Creative Industries

1. Creative Industries

2. What is Creative Industries? The creative industries are defined by the Department for Culture, Media and Sport (DCMS) as: "...those industries which have their origin in individual creativity, skill and talent which have a potential for job and wealth creation through the generation and exploitation of intellectual property" ('Creative Industries Mapping Document', DCMS, 2001).

3. Where did it come from? The first Creative Industries Mapping Document, published in November 1998, was the first ever attempt to measure the economic contribution of these industries to the UK, and to identify the opportunities and threats they faced. The Mapping Document also helped set a blueprint for action for both Government and the industries. Over the past two years the Creative Industries Task Force has investigated generic issues which impacted on the creative industries and has made recommendations for change in areas such as skills and training, finance for creative venture, intellectual property rights, and export promotion.

4. What are the main vocational areas • advertising • architecture • art and antiques • computer games • crafts • design • designer fashion • film and video • music • performing arts • publishing • software • TV and radio.

5. 2 Examples of Developmentin the last 10 years • Chancellor George Osbourne announced his latest budget including tax relief for the video games, animation and high-end television production sectors, a 2% rise above inflation on alcohol duty but made no change to fuel duty. • A new group will champion the creative industries in Guernsey.Those who work in advertising, PR, art and design are getting together to speak with one voice to the government.The Creative Industries Forum (CIF) is a sub-committee of Guernsey's Art Commission and will work to promote closer relationships between creative businesses and the States, as well as providing resources for training and recruitment.

6. Importance to the Scottish Economy Creative employment provides around two million jobs, in the creative sector itself and in creative roles in other sectors. Employment in the sector has grown at double the rate of the economy as a whole. The Prime Minister’s speech on supporting esonomic growth highlights the creative industries as an important growth area in rebalancing the economy. DCMS will continue to work closely with other Government departments and agencies to make sure that there is an appropriate level of support available for the creative industries. The Government wants to create the right environment to start and grow a business, making sure that people working in the creative industries have the right managerial and leadership skills to do so. It has committed to introducing a ’one-in one-out‘ rule for new regulations, sunset clauses, and an immediate review of all inherited regulation in the pipeline.

7. Example of importance to Scottish Economy In 2007, the Scottish Government identified a number of key sectors which offer high-growth potential and the capacity to create economic impact for Scotland. The creative industries is one of these sectors, with an emphasis on digital content and technologies. Worldwide, the global entertainment and media industry is predicted to be growing at a rate of 7 percent annually, with exceptionally strong growth in the mobile/wireless, internet advertising and video games sectors. 

8. Difference between Creative Industries and Cultural Industries The main difference between the Creative industries and Cultural Industries is that the Cultural Industries tend to preserve parts of society whereas Creative Industries tend to introduce new things to modern day society.

9. Meaning of Synergy This is when two groups work together towards a common goal. This happens a lot in the creative industries due to the fact that a finished product may need several different skill sets to complete it whether its sound, video, print or so on.

10. Design • All the most important hazards and benefits of relevance to the issue (and their interactions) must be included in the analysis, and must be properly represented by the data and models being used. • Variations in the study population (especially in their differing susceptibility to potential health effects) must be allowed for, so that results of the assessment are not biased towards particular, non-representative groups. • The value systems applied in converting the health outcomes to overall measures of impact (and in selecting the indicators to reflect these) must be explicit and appropiate, and should not unacceptably bias the results. • The temporal and spatial 'dimensions' of the assessment must be valid and appropriate - i.e. the assessment should cover an appropriate geographical area and time scale, and analysis must be done at  an appropriate resolution, so that key impacts are not omitted or blurred in the analysis; • The overall analysis must be coherent and consistent - i.e. there should be no illogicalities or gaps in the way the causal chain has been represented or analysed.

11. Resources • http://www.idea.gov.uk/idk/core/page.do?pageId=11136366 • http://www.culture.gov.uk/what_we_do/creative_industries/default.aspx • http://www.sdi.co.uk/sectors/creative-industries.aspx • http://www.thedrum.co.uk/news/2012/03/21/budget-reaction-tiga-oddbins-creative-england-aardman-rsj-films • http://www.channelonline.tv/channelonline_guernseynews/DisplayArticle.asp?ID=498745 • http://webarchive.nationalarchives.gov.uk/+/http://www.culture.gov.uk/images/publications/part1-foreword2001.pdf • http://www.integrated-assessment.eu/guidebook/key_issues_designing_assessment