Dissertations / Theses: 'Sustainability e creative industries'

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Garcia, Ana Gabriela Lobato. "Sustainable regeneration of industrial building to assure modern day necessities. Innovation and design as drivers of sustainability and development in Odivelas." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/6650.

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Aloise, Pedro Gilberto. "Ecoinovações no polo industrial de Manaus : direcionadores e fatores determinantes." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3073.

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Um dos pontos de relevância do Relatório da Comissão Mundial do Meio Ambiente e Desenvolvimento, de 1987 diz respeito a utilização não predatória dos recursos naturais e com a degradação do meio ambiente. As inovações surgem como meio de se atingir estes objetivos e as organizações tem um importante papel a cumprir neste sentido. Os estudos organizacionais sobre ecoinovação (EI) estão concentrados em países desenvolvidos e a literatura tem recomendado novas pesquisas para se analisar fatores e condições específicas em países em desenvolvimento. Seguindo esta recomendação a pesquisa buscou identificar os direcionadores de ecoinovações, nas indústrias instaladas no Polo Industrial da Zona Franca de Manaus e concomitantemente os obstáculos e orientação à inovação dessas organizações. Do ponto de vista metodológico a pesquisa se desenvolveu sob a forma de estudo de caso, a ser analisado sob as perspectivas qualitativa e quantitativa. A abordagem qualitativa e exploratória foi desenvolvida através de entrevistas e analisadas por meio de análise de conteúdo. A abordagem quantitativa foi realizada por meio de survey em uma amostra de empresas industriais instaladas em Manaus. A pesquisa contribui com a teoria de ecoinovação na Zona Franca de Manaus, identificando direcionadores regionais de ecoinovação conforme proposto em estudos anteriores. A biodiversidade amazônica é o principal fator potencial que pode direcionar ecoinovações, através do desenvolvimento de novos produtos, por meio de biotecnologias, biofármacos, biocosméticos e fitoterápicos (plantas medicinais). Outros direcionadores identificados estão relacionados às mudanças na legislação local, recursos para Pesquisa e Desenvolvimento, cursos inovadores, desenvolvimento de processos reversos (reutilização de resíduos em processos produtivos), certificação ambiental, competitividade, criatividade e continuidade dos negócios. As dificuldades e obstáculos mais relevantes estão relacionados à desarticulação entre empresas, academia e órgãos governamentais decorrentes da falta de um sistema de inovação estruturado e de um modelo de inovação consolidado. Outros entraves decorrem de problemas de natureza econômica e gerencial, razões de ordem cultural, operacional e política. Por fim, a pesquisa proporcionou insights para a proposição de estudos futuros relacionados a direcionadores de ecoinovações, deficiências e entraves à consolidação dos sistemas de inovação e seus impactos sobre o desenvolvimento de novos produtos e processos, obstáculos a integração entre os agentes da tríplice hélice (academia, empresas e governo) e seus reflexos sobre o desenvolvimento de inovações, orientação e obstáculos a inovação relacionados com a performance organizacional (performance, financeira, tecnológica e ambiental).
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Fundação de Amparo a Pesquisa do Estado do Amazonas, FAPEAM.
One of the points of relevance of the Report of the World Commission on Environment and Development of 1987 concerns the non-predatory use of natural resources and the degradation of the environment. Innovations emerge as a means to achieve these goals and organizations have an important role to play in this regard. Organizational studies on eco-innovation (EI) are concentrated in developed countries and the literature has recommended new research to analyze specific factors and conditions in developing countries. Following this recommendation, the research sought to identify the drivers of eco-innovations in the industries installed in the Industrial Pole of the Manaus Free Trade Zone and concomitantly the obstacles and orientation to the innovation of these organizations. From the methodological point of view the research was developed in the form of a case study, to be analyzed under the qualitative and quantitative perspectives.The qualitative and exploratory approach was developed through interviews and analyzed through content analysis. The quantitative approach was performed through a survey of a sample of industrial companies located in Manaus. The research contributes to eco-innovation theory Manaus Free Trade Zone, identifying regional drivers as proposed in previous studies. Amazonian biodiversity is considered the main potential factor that can guide eco-innovations, through the development of new products, through biotechnologies, biopharmaceuticals, bio-cosmetics and herbal medicines. Other identified drivers are related to changes in local legislation, resources for Research and Development, innovative courses, development of reverse technologies (reuse of waste in productive processes), environmental certification, competitiveness, creativity and business continuity. The most relevant difficulties and obstacles are related to the disarticulation between companies, academia and government bodies due to the lack of a structured innovation system and a consolidated innovation model. Other obstacles stem from economic and managerial problems, cultural, operational and political reasons. Finally, the research provided insights for the proposal of future studies related to drivers of eco-innovations, deficiencies and obstacles to the consolidation of innovation systems and their impacts on the development of new products and processes, obstacles to integration among the agents of the triple helix (universisties companies, and government) and its reflections on the development of innovations, orientation and obstacles to innovation related to organizational performance (financial, technological and environmental).

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Doneman, Michael. "Creative industries development in regional Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16281/.

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Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of　Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous　participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.

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Oruc, Sercan. "Modeling The Dynamics Of Creative Industries: The Case Of Film Industries." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611988/index.pdf.

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Dynamic complexity occurs in every social structure. Film industry, as a type of creative industries, constitutes a dynamic environment where uncertainty is at high levels. This complexity of the environment renders the more traditional operations research models somewhat ineffective, and thus, requires a dynamic analysis. In this study, a model showing the dynamics of film exhibition is given. The interactions within and between the theatrical and the DVD sales channels are implemented by the model. Later on, the possible effects of piracy to the model are discussed, using the inferences obtained by the created model. The model is examined with scenario and sensitivity analysis. All the modeling studies are done with a commercial dynamic systems modeling software. The model also can be extended for the whole film industry, or for some other creative industries like the publishing industry.

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Webb, Aleksandra. ""We need arts as much as we need food. Our responsibility is for that to be possible" : insights from Scottish cultural leaders on the changing landscape of their work." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21478.

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The analysis of cultural policy in the last decade suggests that creativity and the arts in general are extensively used in political agendas as means of capitalizing on the forecasted socio-economic potential of creative/artistic activities (e.g. Flew, 2005; Garnham, 2005; Hartley, 2005; Hesmondhalgh, 2007). Although some critical studies have highlighted instrumentalism, short-sidedness and practice/practitioners’ averse policy-making and intervention planning (Belfiore, 2004, 2009; Caust, 2003; Oakley, 2009; Newman, 2013), so far only very few studies have exposed the experiences and voices of particular groups of creative workers in the different national (country-specific) contexts to support this criticism. There has been a significant lack of studies that aim to understand how creative workers experience and cope with the changing policy context in their work. In particular, the voice of non-artists has rarely been considered when seeking a better understanding of the sector’s dynamics. This thesis explored the Scottish cultural sector through the eyes of cultural leaders. The study was carried out during a time of significant transformation to the funding structure, processes and relationships in the sector, catalysed by the establishment of a new funding agency (the funder). It focuses on cultural leaders’ understandings of an increasingly politicised cultural landscape that constitutes the context of their work. The thesis also looks at the influence of these understandings on the leaders’ role responsibilities, as well as the essence and the sustainability of the cultural sector. The empirical work for the thesis followed a qualitative research approach and focused on 21 semi-structured interviews with cultural leaders and industry experts based in Scotland. These individuals were purposefully chosen as a group of stakeholders who are able to engage in discussions about the cultural sector in the context of recent changes in the governance and financial subsidy of Scottish (publically funded) arts. The research findings illustrated the importance of leaders’ values and beliefs, which reflect the purpose of their work and shape their enactments in the sector. In particular, the intrinsic motivation, artistic ambitions, social and civic responsibilities of leaders emerged as crucial qualities of their work roles. The findings revealed a discrepancy between these artistic and civic concerns of cultural leaders and the socio-economic expectations of the funder, which contributed to a great deal of unproductive ('inorganic') tensions for which leaders had to find coping mechanisms. Bourdieu’s (1977, 1992) theoretical concepts were used as a starting point in understanding the cultural sector as a cultural field, and cultural leaders as actors enacting their work-related practices in the evolving socio-political and economic system of cultural production. However, upon further analysis of the data, the notions of a ‘worldview’ and ‘stewardship’ emerged and were used to better explain the greater complexity of work in today’s cultural sector. This thesis thus builds upon Bourdieu’s concept of ‘field’ and ‘artistic logic’ and explains the changing cultural sector as a holistic cultural field where cultural leaders enact their stewardship-like work responsibilities from within a strong and dynamic artistic worldview.

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Coll, Martínez Eva. "Essays on location patterns of creative industries." Doctoral thesis, Universitat Rovira i Virgili, 2018. http://hdl.handle.net/10803/462912.

