地方文化创意产业外文文献翻译

文献信息

文献标题：Creative Economy, Cultural Industries and Local Development（创意经济、文化产业与地方发展）

文献作者：Nicola Boccella，Irene Salerno

文献出处：《Procedia-Social and Behavioral Sciences》,2016,223: 291-296.

字数统计：英文3378单词，18355字符；中文5627汉字

外文文献

Creative Economy, Cultural Industries and Local Development

Abstract The purpose of this paper is to draw a clear picture of creative and cultural industries and of the creative economy, as driving factors of economic growth and local development. To this aim, the paper analyzes some recent data on the significance of the creative economies, reflecting on the concepts of creative and cultural industries. In the text, attention is paid to the links between creative economy and local development on one hand, and the concepts of territorial capital and social capital on the other side.

In the end, the work focuses on presenting the results of an in-progress study, about the recent literature on the mentioned issues, presenting a brief overview of some significant works.

Keywords: Creative economy, cultural economy, cultural indistries, creative industries, local development, social capital, territorial capital.

1. Creative economy, cultural and creative industries. Overview on concepts and data

Over the last years, the importance of the so-called cultural economy and of the cultural and creative industries has greatly increased. Today, cultural and creative industries are driving factors for economic growth and according to global demand,

also stimulated by the new economy. As it is known, the concept refers not only to the domain of culture in the strict sense, but refers also to cultural goods and services as the core of a new, powerful and vast sector that can be broadly referred to cultural areas.

The creative economy is closely related to the creative and cultural industries. The term cultural industries was diffused since the Eighties, and it was referred to those forms of cultural production and consumption, which have at their center a symbolic or expressive element. The concept was then spread around the world by UNESCO just since the Eighties and its definition has gradually incorporated a wide range of industries: music, the industries related to art, writing, fashion and design, media, as well as craft production.

Since the Nineties of the Nineteenth Century, however, it is in use also the name of the creative industries; the term refers to a very large production that includes goods and services produced by the cultural industries and those depending on innovation.

From the time in which the term “creative economy” was popularized, in 2001, the so-called cultural and creative industries stared generating economic growth at a progressively increasing rate; at global level, as stated in the “Creative economy report” (2013), such economy generated “US$2.2 trillion worldwide in 2000 and growing at an annual rate of 5 per cent”.

Concerning the European scenario, Europe has a strong interest in the cultural and creative industries, as they are a source of economic growth: as stressed in the report of the European Creative Industries Summit, “the cultural and creative sectors make up nearly 4.5% of the European economy, thanks to nearly 1.4 million small and medium-sized businesses generating and distributing creative content all over Europe. The cultural and creative sectors have shown great resilience during the crisis – they actually continued to grow – while stimulating creativity and innovation spill- overs in other sectors. About 8.5 million people are employed in creative sectors across Europe – and many more if we take into account their impact on other sectors such as tourism and information technology”.

Focusing, more in detail, on the Italian situation, here in 20142 the enterprises of the cultural and creative sectors produce 78.6 billion of added value and stimulated other sectors of the economy so as to generate the 15.6 % of the whole national added value, equal to 227 billion euro including the incomes of that part of the national economy that is directly activated by culture (e.g. tourism).

According to recent data of the UnionCamere-Symbola Report (2015), between 2012 and 2014 despite the global crisis, companies that have invested in creativity have increased their turnover by 3.2%; companies that have invested in creativity were rewarded with a 4.3% increase in exports. Moreover, the 443,208 enterprises in the cultural production system, accounting for 7.3% of domestic enterprises, reaches 5.4% of the wealth produced in Italy, equal to 78.6 billion of euros. Arriving at about 84, equivalent to 5.8% of the national economy, if we include public institutions and organizations in the non-profit organization active in the field of culture.

Particular attention has to be paid to the multiplier effects generated by the economy of culture and the positive impact on the employment: in fact, the cultural and creative industries as well as the sectors of historical, artistic and architectural heritage, performing arts and visual arts, are actually employing 1.4 million people, that means the 5.9% of whole Italian employment – and over 1.5 million, equal to 6.3% of the whole employment rate if we include also the public and no-profit sector.

