Abstract
Mapping of creative industries is a crucial basis for assessing the creative economy in regions. It ensures the development of creative clusters and the subsequent identification of stakeholders and networks. The present approach is to transfer creative industries research from global cities and urbanized old industrial regions to peripheral rural regions, in our case with preserved ethnographic traditions and crafts and tradition in design and film production which forms the core activities of the region. The article discusses the methods of secondary data quantitative analysis of the commercial creative industries from publicly available sources and reveals shortcomings in databases in the Czech Republic. The mapping takes into account the contribution of time factor within the definition of the creative industries segments, where it reveals significant differences not only between them but also, it shows differentiation between enterprises with employees and non-employing enterprises. The article serves as a foundation for the facilitation of creative clusters and creative industries development strategies as instruments that support competitiveness at the regional level.
Highlights
There have not yet been taken too many steps towards the analysis of creative industries at the regional level in the Czech Republic
We considered Rumpel, Slach & Koutský (2010) dealing with the spatial perspective of creative industries in the Moravian-Silesian Region and Jirčíková (2009) addressing the theory of mapping using the Creative Trident methodology, including its application at the national level
The assessment of the role played by commercial creative industries in the Zlín Region can be supported by two variables where the variable 1 is the proportion of creative industries firms on the total number of firms (3.4%) in the region and variable 2 is the proportion of workers employed in creative industries firms to the total number of employees in the region (3.3%)
Summary
In terms of national conditions, this is hindered by a weak data base limiting research exclusively to a sector approach, i.e., mapping the creative industries firms rather than creative occupations. In addition to this level, there have occurred some fundamental differences in relation to available data sources in terms of distinctions of the creative industries to commercial, public and informal sector (UNCTAD, 2010; Wiesand & Söndermann (as cited in Kloudová, 2009; Kloudová et al, 2010))
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