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Aquesta tesi analitza i identifica quins són els factors que faciliten la localització i aglomeració de les indústries creatives a nivell local i les compara amb les de la resta d’activitats econòmiques. Aquesta tesi contribueix a la literatura de les indústries creatives a través de l'anàlisi de les pautes de localització d'aquestes indústries tant des d'una perspectiva d’anàlisi tradicional a nivell municipal com introduint algunes innovacions quant a l'ús de la econometria espacial, els mètodes basats en la distància i els Sistemes d’Informació Geogràfica (SIG) gràcies a l’accés a dades micro-geogràfiques. L'aplicació empírica se centra en els municipis catalans per al període 2002-2007, en l'Àrea Metropolitana de Barcelona i, finalment, en la ciutat de Barcelona per al període 2006-2015. Tot i que els determinants de localització de les indústries creatives no són tan diferents dels de les no creatives, els principals resultats d'aquesta tesi confirmen la naturalesa específica d'aquestes indústries i la seva major necessitat d'aglomeració, especialment per a les indústries creatives basades en un coneixement més simbòlic. A més, aquesta tesi corrobora l'associació positiva entre les indústries creatives i el creixement econòmic, en termes de creació d’empreses i de productivitat. Tanmateix, els resultats suggereixen que la capacitat d'atraure activitats creatives i ocupació a una àrea estan estretament vinculats a l’entorn creatiu existent i les dinàmiques culturals històriques que defineixen la personalitat de l’àrea. Tenint en compte el gran potencial de les indústries creatives en termes de, per exemple, el dinamisme econòmic, la regeneració urbana o el màrqueting urbà, els resultats d'aquesta tesi permeten extreure una sèrie de recomanacions per a les autoritats públiques disposades a fomentar la diversificació de l'activitat econòmica per tal d’augmentar la seva competitivitat en un context econòmic i social cada vegada més global.
Esta tesis analiza e identifica cuáles son los factores que facilitan la localización y aglomeración de las industrias creativas a nivel local y las compara con las del resto de actividades económicas. Esta tesis contribuye a la literatura de las industrias creativas a través del análisis de las pautas de localización de estas industrias tanto desde una perspectiva de análisis tradicional a nivel municipal como introduciendo algunas innovaciones en cuanto al uso de la econometría espacial, los métodos basados en la distancia y los Sistemas de Información Geográfica (SIG) gracias al acceso a datos micro-geográficos. La aplicación empírica se centra en los municipios catalanes para el periodo 2002-2007, en el Área Metropolitana de Barcelona y, finalmente, en la ciudad de Barcelona entre 2006-2015. A pesar de que los determinantes de localización de las industrias creativas no son tan diferentes de los de las no creativas, los principales resultados confirman la naturaleza específica de estas industrias y su mayor necesidad de aglomeración, especialmente para a las industrias creativas basadas en un conocimiento más simbólico. Además, esta tesis corrobora la asociación positiva entre industrias creativas y crecimiento económico, en términos de creación de empresas y de productividad. Sin embargo, los resultados también sugieren que la capacidad de atraer actividades creativas y empleo en un área está claramente asociada al entorno creativo existente y las dinámicas culturales históricas que definen la personalidad del área. Teniendo en cuenta el gran potencial de las industrias creativas en términos de, por ejemplo, el dinamismo económico, la regeneración urbana o el marketing urbano, los resultados de esta tesis permiten extraer una serie de recomendaciones para las autoridades públicas dispuestas a apoyar la diversificación de la actividad económica a efectos de aumentar su competitividad en un contexto económico y social cada vez más global.
This thesis analyses and identifies which factors facilitate the location and agglomeration of creative industries at the local level and compare them to those of the other economic activities. This thesis contributes to the literature on creative industries by analysing the location behaviour of these industries both from a traditional analysis at municipality level and by introducing some innovations regarding the use of spatial econometrics, distance-based methods and Geographical Information Systems (GIS) thanks to the access to micro-geographic data. The empirical application focuses on Catalan municipalities for the period 2002-2007, on the Metropolitan Area of Barcelona and on the city of Barcelona for the period 2006-2015. Main findings of this thesis show that, despite the fact that creative industries location determinants are not so different from those of non-creative industries, the specific nature of these industries and their greater need for agglomeration is confirmed, especially for symbolic-based creative industries. Moreover, this thesis confirms the positive association between creative industries and economic growth – in terms of firm creation or productivity. Finally, it also suggests that the ability to attract creative activities and employment to an area strongly depends on the existing creative milieu and the cultural path dependence of the area. Based on the assumption that creative industries have great potential in terms of, for example, economic dynamism, urban regeneration or city marketing, results of this thesis allows having a series of recommendations for public authorities willing to support the diversification of economic activity for the purpose of enhancing their competitiveness in an economic and social context increasingly global.

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Cluley, Robert John. "Creative production in the UK music industries." Thesis, University of Leicester, 2011. http://hdl.handle.net/2381/8939.

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Creative work is thought to offer a model for the future of all work as we move into a knowledge economy. But in what sense is creative work, itself, creative? This is the central concern of this thesis. Many have argued that our ability to be creative has, ironically, decreased with the rise of creative work. Researchers have suggested that the precarious labour conditions typical of creative work along with the growing role of large corporations in the creative labour market make it all but impossible for creative workers to be experimental and innovative – that is, to be truly creative. However, marking a distinction between creatively producing something and producing something creative, I argue that organising creativity is now an important creative activity in its own right and is intimately related to various ways of representing work. Drawing on ethnographic empirical research and my own experiences as an amateur musician I describe the ways in which working helps a specific group of people to creatively make music and provide an analysis of how positive and negative images of work help to structure and inspire this creativity.

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Eidenberger, Judith, Sandra Haider, Astrid Oberhumer, and Jutta Rozinski. "Creative Industries in der Gemeinde Gaspoltshofen. Eine Regionalstudie." Forschungsbereich Wirtschaft und Kultur, WU Vienna University of Economics and Business, 2006. http://epub.wu.ac.at/924/1/document.pdf.

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The main ambition of this qualitative research study was to gain more knowledge about creative industries in the rural area. As research area we chose the rural village Gaspoltshofen in Upper Austria. To reach our target, a two-step strategy was adopted. The first step consisted in an elicitation of the creative workers and their activities. Secondly, eleven creative workers and key personalities were interviewed. Although the study was focusing on one village, we were able to generate general theses about creative industries, which claim universal validity for villages of similar size: Creative workers operate in structures like those described as the future of working environment: Traditional lifelong employment is replaced by working in a variety of fields, which brings along a need for permanent further education. Creative workers mainly are self-employed. They work in the same place they live, and consequently are more flexible concerning working hours. In these new, flexible structures networks are of high significance. Creative workers are existentially dependent on networking. Not only that they often get their jobs through it, they also socialise new customers and colleagues relations. In addition they enjoy financial protection through a social-familiar safety-net in times of crisis. Through the new way of working the geographical independency increases which allows free choice of residence. As a consequence creative industries also exist in the rural area. Nevertheless they are still dependent on urban structures, especially concerning formal institutions of further education like universities or colleges. To establish creative industries in a small village, it is essential that they are located in an adequate distance from a city. If the distance is too small, the establishment of creative structures will be taken over by the city, whereby the neighbouring villages won't see a necessity to initiate anything on their own. Already existing creative industries infrastructure positively effects the establishment and extension of further creative businesses. Due to the small size of villages single persons have a big influence on the establishment of initiatives, both concerning their coming off and the formation of opinion about it. Especially for the continuance of a creative industries organisation a long-lasting commitment and takeover of responsibility of single persons is important. Concerning new initiatives there is often a polarisation of the population due to the sympathy or antipathy regarding the initiators. All creative workers identify themselves with - or are at least concerned about - the village. An important issue here is "to show the village a thing or two", which illustrates the creative workers' strong relation to their residence. (author's abstract)
Series: Schriftenreihe / Forschungsbereich Wirtschaft und Kultur

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Mayerhofer, Peter, and Peter Huber. "Arbeitsplatzeffekte und Betriebsdynamik in den Wiener "Creative Industries"." WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/3455/1/ci_mayerhofer.pdf.

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Based on an individual longitudinal data on dependent employment we analyse the role of Creative Industries for the employment system of Vienna. We focus on gross job flows and firm dynamics in this priority field of Vienna's urban policy and analyse the characteristics of the different parts of the cluster's production system. We find ample evidence for positive effects of Creative Industries on employment growth and firm birth, but also reveal considerable job turnover and a large heterogeneity of firm growth in the cluster. Especially, we find rather different evolutions along the clusters value chain, which points to weak linkages between upstream and downstream activities in the cluster. (author's abstract)
Series: Creative Industries in Vienna: Development, Dynamics and Potentials

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Oakley, Kate. "Creative industries and the politics of New Labour." Thesis, City University London, 2010. http://openaccess.city.ac.uk/11884/.

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This thesis examines the development of policy towards the creative industries in the UK in the period 1997-2008. It argues that this can be seen in the light of New Labour's understanding of the knowledge economy, an understanding that influenced its development of education and social policy, as well as economic policy. It thus provides a unique insight into New Labour politics in general. The thesis asserts that New Labour's account of the knowledge economy was a deterministic one, which took its cue from what it believed to be long-term social and economic trends. In this, it is consistent with other critiques of New Labour politics, which argue that it can be seen as a development of prevailing neoliberal ideas (Hay 1999; Thompson 2002; Finlayson 2003; Clarke 2004); but in this case, I argue, it is a variety of neoliberalism that is heavily influenced by institutionalism (Bevir 2005). The importance of institutionalist ideas can be seen in the emphasis in creative industries policy on networks, characterised by social and ethical norms, as opposed to a neoliberal focus purely on marketisation. New Labour produced an essentially benign account of the knowledge economy; the creative industries were capable of producing 'good work', which offered opportunities for highly skilled labour. In addition, because of its links to popular culture, they could offer inclusion through work, for those deemed socially excluded. I argue that this account continued throughout the period under examination, despite mounting evidence, discussed in several of the publications below, that the creative industries produce labour markets that are highly unequal in terms of race and class. It is in attitudes to the labour market that the failures of New Labour's creative industries policy can be seen most sharply. The roots of that failure, and what it tells us about New Labour's creative industries policy, is the subject of the thesis.

