes may help CCI researchers, creative workers, and policy makers to assess future directions for economic development.

Policy makers applaud the growth of the creative and cultural industries (CCI) in the developed economies; indeed, it has been argued that these sectors have achieved global popularity as a plank of economic development strategy (Cunningham, 2007). Even in the context of the current recession Pratt (2009: 496) remarks on both ‘the relative and absolute rise of the CCI’. In the United Kingdom they are held up for the potential they may have to create wealth and new jobs in the wake of declining secondary and tertiary sectors (DCMS, 2008, 2011; Bakhshi et al., 2013). In 2010 approximately 1.5 million people were employed in creative industries in the UK (DCMS, 2011) and the value of the sector has grown at an average of 5 per cent per annum against an average of 3 per cent across the economy more generally (Shorthouse, 2010). As part of this wider set of industries the UK film industry has been estimated to contribute around £5.3bn to the economy and provide 70,000 jobs, including 46,000 in production (BFI, 2013) while the television industry, which includes the British Broadcasting Corporation (BBC) – a semi-autonomous public service broadcaster (PSB) and not primarily profitmaking – provides around 80,000 jobs and £1bn to the export economy (House of Lords, 2010). Universities see the continued year-on-year growth of creative arts and mass communications degree programmes (HESA, 2013), and the cultural and creative industries remain popular as aspirational graduate destinations, with associations of glamour (Davies and Sigthorssen, 2013). However, behind this ‘good news story’ is a more complex picture. These industriesare uneven in their growth, employment potential or economic significance despite similarities in organisational and workforce structures. In contrast to their popularity and glamorous associations they have a collective history of nepotistic recruitment through informal networks (Holgate and McKay, 2007; Grugulis and Stoyanova, 2012); a very substantial proportion of freelance, casual, contingent, ‘flexible’ or precarious work (Hesmondhalgh and Baker, 2010, 2011; Skillset, 2011); an increasingexpectation that entrants will be filtered through a system of unpaid or low-paid internships (Siebert and Wilson, 2013; Skillset, 2010; Holgate, 2006); and an employment profile that suggests that mechanisms are at work which exclude on the basis of gender, ethnicity, age, geography, disability and social class (Randle, Leung and Kurian, 2007; Grugulis and Stoyanova, 2012; Warhurst and Eikhof, 2011; Gill, 2011). One wide ranging review of creative and cultural industries (Pratt and Jeffcutt, 2009: 269) concludes:a careful examination of the socio-economic backgrounds of participants reveals a distinct bias to the mainly young, white, male, middle classes. In the UK, and it is likely in other nations for which we do not have direct data, the creative and cultural industries are particularly poorly representative of diversity.

Cultural and Creative industries (CCIs) sector have high recognition on the South African government’s development agenda. Yet, the contribution of the sector to the economy appears to be extremely low in comparison to its counterparts in the developed world. The objective of this study is to assess the extent to which the CCIs in South Africa are contributing towards economic development through their foreign exchange earnings and employment outlines. This research is concerned with one research question, how important is, CCIs to generate foreign exchange earnings and job creation in South Africa? The study discusses on the challenges and issues for the sector underperformance. The authors argued that it is important for the South African government to promptly harness and exploit the CCIs in a way that it delivers the full potential benefits associated with it. The results confirm that cultural and creative industries are very crucial and contribute positively to the South African economy through foreign exchange earnings and job creation.

The present chapter recognize the challenging issue in measuring creative economy by means of cultural and creative industries (CCIs). In doing so, it is essential to develop a more comprehensive and systematic understanding of CCIs within a taxonomies background with mobile definitional boundaries. A key step towards this direction is providing robust evidence about CCIs' definitions and measurement, by using available statistical information in relation to the European creative economy. Different sources were exploited to collect informa¬tion on CCIs at the Country level. Some data are also present at regional (NUTS2) and province (NUTS3) level. At city level is difficult to have finer grain observations and there is a lack of proper monitoring tools in this spatial unit of analysis. A scholar debate on composite indices is articulated as well but new challenges rise up as the need for CCIs impact metrics to become more and more relevant in terms of re-thinking inclusive and sustainable growth for the creative economy. Some composite indices have been already built and discussed but, given the complexity of cultural production and consumption processes, and the heterogeneity of players involved, a suitable and comparable data is still missing.