2.Cultural and creative industries as driver factors for local development: Relationships with territorial and social capital

The significance from an economic point of view, of the creative economies, mentioned in the previous chapter, imposes a reflection on the necessary national and international policies that will enhance the deep bonds between the various fields of culture, territories and the socio-institutional tissue, in order to give the cultural and creative sectors their role in the economy of the territories and make it the heart of the local economic development patterns, even in underprivileged territories.

As stressed in the European Creative Industries Summit (2015), “The creative economy is also associated with large cities and/or dominant regions within countries,

or even concentrated within cities where a prosperous creative industry sector may be a small enclave surrounded by poverty and social deprivation. The creative economy tends to concentrate today in great world cities that are already central places of financial capital, investment and power or have significant historical legacies of social and cultural mixing. What is more, the centripetal forces have intensified because of convergence and acquisitions at the global corporate level. Emblematic in this regard are the television, media, film and publishing industries. Moreover, more dispersed organizational forms, which are also characteristic of the sector, tend to have their major value-added activities located and/or controlled in the global North. Thus, many forms of creative-economy investment and growth can amplify existing divisions between rich and poor both across and within countries. […] Yet, development of a creative economy can form an integral part of any attempt to redress inequality, provided that the process also brings about broader structural changes to ensure that creative workers are themselves not disadvantaged in relation to other workers”.

To address these problems, the European Union has launched several measures and has allocated funds for the cultural and creative industry development and the creation of capillary networks in support of the economies of disadvantaged areas. Emblematic is the case of the Structural Funds in the period 2014-2020, aimed at strengthening the links among creative industries, multi-disciplinary environments and other industries. European funding programmes have been designed to answer to these challenges, such as the Creative Europe programme imprimis, but also other EU funding programmes like the ERASMUS PLUS that supports skills development through education and training; the COSME programme that promotes entrepreneurship, access to finance and markets for small and medium enterprises; the HORIZON 2020 which aims at promoting research and innovation in the field of culture and cultural heritage.

At national level, to strengthen creative and cultural industries it is mandatory to encourage the development of the territorial network, and policies to support local economy and the relationships among privates, and between public and private sectors.

In all the assessments of the creative economy, developing countries appear lacking, in fact, in key institutional and/or regulatory conditions.

Developing such networks and relationships means to have in mind a clear picture of the deep links among the creative and cultural industries development and the so-called “territorial capital” of a country; the concept of territorial capital relates, furthermore, to the concept of “social capital”.

As it is known, for both the terms several definitions are available; the terms refers to the system of territorial assets of economic, cultural, social, environmental nature, that ensures the potential development of places. The latter, in order to succeed, have to exploit this complex set of factors.

The territorial capital has a strong influence on economic growth. The quality of the institutions and cohesion are elements of great importance to create conditions so that the territorial capital can fully express its potential. This means that it is essential to direct national policies, looking at the specificity of each territory, boosting the institutional quality. It also means investigating the deep relations with the registered capital of a given context (Brasili, 2014).

Closely related to the concept of territorial capital and in relation with local development, is the other concept of social capital. The concept of social capital has been extensively used since the Eighties of the Twentieth Century in sociology, economics and political science; today, there are numerous definitions of it and it is not possible to identify a universally accepted one (Abbafati, Spandonaro, 2011). In this context and to the aims of this work, it can be definied as a profitable resource based on the existence of some kind of relations and/or social norms, namely, as a collective, indivisible resource, and as a public good (Cartocci, 2007). The level of social capital, in conclusion, determines the degree of social cohesion, the horizontal links and the nature of relations with institutions. It therefore refers to the spontaneous sharing of a value system that establishes and determines the quality of civil society and the links between its members, which is reflected directly on the quality of institutions and ethical tissue (Abbafati & Spandonaro, 2011). Hence, in order to develop creative economies related to the goods of a certain territory, it is necessary to

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