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Andrews, Cynthia. "Promoting rural identity and sustained economies utilizing the creative industries : developing creative cluster communities." Thesis, University of Ulster, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592010.

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Abstract: This project seeks to determine the factors that make rural visual creative communities successful. The work examines distinctive trends evident in rural creative communities. It further investigates the contribution visual creative industries based businesses have on the local economy. The project seeks to determine if the characteristics that have made these communities successful can be laid out to aid other rural communities. Two case study sights were chosen: The Orkney Islands off the north coast of Scotland and The Central Texas Hill Country. Visual creative industries based businesses, educational facilities, museums and support organizations were interviewed. A result of this investigation shows that regionalism is a strong factor in the creation and sale of work. Products are both unique and follow local tradition. A further result confirms that economically these regions rely both on local trade, as well as outside buyers to sustain the large numbers of businesses that form creative clusters in these regions. A final result reveals that the development of these creative communities happened graduall y. They utilized their existing traditions while growing in a modem way allowing for a diversification of the economy, a building of both private and public bodies that help support the creative community and, importantly, harnessed the foresight of local visionaries to develop.

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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.

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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective. Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities. This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap. Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.
published_or_final_version
Urban Planning and Design
Doctoral
Doctor of Philosophy

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Islam, S. M. Syed. "Approaching Sustainability in Textile and Garment Industries, Bangladesh." Thesis, KTH, Industriell ekologi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-142917.

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The garment industry has become the backbone of the economy of Bangladesh. About three million people are involved with garment and textile industries. It is essential to promote sustainability in this large industrial sector. When the world garment market and companies are focusing on environment friendly products, the Bangladeshi garment and textile industries are far beyond of it and it poses a risk of losing the world market. It is high time to adopt special strategies and an approach towards sustainability. This research work emphasis to make the life cycle approach of manufactured products for environmental indicators to achieve sustainability. Life Cycle Assessment defined by ISO 14040 provides three main environmental indicators: water consumption, CO2 emissions and eutrophication. Processing raw cotton into fabric is an important part of textile process which needs to approve eco-textile process criteria. The cotton processing contributes a large amount of effluent and waste water. Unfortunately, most of the waste water is discharged into a nearby water body or river through the drainage system. Besides, solid wastes and sludges are also discharged into nearby land or a surface water body. Thus these industries pose a serious threat to the environment as well as to the surrounding ecosystem. This study suggests an eco-dying process and efficient textile effluent handling. Introducing cleaner production promotes textile industries towards sustainability. In terms of the working environment, Bangladeshi garment industries are facing great challenges at present. Fire accidents are common in garment factories. In addition to that, recent building collapses pose a great threat to its future. More than thousands of workers died due to these hazards. Many foreign buyers already decided not to have a further purchase deal with Bangladesh due to its fire and safety issues. Moreover, the workers receive the lowest wages of the world that makes them unsatisfied and causes often clashes and violence during protests against low wages. This study has considered the working environment, fire and safety issues of the garment industries of Bangladesh and suggests significant initiatives towards better environment and sustainability.

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Shevchenko, Denys. "Strategy Specifics of Multinational Companies Operating in Creative Industries." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-360352.

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The creative industry is a relatively new sector of the economy that grows rapidly and possesses huge potential. Multinational corporations have achieved a certain stage of development being highly globalized, vertically integrated and efficient. However, the problem of defining appropriate strategies and adjusting management approaches to industry's specifics arises. Therefore, the goal of this Diploma thesis is to analyze cultural industry market and to explain differences in business strategy between classical and cultural companies. In this academic work, the great part of attention will be devoted to a number of peculiarities. Among them firstly, the way of managing creative labor force that significantly differs from other industries. Secondly, risk management and level of intellectual property rights protection may either incentivize or discourage further development of creative products. The last but not the least, brand awareness exerts a significant impact on company's performance, therefore, analysis on this issue will be provided.

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Tsai, Hui-Ju. "Creative industries policy in Taiwan : the effects of neoliberal reform." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36207.

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Since 2002 Taiwan has transformed its cultural policy, following the lead of the UK's creative industry discourse in particular and neoliberal policy regimes in general. This thesis investigates the processes through which neoliberal thinking shaped changing cultural policy and the impact this has had on cultural workers and practices in Taiwan s cultural landscape. I examined policy making documents and interviewed a range of involved actors, including government officials and cultural workers to learn more about the policy process and its impact. The research argues that the creative economy has heavily influenced the development of cultural policy discourse and generally failed to promote the public interest in Taiwan. The results of neoliberalisation have been embodied in several salient characteristics such as the privatisation of public space, marketisation of public subsidy and investment, commercialisation of higher education, and flexibilisation of cultural labour market. I argue that cultural policy needs to be reshaped to represent the public interests and diversity of our cultural landscape.

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SOUZA, CRISTINA LYRA COUTO DE. "PANIS ET ARS: ARTISTS AND MANAGERS IN THE CREATIVE INDUSTRIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17711@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A crescente importância econômica e social das indústrias criativas - atividades nas quais a criatividade é a essência do negócio, abrangendo toda a produção cultural ou artística – ainda não se refletiu na geração de estudos sobre suas questões gerenciais e organizacionais. Pesquisas nessa área são relevantes, tanto para aplicação prática na orientação dos profissionais, quanto para contribuição em formulações teóricas. Nesse contexto, o objetivo desta tese é entender a produção nas indústrias criativas a partir da perspectiva de seus principais atores - os criadores e os gestores que se relacionam com eles - procurando saber como trabalham, o que desejam, como interagem e que dificuldades enfrentam. Foi realizada uma pesquisa qualitativa, na linha construtivista, baseada em entrevistas em profundidade com criadores autônomos - escritores e artistas visuais - e com os gestores envolvidos em suas atividades. Os resultados da pesquisa sugerem que os criadores possuem uma motivação intrínseca ligada ao exercício da atividade artística em si e que não há necessidade de intervenção em seu processo criativo. Além disso, os gestores dos grupos estudados – editores e galeristas - atuam basicamente como distribuidores ou revendedores, e seu foco de interesse está no produto e não no artista. Eles são gestores do produto, tratando apenas o livro, a tela, a obra. No entanto, os artistas precisam de gestores de carreira, que possam auxiliar na valorização tanto da obra, quanto do criador. A reputação do autor naturalmente valoriza seus produtos. É preciso então construir a marca do artista, principalmente devido ao surgimento das novas mídias, que embora gerem mais oportunidades, apresentam menor potencial em cada canal individualmente. Não interessa ao artista estar apenas na editora ou galeria, pois o exercício de outras atividades e a exposição em diferentes locais o valorizam, e, portanto, é preciso saber onde vale investir para venda e reforço da imagem. Nesse cenário, tornase importante a figura praticamente inexistente hoje no Brasil: o agente – o intermediário que representa os autores e administra suas obras.
The growing economic and social importance of the creative industries - activities in which creativity is the essence of the business, covering the cultural and artistic production - is not yet reflected in the generation of studies on their managerial and organizational issues. Research on this area is important both for practical application in the guidance of industry professionals, and to contribute to theoretical formulations. Therefore, the aim of this thesis is to understand the production in the creative industries from the perspective of its main actors - the creative people and managers that relate to them - looking at how they work, what they want, how they interact and what difficulties they face. A qualitative research in a constructive line was carried out, based on interviews with independent creators - writers and visual artists - and the managers involved in their activities. The survey results suggest that the creators have an intrinsic motivation related to the exercise of artistic activity in itself and there is no need to intervene in their creative process. Moreover, the managers of the groups studied - publishers and gallery owners - basically act as distributors or resellers, and their focus of interest is in the product and not the artist. They are managers of the product, treating only the book, the screen, the works. However, we can see that the artists need a career management, which can help both the appreciation of the work, and the creator. The reputation of the author naturally values its products. We must then build the brand of artist, chiefly due to the emergence of new media, generating more opportunities, but less potential for each channel individually. It is not enough to the artist to be published or exposed in a gallery, for the exercise of other activities and exposure in different places values the author, and so it is necessary to know where it is worth investing for sales and image enhancement. In this scenario, a figure practically nonexistent in Brazil today becomes important: the agent - the intermediate who represents the author and manages his works.

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Hölzl, Werner. "Entrepreneurship, Entry and Exit in Creative Industries: an explorative Survey." WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/3453/1/Hoelzl_EntryExit.pdf.

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Dent, Tamsyn. "Feeling devalued : the creative industries, motherhood, gender and class inequality." Thesis, Bournemouth University, 2017. http://eprints.bournemouth.ac.uk/29424/.