This paper is dedicated to examining the impact of the COVID-19 pandemic on the creative and cultural industries (CCI) in two tourist counties in Croatia – the Istria County and Šibenik-Knin County. This research focuses on the impact, resilience and adaptation of the CCI sector to the effects of measures introduced to combat the spread of the COVID-19 pandemic. The analysis is conducted using an online survey of business entities operating in the CCI sector, with the fulfilled surveys covering 12.1 percent of the total number of firms. The analysis showed that the COVID-19 pandemic has had a short-term negative effect on most of the surveyed entities in two analysed counties, with a greater negative effect in Istria County. Still, the pandemic has not had a significant negative impact on employment. Moreover, the respondents were optimistic about the long-term implications of the pandemic on their business, with respondents from Istria County expressing greater optimism than those from Šibenik-Knin County. The pandemic has encouraged respondents to adapt to new circumstances and seek novel solutions to achieve new revenue streams.

Cultural and Creative Industries (CCIs) attained significant attention among policy makers in recent years, yet they have not received the attention that they deserve from strategic management scholars. Although CCIs are very active in forming mergers and acquisitions (M&As), yet there is no study with the aim of investigating this largely employed corporate strategy by CCIs. This study tackles this gap by examining the patterns of mergers and acquisitions among 22 CCIs. We use resource dependence lens to explain these patterns. We argue that constraint absorption is the main driver for CCIs to form M&As. However, the existence of power imbalance creates impediments in following such a strategy. Our data covers all the acquisitions among CCIs in Europe from 2005 to 2014. In our results we find positive effect of mutual dependence on forming M&As and decreasing effect of existence of power imbalance on forming M&As as a constraint absorption strategy. Our results are consistent with the predictions proposed in the literature that apply resource dependence lens. Key Words: Cultural and creative industries, CCI, Mergers and acquisitions, M&A, Resource dependence, Constraint absorption

Spatial concentration of Cultural and Creative Industries (CCIs) is not a new topic in academic research. However, the analysis of this phenomenon often neglects that CCIs behave differently, due to their heterogeneity. Building on the literature on CCIs' concentration, a novel classification of CCIs is presented based on two key dimensions: heterogeneous creativity and filière. CCIs spatial concentration is tested along these two dimensions, highlighting that the location determinants differ at their intersection. Results renew the interest on CCIs' clustering and define new perspectives for policy interventions.

Green tourism is part of the global effort to create a more sustainable living environment, taking into account the needs of both the industry, the tourists and the local communities. CCIs are considered trustworthy ambassadors of authenticity and life values, and can therefore effectively promote and/or strengthen the ecological value. This paper focuses on the role that cultural and creative industries (CCIs) can play in the implementation of sustainable development, especially in regard to green tourism, focusing on their role as communicators of green messages. The methodological tools used for the collection, analysis and interpretation of data for this research include semiotic analysis in a number of CCIs’ products, coding their ecological messages; content analysis of the CCIs’ digital posts for a one-year period in order to examine the form, types and content of the communication; and a digital ethnography of the users’ comments in order to study the perception and interaction of the receivers of such messages, focusing on past, present and potential tourists. Through the case study of Greece—a well-known tourist destination with rich cultural resources—the author tries to answer to the following research questions: (a) Could green tourism be promoted as a life value through CCIs’ products and messages? (b) Are there any good and innovative practices for such promotion through the synergy of the tourism industry with CCIs that could be used as models for further cases? This paper concludes that CCIs can promote sustainability as a life value through role modeling, educational programs, and subconscious or more straightforward messages, using both their products and formal communication channels. The more successful way for Greek CCIs to promote green tourism is through synergies with official tourism promotion mechanisms. The research shows that in many cases, this linkage has been successful in a number of ways.