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There is a growing body of data that illustrates how work in the creative media industries is marked by bleak inequalities. Critical sociological accounts of the industry have explored the barriers to employment opportunities for workers from different ethnic, disabled, gendered and more recently socially classed backgrounds resulting in the awareness that the majority of those who control the means of production for creative and cultural commodities are male, white and middle class. With regards to women, the problem of gender inequality has commonly been linked to women’s childbearing capabilities citing the demands of childcare as a key reason for women’s withdrawal from and under-representation within the industry. Linking gender inequality in the creative workforce to motherhood creates a smokescreen, a framework which allows for concepts of ‘choice’ and ‘preference’ to mask deeply complicated processes of oppression and exclusion. Motherhood also places the issue of gender inequality into a singular axis, failing therefore to consider the multiple axes of exclusion that operate within the workforce. This thesis takes this issue of motherhood, gender inequality and work in the creative industries as its focus point to explore how motherhood has become synonymous with female withdrawal from the industry. It responds to literature on modes and practices of work in modern society drawing from those who have equated work in the creative sector as emblematic of a “brave new world of work” (Beck 2002 in Deuze 2007, p.21) and exposed a paradox between celebratory concepts of creative practice and the lived realities of the creative workforce. My own contribution has been drawn from a series of in-depth interviews with mothers who either work or have left work in the creative sector following the birth of a child/children. The research findings emerged inductively, following a grounded theoretical approach but one that was informed by a feminist epistemological framework to knowledge production. Thinking about motherhood as a fluid and constructed concept enables an exploration into the relationship between motherhood, gender and class-based inequalities and how they operate within the industry.

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Leclair, Margot. "Creativity-in-action, Arrangements and Affects in the Creative Industries." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLED075/document.

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Le constat de départ de cette recherche, souligné par la littérature, est celui du débat permanent au sein des organisations créatives, entre priorités artistiques et créatives d'un côté et intérêts économiques de l'autre côté. Nous interrogeons la manière dont les acteurs créatifs gèrent les contraintes économiques qui les entourent dans ce contexte marqué par la rationalisation. Au travers d'une étude qualitative et approfondie de l'industrie de la mode -entretiens et travail ethnographique, nous avons observé les pratiques quotidiennes des acteurs créatifs du secteur. Premièrement, et au travers du travail de Michel de Certeau, nous révélons ici les différentes tactiques et autres arrangements que ceux-ci développent vis-à-vis des contraintes, une forme d'action qui joue un rôle important dans les organisations créatives. Cette forme d'action, que l'on nomme trouble du créatif, entretient une ambiguïté autour du travail créatif en organisation, nécessaire pour créer. Ensuite, nous révélons les forces socio-matérielles et affectives qui constituent les pratiques créatives de façon intrinsèque, et soulignons le poids de telles forces dans la négociation permanente avec les motifs économiques. Subséquemment, nous proposons le concept de créativité-en-action, une manière à la fois incarnée, matérielle et affective d'agir créatif, au sein des industries créatives
This PhD departs from the research literature that underlines the on-going debate arising in creative companies, between art/creative priorities on the one hand and economic/business interests on the other hand. We wonder how actors involved into the creative process deal with economic and rationalization constraints. Through an in-depth, qualitative study in fashion industry -interviews and ethnographic work, we investigate empirically the daily practices of creative actors. First, and notably through Michel de Certeau's work, we reveal the various tactics and arrangements that they develop towards such constraints, as a form of action that plays an important role in creative organizations. This form of action we call creative fuzziness maintains a necessary ambiguity around creative work. Second, we underline the socio-material and affective forces that inherently constitute creative practices, and how much such forces weigh in the economic negotiation. We then suggest the concept of creativity-in-action, an embodied-material and affective way of acting creative, within creative industries

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Lalaounis, Sotiris. "An investigation into business development issues in the creative industries." Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.688266.

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Musial, M. (Monika). "Exploring the organizing of work for creative individuals:the paradox of art and business in creative industries." Doctoral thesis, Oulun yliopisto, 2015. http://urn.fi/urn:isbn:9789526209418.

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Abstract The purpose of this research is to explore the issue of organizing work for creative individuals, particularly to explore the influence of creativity on emergence of creative companies and to understand the way of managing creative individuals from those companies. The emergence of creative companies is investigated from the motivational perspective, especially the intrinsic motivation and inner drive. The management aspect is studied from the perspective of both managers and employees. Prior literature on creativity demonstrates that creativity has become an important element of human existence. Most of the creativity research has been done on individual creativity, organizational creativity, creative processes, motivation and social influences on creativity. Despite the recent tendency to study creativity from various perspectives, few scholars have approached this phenomenon from the perspective of emergence of creative companies. This study examines that and explores the motivational aspects of creativity seen from the angle of the paradox between art and business. Creativity and motivation in creative companies are contemplated with a case study method. The empirical context of the research is creative industries: games, films, visual and performing arts. The results of this study show that motivational features of creativity (love and passion to create, curiosity, desire to create, choice to be creative) have an influence on creative individuals from the perspective of emergence of new creative companies. The analysis further indicates the importance of acknowledgement of creativity and creative work of individuals in games industries. The new concept of ”the need to be creative” is introduced in this research in the context of a new product or idea being created. In addition, this research concludes that there is a paradox between creative freedom and control when managing creative individuals. This study shows that both of those elements are critical managing practices in the creative companies. Based on theories of creativity and management combined with empirical analysis of film companies, this research also suggests that managing of creative individuals is focused on allowing creative freedom at work while providing control by the manager as well as providing the right work-life balance in creative work settings
Tiivistelmä Tämän tutkimuksen tarkoituksena on tarkastella luovuuden vaikutusta luovien alojen yritysten syntymiseen sekä ymmärtää luovien yksilöiden johtamista. Luovien yritysten syntyä tutkitaan motivationaalisesta, erityisesti sisäisen motivaation ja -halun näkökulmasta. Johtamista tarkastellaan sekä johtajan että työntekijän näkökulmasta. Aikaisempi luovuuskirjallisuus osoittaa, että luovuudesta on tullut tärkeä ihmisyyden ja olemassaolon osa-alue. Suurin osa luovuustutkimuksesta on tehty yksilön luovuudesta, organisatorisesta luovuudesta, luovista prosesseista, motivaatiosta sekä sosiaalisten tekijöiden vaikutuksista luovuuteen. Vaikka luovuustutkimusta on tehty viime aikoina monista eri näkökulmista, harvat tutkijat ovat lähestyneet ilmiötä luovien yritysten syntymisen näkökulmasta. Tässä tutkimuksessa tutkittiin luovuuden motivationaalisia elementtejä taiteen ja liiketoiminnan ristiriidan näkökulmasta. Luovien yritysten luovuutta ja motivaatiota tarkasteltiin käyttäen tapaustutkimusmenetelmää. Tämän tutkimus on tehty luovien alojen, kuten peli-, filmi-, visuaalisen- ja esittävän taiteen kontekstissa. Tutkimustulokset osoittavat, että luovuuden motivationaalisilla piirteillä (kuten intohimo luomista kohtaan, uteliaisuus, halu luoda ja olla luova) on vaikutusta luoviin yksilöihin luovien yritysten syntymisen näkökulmasta. Analyysi osoittaa myös, että peliteollisuudessa on tärkeää tunnistaa yksiön luovuus ja luovan työn merkitys. Tämä tutkimus esittelee uuden ”tarve olla luova”- käsitteen kontekstissa, jossa luodaan uutta tuotetta tai ideaa. Tämän lisäksi tutkimus osoittaa, että johdettaessa luovia yksiöitä luovuuden vapaus ja kontrollin tarve ovat ristiriidassa. Tutkimus kuitenkin osoittaa, että molemmat elementit ovat kriittisiä johtamiskäytäntöjä luovissa yrityksissä. Johtamisen- ja luovuuden teoriat sekä tutkimuksen empiirinen analyysi osoittavat, että luovien yksilöiden johtaminen perustuu luovuuden vapauden mahdollistamiseen, riittävään kontrolliin sekä työelämän tasapainoon

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Pfeifer, Patrick F. "Dynamic decomposition| A creative rearrangement of "waste"." Thesis, Northern Arizona University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1537801.

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This thesis dissects the category of "waste," examining conventional modes of response to the people, places, and things considered waste, and challenging the patterns of both linear disposal and cyclical recycling. I argue that both ways of thinking about "waste" actually share the same problematic roots and reproduce the same problematic logics, and that both oversimplify the diverse spectrum of potentials and histories contained within "waste."

Using a methodology that links personal narrative with historical analysis, I decompose the very idea of waste to understand the constellation of factors and processes that actively produce "waste" in contrast with "value," discussing histories of recycling and disposal in tandem with histories of capitalism, colonialism, and industrialization. With recent composting work at Northern Arizona University serving as both metaphor and example throughout this thesis, I build an alternative to the existing paradigm of waste, offering a more complex, diverse, dynamic, and interconnected framework for relating to and redefining "waste."

To do this, I explore not only theoretical and conceptual strategies for revealing and amplifying the hidden diversity of alternate values, benefits, and relationships around (non)waste, but also transition theory to practice by mapping out ways to physically implement these ideas through specific projects and actions that actively shift the ways people think about and interact with "waste" on a daily basis. By mapping out the theory and action involved in re-shaping human interactions with the things considered "waste," this thesis hopes to inspire others to keep working with these ideas and to continue developing projects that transition from a state of waste to (non)waste by creating a more socially and ecologically ethical paradigm of relationships beyond "waste."

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Ballinger, Christine Beth. "Creative Industries and the Paper Industry A Creative Industries approach to linking visual artists and the paper industry: A Case Study of New Possibilities for Paper." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16083/.

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In the knowledge economy, the 'creative industries' are recognised as a new paradigm. They are industries which use creativity as an intangible asset to generate wealth. The creative industries are described as 'evolving' and their outcomes frequently categorised as 'intangibles'. The thesis outlines what I term a creative industries approach to the engagement of visual artists with industry. The artist-in-industry program, a component of New Possibilities for Paper, was established with an explicit brief to generate creative products and contained an implicit agenda to breed intellectual capital. It was conceived as a means of crossfertilising hitherto siloed sectors -- an arts environment with entrenched attitudes towards the subsidy, proprietorship and authority of creativity and the traditionally conservative paper industry. Establishing creative industries characteristics and indicators to describe and measure creative industries operation in this program required careful consideration, with the characteristics and indicators selected able to recognise trends or changes. The analysis of the seven partnerships confirmed that the artistin-industry program is a creative industries approach upon which future programs between visual artists and the paper industry could be constructed. The research found that the creative industries processes in most need of being addressed, if visual artists are to maximise their benefits, included an understanding and utilisation of intellectual property, knowledge of commercialisation processes and a positive attitude towards commercialisation. For paper companies that invest in R&D, there is recognition that potential tangible and intangible benefits can result from engaging in such partnerships. Additionally, a partnership in which the artist's role (or service) is focused on the industry's customers and contributes to employee knowledge was seen as being of greatest value to the paper industry.

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Ansari, Rushina. "Creative Paper Recycling." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23795.

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With the intention of empowering children and guiding them towardssustainable habits at an early age, the empirical findings in the choseninternational school pointed towards a heavy use of paper. A study wascarried out to understand the various factors related to paper use.Interviews, experiments and workshops were conducted to probe furtherinto the variety of insights that were gathered.The scope of the project was to use interaction design techniques tounderstand and address the issues through creating small designinterventions using three main strategies of a) placing appropriateaffordances, b) designing for transparency and hence creating awarenessof the use of resources, and c) by attempting to instill a culture throughdirect involvement that supports eco-ethics.An effort was made to conceptualize and design an artifact that was inline with the mood and disposition of the specified section of the school. Ametaphorical concept prototype was created to test the effect of theproposed artifact. Moreover, the overall culture of the school affected thebehavioral patterns and hence a separate strategy was employed toaddress the awareness in the entire institution.

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Roth, Benlloyd Koekemoer. "Enablers for lean process sustainability within South African manufacturing industries." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/6591.

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James Womack and his colleagues Daniel Jones and Daniel Roos changed the way western civilization approached manufacturing. In 1990, they published a book called ‘The Machine That Changed the World: The Story of Lean Production’. It was a concept that had slowly filtered from the east but had not made its mark on the manufacturing sector. The concept of lean, born out of the Japanese Toyota Manufacturing System, was first thought to be impossible to duplicate outside of Japan. Since Womack and company popularised this “new” way of producing goods and delivering services it spread across industries finding popularity in the medical, engineering, accounting and especially the manufacturing industries. Over the last few decades lean practices has been synonymous with efficiency, cost reduction, supply chain optimisation and innovative problem solving (Anvari Norzima, Rosnah, Hojjati and Ismail, 2010; Pieterse et al., 2010; Womack et al., 1990). Lean process implementation has been researched in abundance, as has failed attempts at lean implementation. The purpose of this study was to identify and assess enablers of lean sustainability in organisations where lean processes are already being implemented. The literature study found Organisational Culture, Leadership, Employee Engagement and Trade Unions participation as factors that contributed to successful lean implementations. The author developed a model to test Organisational Culture, Leadership, Employee Engagement and Trade Unions as enablers to sustain lean practices in organisations in South Africa’s manufacturing industries. The results proved that Organisational Culture, Leadership and Employee Engagement were considered enablers for lean sustainability. These three enablers have an interlinked relationship and together help sustainability. Lacking just one factor would surely result in unsustainable lean practices. The study was conducted in the quantitative paradigm, as the hypothesised relationship was statistically tested. The data was collected from a homogenous group via an email sent with a link to the questionnaire. The data was statistically analysed with Statistica software and Microsoft Excel.

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Abebe, Meaza Eshetu, and Ekaterina Kalinina. "Coordination of inter-organizational projects within creative industries: A contextual perspective." Thesis, Linköpings universitet, Företagsekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-78976.

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Inter-organizational projects have become common forms of organizing in various industries such as construction, advertising, music, film making etc. The unique structural nature of Inter-organizational projects coupled with the fact that they carried out through the participation of multiple organizations, raises issues of coordination. Particularly when it comes to creative industries, coordination is challenged by demand and transactional uncertainties. In order to understand how inter-organizational projects achieve coordination in such situations, it is important to study their interior processes putting in consideration their environmental context. The aim of this research is to study how network embeddedness enhances coordination in inter-organizational projects within creative industries. Inter-organizational projects: are projects that are carried out through the collaboration of multiple legally independent organizations Inter-organizational networks: refer to sets of long-term ties among independent organizations that are engaged in continuous exchange relations. Embeddedness: refers to the continuous interaction of individuals, organizations, projects etc. with their environmental context. Macrocultures: refer to the shared beliefs, norms values rules and practices with in inter- organizational networks that guide members on their actions. A qualitative approach using a multiple comparative case study was conducted. Accordingly four projects chosen from creative industries were studied using both primary and secondary data. Macrocultures that are embedded inter-organizational networks facilitate coordination within inter-organizational projects. Further projects that differ in their constituents task nature, time duration and team composition relied on different types of embeddedness for coordination.

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Maddah, Lina. "Essays on Cultural and Creative Industries: Clustering, Location and Employment Growth." Doctoral thesis, Universitat Rovira i Virgili, 2021. http://hdl.handle.net/10803/671553.

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Aquesta tesi contribueix al debat contemporani sobre el paper econòmic de les Indústries Culturals i Creatives (ICCs). En primer lloc, la tesi analitza l'impacte de l'especialització en les ICCs sobre el creixement total de l'ocupació entre el 2001 i el 2011 a nivell local, a Catalunya. Partint d'una especificació OLS i després aplicant una regressió quantílica (QR), els resultats revelen que l'especialització en algunes ICCs impulsa l'ocupació, però només per als municipis d'alt creixement (en termes d'ocupació). En segon lloc, la tesi investiga a fons l'Àrea Urbana Funcional de Barcelona (AUFB), pel que fa referència a les pautes de clusterització de les ICCs, mitjançant un mètode SaTScan, la qual cosa suposa una innovació en aquest àmbit. Els principals resultats suggereixen que les empreses de les ICCs tendeixen a agrupar-se, especialment a les zones centrals o urbanes. No obstant això, hi ha divergències en les preferències de les empreses en funció del tipus de coneixement que aquestes fan servir i es destaca el paper de les àrees perifèriques. En tercer lloc, la tesi ajuda a desenvolupar una imatge més completa dels efectes de les ICCs investigant si l'existència d'un clúster d'ICCs pot modular les decisions de localització de les empreses a l'AUFB
Esta tesis contribuye al debate contemporáneo sobre el papel económico de las Industrias Culturales y Creativas (ICCs). En primer lugar, la tesis analiza el impacto de la especialización en las ICCs en el crecimiento total del empleo entre el 2001 y el 2011 a nivel local, en Cataluña. Partiendo de una especificación OLS y luego aplicando una regresión quantílica (QR), los resultado revelan que la especialización en algunas ICCs impulsa el empleo, pero sólo para los municipios de alto crecimiento (en términos de empleo). En segundo lugar, la tesis investiga en profundidad el Área Urbana Funcional de Barcelona (AUFB), por lo que se refiere a las pautas de clusterización de las ICCs, utilizando un método SaTScan, lo que supone una innovación en este campo. Los principales resultados sugieren que las empresas de ICCs tienden a agruparse espacialmente, sobretodo en áreas centrales o urbanas. Aún así, hay diferencias en las preferencias locacionales de las empresas en función del tipo de conocimiento que éstas utilizan y se destaca el papel de las áreas periféricas. En tercer lugar, la tesis ayuda a desarrollar una imagen más completa de los efectos de las ICCs mediante la investigación de si la existencia de un clúster de ICCs puede modular las decisiones de localización de las empresas en la AUFB
This thesis contributes to the contemporary discussion on the economic role of CCIs. First, the thesis explores the impact of specialization in CCIs on total employment growth between 2001 and 2011 at a local level in Catalonia. Departing from a baseline OLS specification and then applying a Quantile Regression (QR), findings reveal that specialization in some CCIs boosts employment but only for high-growth municipalities (in terms of employment). Second, the thesis investigates the Functional Urban Area of Barcelona (FUAB) more closely, in terms of clustering patterns of CCIs using a SaTScan method which is a novelty in the investigation of industrial agglomeration. The main results suggest that CCIs firms tend to cluster, especially in core or urban areas. Still, there are diffences in the preferences of firms based on their knowledge bases and the role of periphery areas is highlighted. Within the context of cluster lifecycle, the findings identify emerging and mature clusters between 2009 and 2017. This is a novel finding from cluster lifecycle analysis that can have profound policy implications. Third, the thesis helps to develop a more complete picture of the effects of CCIs by investigating whether the existence of a CCIs cluster can modulate the location decisions of firms (CCIs and Non-CCIs) in FUAB

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Conefrey, Carmel. "Creative rural places : a study of cultural industries in Stroud, UK." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/24003/.