This study reviews the evolution of the cultural and creative industries (CCI) policy in Taiwan. Beginning with the early 1990s, when the ‘culturalization of industries, industrialization of culture’ represented the central theme of Taiwanese ‘cultural policy’, it traces the shift to the present day, in which Taiwan’s ‘CCI policy’ has been driven by the broader economic rationale of pursuing international competitiveness. By examining the recent discourse and development of Taiwan’s CCI policy, the paper reveals that Taiwan’s CCI policy has served to widen, rather than bridge the gaps between ‘localization and globalization’, ‘culture and creativity’, and ‘network system’ of the CCI development and more importantly, has overshadowed cultural issues. Consequently, tensions are emerging which are challenging to future CCI policy development, especially at a time when Taiwan is becoming increasingly incorporated into the fastest growing economy – mainland China, which brings threats and opportunities to the CCI development in Taiwan.

The article examines the relationship between public investment in the creative and cultural industries (CCI) sector and the level of competitiveness of the national economy. This study examines the influence of state-sponsored initiatives, including innovative projects, cultural programmes and creative start-ups, on a country's global economic competitiveness. It is established that investments in the cultural and creative industries have a dual impact on the national economy. Firstly, they facilitate the development of the cultural and educational spheres. Secondly, they have a significant impact on GDP growth, job creation, increase in export potential and attraction of foreign investment. Particular attention is paid to the mechanisms of interaction between the public and private sectors for the effective implementation of investment programmes in the field of CCI. The article examines the various financing models and institutional approaches that can ensure the sustainable development of creative industries. A substantial portion of the study is dedicated to an examination of international experiences with regard to investment in cultural and creative industries. In particular, the European Union, the United Kingdom, the United States, and the countries known as the "Asian Tigers" are taken as case studies. Based on a comparative analysis of these cases, the most effective instruments for supporting investments in the CCI sector and their impact on the competitiveness of national economies are identified.

In Macao, the government established the Cultural and Creative Industry Promotion Office and Cultural Industries Committee in 2010, which nominated eight to-be-developed cultural and creative industries (CCIs): design, visual arts, performing arts, clothing, pop music, film and video, animation, and publishing. However, because each CCI has its unique pattern and environmental resources are very limited in Macao, an industrial chain analysis for these eight industries should be conducted prior to policy implementation. Therefore, this study organized an industrial feasibility analysis for these eight CCIs. The methodologies included in-depth interviews, a literature analysis, and knowledge-discovery in databases. On the other hand, this study adopted the concept of creative industries, “the relationship between production and reproduction”, and “the three-circle hypothetical interactive consumption” model for positioning these eight CCIs to choose existing industries in Macao, such as the exhibition, gambling, and cultural tourism industries, that are likely to promote CCIs. Next, the orientations of these CCIs are determined. Finally, it is suggested that the performing arts, design, and visual arts industries should be prioritized currently, and the heritage management and digital media industries are advised as to-be-developed ones. In contrast, the clothing, pop music, film and video, animation, and publishing industries are not so beneficial for Macao’s development.

Cultural and creative industries (CCIs) have been regarded as a growth driver for economic and urban development in many cities worldwide. This study first traces the development of CCIs in China, both as the leading top-down approach and as grassroots efforts in local communities. Then, it identifies the driving forces for CCIs’ development and their impacts on urban development and regeneration. The extensive literature review finds that China’s CCIs share many common characteristics with Western cities. Meanwhile, the CCIs in Chinese cities also demonstrate unique characteristics, for example, strong top-down policy guidance; close relation with continuous urbanization especially through the construction of science and technology parks; and extremely weak ties with local communities. Based on the review, the authors suggest future research agendas to better understand the mechanisms that affect CCIs-related urban (re)development and both social and economic impacts from CCI development at multiple scales.

Collaborative modes with Cultural and Creative Industries and innovation performance: The moderating role of heterogeneous sources of knowledge and absorptive capacity