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This thesis explores how different geographical places and space shape the way cultural industries work. In a departure from much of the existing literature, this study focuses on rurally based industries. In particular, it seeks to identify the ways in which and the extent to which a rural setting shapes the workings of rurally based cultural industries. A rural focus will help to broaden the intellectual knowledge base and adds to an emerging body of economic geography inspired study that is looking to refocus the cultural industries research agenda away from a pre-occupation with cities. The rural dimension is examined through a study of visual arts and crafts industries in the Stroud District, Gloucestershire, UK. The empirical phase was steered by the notion of the production system and the analytical lenses of spatial organisation, relationships and place. Mixed methods were used to generate qualitative and quantitative data and in the case of the latter, included personal network data. The empirical phase was sequential, leading with an on-line questionnaire for individual practitioners, followed by a set of semi-structured interviews with actors from the range of processes that comprise the visual arts and crafts production system. The Stroud study challenges the notion that cultural industries are quintessentially city phenomena. Of the three analytical lenses, the place dimension proved particularly potent for understanding the Stroud Case. The findings show a place based community of practitioners and a number of art businesses, some of national repute, and an active cultural infrastructure - networked principally through inter-personal relationships. A rural dimension was evident in terms of the scale of activity, the functioning of the local milieu and particular perceptions towards cultural products produced by rurally based practitioners. The impact of the rural setting was not experienced uniformly but was contingent on the status of the practitioner and the visual arts and crafts discipline practised. The analysis has practical implications for policy developers particularly at a local authority level.

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Wang, Ken. "The local politics of creative industries policies in China : an analysis of Chinese municipal creative industries policies from different regions : the case of Beijing, Harbin and Guangzhou." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/40028.

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One of the central debates about the development and adoption of the 'creative industries' policy discourse in the UK has been about whether it is best understood as neoliberal. China imported the policy discourse of 'creative industries' from the UK in the 2000s and neoliberalism may also be one important characteristic of Chinese creative industries policies. However, the Chinese context is different from that of the UK in terms of state control, local autonomy, regional inequality, all of which have an influence on the interpretations and applications of the creative industries in China. This research advances the understanding of the development of Chinese creative industries policies through an analysis of the municipal creative industries policies from different regions, including Beijing, Harbin and Guangzhou. It draws on data from policy documents, extensive interviews with local policy makers and official data to provide a multi-dimensional analysis of policies from the three cities during 2001-20 I 3. In summary, this research argues that since policy makers began to make local creative industries policies, they have increasingly displayed a commercially and digitally oriented trend in promoting the marketisation of culture in an authoritarian context. The Chinese creative industries policies have not simply followed the understandings of British creative industries policies, and different cities emphasise neoliberal elements, authoritarian elements and welfare provision to different extents. The policies cannot be simply described by ready-made terms like neoliberalism, or 'neoliberalism with Chinese characteristics', but must be studied in local context to reveal their variety and specificity.

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Tung, Cheng-Chia, and 童政嘉. "The Sustainability of Industrial Cluster on Cultural Creative Industry-A Case Study of Woodencarving Industry in San-Yi." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/9xsj96.

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碩士
國立臺北大學
都市計劃研究所
103
Recently,cultural creative industry has become one of promoting industries in Taiwan. Gorvenment hopes it is able to combine artistic creation with business to create locally characteristic products,and promote people's cultural identity and the added value of industry. Woodencarving industry in San-Yi belongs to the craft industry. Woodencarving industry has flourished in San-Yi because of local unique natural environment,industrial resources and establishment of San-Yi Wood Sculpture Museum. And it takes its place in the woodcarving industry in Taiwan.With the reputation and market development, it gradually attracted many woodcarving talent stationed,and formed woodcarving industrial cluster. We tried to use the case study research in qualitative research method and the theory of the sustainability of cultural creative industrial cluster to research. First,we analyzed the literature to realize the development process of woodencarving industry in San-Yi. Then,we used field research to analyze now spatial distribution about woodencarving industry in San-Yi. Next,we used depth interview to realize the interaction of each actor to analyze the creative milieu ,and to survey the sustainability of San-Yi's woodencarving industry. Finally,we provide the Government and other relevant departments proposals of development strategy according to the research result. In the research result, some local woodcarving talent is moving their studio to the suburbs or the community where fewer people live in because of the external cost about sounds of woodencarving creation. And there are more multiple artistic store in the major cluster region─Shueimei Street in recent years. For example, gallery,ceramics ,stone carving.We can clearly find woodencarving industrial cluster in San-Yi is gradually turning into multiple artistic cluster. San-Yi woodencarving association and San-Yi Wood Sculpture Museum play important roles in promoting the development of woodencarving industry in San-Yi.They lead the woodcarving talent to overcome the present situation and encourage them to learn different art in order to promote their creative energy. In the results of analysis about the cultural, economic and social sustainability ,we can understand the woodcarving talent have frequent interactions with each other. It can inspire them to promote their innovation learning. But the woodcarving talent has fewer interactions with other people,it make they lack of understanding each other and can't promote local identification for woodencarving,and then it's unable to eliminate the conflict of each other opposing life quality . However,we realized there are less economic impact of China's woodcarving on woodencarving industry in San-Yi now. But,there is a woodencarving cluster in Dongyang city in Zhejiang. It needs to observe its development for the long time in the future to totally realize how it affects woodencarving industry in San-Yi.

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Gonçalves, Eliana Patrícia Carvalho. "O Traje do Minho: tradição e inovação: um contributo para a sustentabilidade sociocultural na moda." Master's thesis, 2017. http://hdl.handle.net/1822/56054.

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Dissertação de mestrado em Design e Marketing
Uma das grandes preocupações atuais deste século debruça-se sobre a criação de novos modelos de negócio assentes nos valores da sustentabilidade. Neste sentido pretende-se apresentar o processo de desenvolvimento de produtos inovadores inseridos na criação de novos acessórios de moda. Este projeto foca-se na relação de um conjunto de conceitos interligados, que reúne a definição de inovação aplicada à sustentabilidade social e cultural, da dimensão ambiental, explorando o patrimônio cultural e intangível do Traje Vianesa. O Traje de Viana do Castelo reflete a cultura de um povo que tem alto potencial de ideais e valores estéticos e técnicos que estão prontos a ser explorados de modo a retrazer esta cultura para uma vertente mais contemporânea. Este processo teve como abordagem metodológica uma conduta explorativa com base nos métodos do processo criativo aplicado através do conceito Design Thinking. Esta ferramenta é utilizada para a estruturação do plano de recolha e análise das informações sobre a temática do Traje de Viana, de modo a que possa ser organizada, e estudada, de forma a se desenvolver acessórios de moda com os conteúdos intrínsecos a este símbolo cultural nacional. A fase da prototipagem destes novos acessórios de moda desenvolvida de forma artesanal, onde se implementou o conceito de parcerias das indústrias criativas num panorama real. Estas parecerias proporcionaram a criação de novos produtos inovadores, assim como novos modelos negócios de moda com princípios ecológicos, sociais e culturais.
One of the great current concerns of this century is the creation of new business models based on the values of sustainability. In this sense it is intended to present the process of developing innovative products inserted in the creation of new fashion accessories. This project focuses on the relation of a set of concepts interconnected, which brings together the definition of innovation applied to social and cultural sustainability, of the environmental dimension, exploring the cultural and intangible heritage of the Vianesa Suit. The Costume of Viana do Castelo reflects the culture of a people that has high potential of aesthetic and technical ideals and values that are ready to be explored in order to retract this culture to a more contemporary side. This process had as methodological approach an exploratory conduct based on the methods of the creative process applied through the concept Design Thinking. This tool is used to structure the plan for collecting and analyzing information about the theme of Viana's Costume, so that it can be organized and studied in order to develop fashion accessories with the contents intrinsic to this cultural symbol national. The prototyping phase of these new fashion accessories was developed in an artisan way, where the concept of partnerships of the creative industries was implemented in a real panorama. These partnerships have provided new innovative products as well as new fashion businesses models with ecological, social and cultural principles.

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Cardoso, Ricardo Couto Moreno Sampaio. "Contributo para repensar as cidades : cidades verdes e criativas." Master's thesis, 2015. http://hdl.handle.net/10400.14/19365.

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O presente estudo exploratório aborda o futuro das cidades, os seus desafios e responsabilidades na garantia das condições necessárias para que seja possível proporcionar uma melhor qualidade de vida aos cidadãos. A Cidade protagoniza o papel principal nesta proposta de repensar cidades, não fosse ela o cenário das nossas vidas, o motor da economia, a identidade de um povo e de uma história. Com este contributo pretende-se apresentar os diferentes cenários históricos a que a cidade tem estado exposta e as estratégias adotadas para que esta se adapte e prospere no seio da sociedade. O contexto e a cronologia ambiental presentes neste estudo são introduzidos por um raciocínio dedutivo que inicia com uma perspetiva macro dos incidentes e desafios ambientais globais, no seu seguimento apresentam-se os principais marcos e iniciativas internacionais, que confirmam uma preocupação ambiental difundida mundialmente, e estreita para o panorama europeu onde a sustentabilidade urbana se destaca através de 3 importantes iniciativas da Comissão Europeia (Agenda21Local, Pacto dos Autarcas e o Prémio Capital Verde da Europa). Dentro dos vários desafios de uma cidade, o seu desenvolvimento sustentável e a preservação da sua identidade, são os pontos escolhidos como prioritários na durabilidade e viabilidade de uma cidade. Os conceitos de Cidade Verde e Cidade Criativa são abordados com o propósito de transparecer a sua pertinência na resposta aos desafios anteriormente identificados. As cidades de Hamburgo (Alemanha) e Nantes (França) foram selecionadas como casos práticos e expositivos de cidades europeias vanguardistas, que demonstram estar cientes da urgência que as cidades têm em adotar políticas e padrões comportamentais que estimulem o desenvolvimento sustentável, e da necessidade de se preservar a cultura e a identidade de uma cidade, evitando a homogeneização das culturas, consequência de uma sociedade cada vez mais globalizada.
The present exploratory study aims to raise awareness among readers about the future of the cities, leveraging the challenges and responsibilities of the cities to provide and maintain the necessary conditions in order to offer a better quality of life for its citizens. The City itself plays the leading role in this proposal to rethink cities not only because it is the scene of our lives but also the motor of the economy and the identity of a people and their history. This study aims to present the different historical scenarios to which cities have been exposed and the strategies that have been adopted in order of its adaptation and thriving in society. The environmental context and chronology are introduced by a deductive reasoning that starts with a macro perspective of global environment challenges and incidents which is followed by the presentation of the main international initiatives (confirming an environmental concern that is spreading worldwide). Finally we approach urban sustainability in the European scenario, lightened by 3 important initiatives of the European Commission (Local21Agenda, Covenant of Mayors and European Green Capital Award). Cities face a great number of challenges and we feel that sustainable development and identity preservation are the points chosen as priority in the durability and viability of the cities. The Green City and Creative City concepts are explored in order to disclose their relevance in the challenges identified above. The cities of Hamburg (Germany) and Nantes (France) we selected as practical examples of avant-garde european cities, which have proven to be more aware of the urgency in adopting policies and behavioral patterns that encourage the sustainable development, and the need to preserve the culture and the identity of the city itself in order to avoid the homogenization of the cultures in consequence of an increasingly globalized society.

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Pinheiro, Maria Manuel Baptista. "Projecto cultural em rede nos Municípios que integram as Aldeias Históricas de Portugal : as indústrias criativas num território de baixa densidade : estudo exploratório e conceptualização estratégica." Master's thesis, 2019. http://hdl.handle.net/10400.14/32923.

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Os Territórios de Baixa Densidade têm vindo a ser, à escala mundial, fustigados pelos fenómenos de abandono territorial e envelhecimento populacional, traduzindo-se em políticas de secundarização altamente nocivas para a sua afirmação e desenvolvimento. Direccionado para o enredo oportunizado pela Entidade - marca e destino - Aldeias Históricas de Portugal - Associação de Desenvolvimento Turístico (AHP-ADT), este projecto propõe-se a não só contextualizar a realidade factual deste território, como ainda elencar um conjunto de propostas que, alinhadas com as novas tendências governamentais de desenvolvimento territorials, possam ser capazes de sustentar um Projecto Cultural em Rede coeso e sustentável. Integrado na Região Centro de Portugal, este território contabiliza dez municípios - nos quais se inscrevem as doze aldeias históricas - distribuídos por três distritos distintos. Desta multiplicidade surge uma riqueza cultural, patrimonial e social inimitável, de enorme potencialidade. Este projecto constrói-se, assim, em duas frentes distintas: uma primeira que concerne a reestruturação do produto integrado deste vasto território a partir do qual, e integrado na estratégia da Entidade AHP-ADT, se objectiva, no âmbito das dimensões turísticas cultural e criativa, a promoção de novos formatos e motivos de consumo capazes de animar a economia local, afirmando-a. Numa segunda vertente, atendendo a fenómenos sócio-culturais como o são o da contraurbanização e o da procura por estilos de vida mais autênticos e sustentáveis, elencam-se propostas que, no âmbito das Indústrias Culturais e Criativas, possam viabilizar o empreendedorismo especializado e, consequentemente, a fixação de uma classe criativa que subscreva os ideais e dinâmicas destes territórios, em estreita harmonia com a activação e envolvimento das comunidades locais (residentes, empreendedoras e educativas) e autoridades com poder de decisão (locais, regionais e nacionais).
Low Density Territories have been, all over the globe, afflicted by the territorial abandonment and population ageing phenomena. By deeming these issues of secondary importance, upheld policies are now aware of the harmful character these actions might translate into in the context of affirmation and development of these territories. Designed specifically for the environment offered by the Organization - trademark and destination - Aldeias Históricas de Portugal-Associação de Desenvolvimento Turístico (AHP-ADT), this project proposes not only the contextualization of the factual reality of this territory, but also seeks to present a number of business proposals that, in hand with the new governmental tendencies of territory development, are fully capable of securing a Cultural Network Based Project in a sustainable way. Located at the Centre Region of Portugal, the territory by this project portrayed, counts ten municipalities - in which are found the twelve historical villages - spread throughout three districts. Of this multitude results a cultural, heritage and social richness that’s not only inimitable as it is of immense potential. In this sense, this project results of a “two-front” strategy; the first one, regarding the remodeling of the integrated product associated with the territory, integrated within AHP-ADT strategy’s and as part of the Cultural and Creative touristic branches with the aim of ensuring new formats and ways of ensuring profitability and economical revitalization. In the second one, and taking into account socio-cultural phenomena as counterurbanization and the search for more authentic and sustainable lifestyles, are presented some proposals that within the Sector of Cultural and Creative Industries may enable the establishment of specialized entrepreneurship and the creative class associated with it, whom in harmony with local communities (residential community, entrepreneur community and educational community) and the public authorities with decision-making and monitoring powers ( at a local, regional and national levels) become capable to communicate a Cultural Network Based Project like this one.

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Chen, Yi-Ting, and 陳依婷. "Investigating Experiential Value in Creative Industries." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/50026491461972101080.

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碩士
國立高雄第一科技大學
行銷與流通管理研究所
103
This study takes “Ten Drum Ciatou-Creative Park” as an example to analyze the relationship between perceived fit and experiential value on visitor’s satisfaction and loyalty. Further, the impact of visitor’s cultural level was investigated. A total of 280 valid questionnaires were collected at Ten Drum Ciatou-Creative Park, resulting in an effective return rate of 93.33%. SPSS and SMARTPLS2.0 were used for data analysis. The results show that perceived fit positively impacts experiential value and visitor’s satisfaction. Further, experiential value and visitor’s satisfaction positively influence loyalty. Experiential value also positively impacts satisfaction. Visitor’s cultural level positively moderates the relationship between experiential value and satisfaction. Based on the findings, suggestions are provided to operators of the creative industry, by describing the current industry condition and outlining future management strategies for sustainable operation in the cultural and creative industries.

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35

Boda, Harmony Marie Paulette. "Female leadership in the creative industries." Master's thesis, 2019. http://hdl.handle.net/10071/18944.

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The under-representation of female gender and especially female leaders in the creative industries is an increasingly debated issue. Several papers in the literature and in media have been written concerning the lack of women especially at senior positions in the sector with the purpose of explaining the source of this problem. Although point of views on this topic differ, understanding the under-representation of women at leadership roles has been problematic due to a lack of information and data as the sector is rapidly changing. The purpose of this paper is to provide a qualitative understanding of the under-representation of women leaders in the creative industries and how successful female leaders perceive the problem and battle the challenges imposed by the sector. Based on literature review, a specific research has been implemented in order to understand the phenomenon in creative organisations.
Existem, cada vez mais, discussões acerca da minoria do género feminino, especialmente enquanto líderes na indústria criativa. Tanto em artigos científicos como nos média este tema, relacionado com a falta de mulheres a desempenhar funções em cargos superiores nesta indústria, tem sido debatido a fim de se tentar perceber a causa deste problema. Embora haja diferentes pontos de vista, perceber a falta de representação feminina em posições de liderança tem sido difícil devido à falta de informação e de dados, relacionado consequentemente com as alterações constantes nesta área. Portanto, a principal função deste artigo é perceber, qualitativamente, a minoria do género feminino enquanto líderes nesta área e, como elas enfrentam esse problema impostos pela indústria criativa. Baseando na revisão de literatura, foi feita uma pesquisa especificamente focada em perceber este fenómeno relacionado com agências criativas.

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Chiao-Huei, Wu, and 吳巧惠. "Establishing the Visual image of Cultural and Creative Industries Park- HuaShan 1914 Cultural and Creative Industries Park." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/11089344246184792122.

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碩士
國立臺灣師範大學
設計研究所
99
The establishment of the cultural and creative industries park has been carried out in European and American countries for many years. According to the development of policy in recent years, our government proposes the plan to establish cultural and creative industries park, in order to complete the environment for developing cultural and creative industries. Nowadays, many cultural and creative industries parks base on the reusing of inactive land and buildings and focus on the space planning and using. The visual image and identity system should combine with the local cultural characteristics, and let people recognize, understand and has the emotion. This research focuses on establishing visual image and identity system for cultural and creative industries park, and find out the character of visual image and identity to improve the communication of visual image and the representation of design. And through literature review, case studies and design practice to discuss and verify, we could import the brand concept into the identity system, and use identity system to promote the visual image. The main conclusions are as follows: (1) The purpose of cultural and creative industries park is through the integration of resources and efficient administrative support to create a space, providing research, education, performances and rest. (2) Most of culture and creative industries parks in Taiwan reuse the inactive land and buildings, and expect to retain the traces of history. But the visual identity is still hard to associate with the local cultural characteristics. (3) Based on literature review, case studies and design practice to discuss and verify, the framework of establishing visual image and identity system is divided into plan and design two stages. (4) It’s the most effective and direct way to communicate through the process of visualization, and people can recognize, understand and has the emotion from the planning and management of identity system. (5) The factors used in identity system of cultural and creative industries park can be divided into standard letters, Logo, and standard color, and derivate to identity signs, direction signs, location signs, buildings signs, symbols, map and street furniture. (6) The visual image of the cultural and creative industries park should have full planning from space, moving route and identity system to keep the cultural image and establish uniform style.

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37

Hsieh, Chia-Chi, and 謝佳琪. "The Perspectives of Creative Clusters on Taiwan Cultural and Creative Industries." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/vg4b5s.

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碩士
國立中山大學
劇場藝術學系研究所
104
The significance of Cultural and Creative Industries(CCI) has had numbers of controversies, but it still belongs to an industry and has potential and benefits in economy. From the aspect of industry development, the phenomenon and the occurrence of cluster effect can recognize the maturity and competitiveness of the industry. Moreover, cultural creation that belongs to the connotations of the industrial cluster effect seems to have some differences from the traditional industry. Government considers cultural creation as the strength and development of a national economy, so it decrees the strategies and the policies which still belong to the developing thinking of traditional industry. Therefore, it is possible to find out that cluster effect is important and effective for CCI development which directs industrial parks, but it still has various aspects of considerations which need to be improved. In addition, from the theory of creative clusters, it mentions the concept of Creative Milieu, which occurs in city among neighborhoods. Observing the current status of Taiwan, creative neighborhood is gradually forming and developing stably. The cluster effect seems to be more active than Cultural and Creative Industries Park, so it is worthy to deeply research the development models of creative neighborhood for the economic effects and potential development of CCI. This research attempts to analyze the current structure and development of CCI in Taiwan through creative clusters theory, to explore the advantages of two modes which are Cultural and Creative Industries Park and Creative Neighborhood, and to discuss what form is more suitable for the development of CCI. Through interviews of organization building cultural and creative neighborhood, interviews of the professionals and industry brand, and personal involvement and observation in both fields, including Creative Neighborhood and Cultural and Creative Industries Park, using philosophy researching method to inquiry, reflect, and verify on the phenomenon; moreover, adopting survey method to collect questionnaires from CCI stores, and to investigate the viewpoint of both of Creative Clusters and Creative Milieu in order to permit the actual situation. By the multiple aspects information, we can conclude the development of CCI, and their respective advantages and appropriate position of the industries parks and neighborhoods. Eventually, whether Creative Clusters succeeds or not, it is not related to the actual output of the industry. Today, we talk about creative cluster, it still depends on the accumulation of creative capital. However, due to the features of cultural and creative output, creative capital doesn’t necessarily turn into economic benefits directly. Therefore, the markets (consumers) need to face Industries Park, but the production (creation, creative) should face Creative Neighborhood. Furthermore, cultural and creative value is divided into intangible and tangible. Creative capital has both of creation and economic production, but its intangible value is much more important. Therefore, when CCI only concerns about their output value, it can’t keep running the industry because of the loss, unsustainable content and spirit. However, it is interesting that the continuing development of the industry needs output value to support itself, so CCI seems to have this dilemma. It can’t be diffusely extended toward economic scale, and it should face the commercial market.

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38

Chen, Yun-Chih, and 陳運池. "The Development of Creative Industries in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/44364132331330322795.

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碩士
中國文化大學
建築及都市計畫研究所
98
Creative Industries is a trend of global development in recent years, it’s also one of the fast-growing sectors of the economy, whether in world or in the individual countries, it has brilliant performance, such as Britain, Finland, Japan, their outputs are rising every year. Facing the globalization competition, Taiwan gives related policies moving in return as "Industrial Innovation Regulations" and "Cultural Creative Industries Develop Action Plan". Taiwan has been promoting the Creative Industries as Cultural Creative Industries and Local Cultural Industries, especially focusing on the former. But comparing the Creative Industries’ definition and classification between Taiwan and the other countries, Taiwan’s Cultural Creative Industries are narrower, and it may ignore those industries with creative potential. In order to explore the creative potential industries and promote the development of Creative Industries in Taiwan, this study tries to use literature reviewing to analyze the history of Creative Industries, and uses the international model and principles to calssify Taiwan’s Creative Industries items. This study itegrates the research analysis of literatures reviewing, key issues and focus group interviewing to draw up the framework of Taiwan’s development structure for Creative Industries. The study concludes：（1）Compare the mutual tendency and the difference of Creative Industries between Taiwan and international development.（2）Part of the Taiwan’s traditional industry could be classified into the Creative Industries.（3）Taiwan’s Creative Industries development structure should include a specialized institution, an industrial value chain, innovative learning regional network and digital applied platform system.（4）Conclude the definition of Taiwan’s creative industries based on the characteristics of creative industries.（5）Propose the development structure of Taiwan’s Creative Industries.

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39

Chang, Che-Jung, and 張哲榮. "Take Cultural Creative Industries to Discuss The Cultural Industries in Tam-sui." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/dj6acp.

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碩士
國立臺北藝術大學
建築與文化資產研究所
100
ABSTRACT Tamsui has become one of the most important tourist towns in Taiwan due to the successful development and transformation of tourist attractions including Fisherman’s Wharf, Old Street and Historic Park in recent years. In addition, the growth of Cultural and Creative Industry has also gradually turned into the primary objective of life culture in the most of the countries since the 20th century. Actually, the Tamsui Historic Sites and Township Office have cooperated and devoted to the Old Street peripheral culture, the space and the multi-dimensional development of industry. They takes “The Creative City” as the main goal to implement the policies including the management of historical park, the introduction of artistic industry and plan of cultural creativity industry park and so on. However, the concept of Cultural and Creative Industry just starts and is immature in Taiwan, so it is essential to respect the recognition of the local community and to refer to the successful cases in the past during the process of the government investment. This research executes mainly from the views of cultural industry and community empowering with applying the creative city development theory to investigate and interview the official agency and community actor whose strive to promote the operation and improvement of local industry, and then takes the local culture industry of Tamsui Old Street as spindle to analyze the various sides of culture, creative and industry of town and provide the strategies for integration of community development on purpose of the demand of local culture industry, and finally further discusses suitable suggestions for the basis of sustainable management of the community culture industry.

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40

Peng, Huichen, and 彭慧貞. "The Development Situation of Cultural Creative Industries in Miaoli County - The Case of Craft Industry and Creative Life Industries." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/07830661579198812334.

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碩士
國立聯合大學
資訊與社會研究所
99
By the impact of the two trends of globalization and technology, traditional industries have faced significant pressures in the changes of their business structures. It is necessary to develop new business models to enhance industrial competitiveness. The current world attach great importance to facilitating and promoting cultural creative industries which has been seen as the axis of the development of a country's overall economic policy and industrial policy. This leads to the surprisingly great growth of the cultural creative industries in the share of global trade on the scale. Miaoli County economic development lags behind many other cities obviously. How to carry on the transformation and the extension of the traditional industry by promoting cultural and creative industries has become one of the key projects in Miaoli County Government. In the promotion of cultural and creative industries, the craft industry and creative life industries have been regarded as the key development industry. Therefore, by secondary data analysis and interviews, this study appraises the strengths and weaknesses of the craft industry and creative life industries in addition to exploring the current overall development of cultural creative industries in Miaoli County, in order to predict long-term industry trends, and to strengthen the industry's future competitiveness. According to this study , the craft industry and creative life industries has considerable competitiveness in manpower indicators, industry scale indicators, industrial innovation index. But they are faced with the difficulties of the pass on in human skills, resource allocation, cross-industrial collaboration, industry positioning, etc. Therefore, the promotion of the industry still requires more comprehensive planning and support. Besides, the government policies needs different assistance and cooperation according to the features and needs of each industry, as well as related assistance in the one-stop service, expert guidance, subsidies, marketing, manpower cultivation and cultural rooting. The local traditional industries can be transformed and developed to reach and to promote local economic development objectives by using cultural and creative life industries.

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Ferreira, Fábio Almeida 1977. "Cities, the information society and the creative industries : an analysis of the core media related creative industries in Salvador, Bahia." 2008. http://hdl.handle.net/2152/18231.

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In the late 90’s the creative industries emerged as a new concept to aggregate industries whose products were primarily based on creative inputs and were subject to intellectual property. In the field of media studies, the creative industries emerges as an attempt to understand a segmented and convergent media environment, and account for the impacts of new technologies of information and communication on society. The creative industries are considered key industries in the information society due to its reliance on knowledge and information. As a consequence many countries, regions and cities adopted plans and strategies to attract and/or develop creative industries in their territories hoping to foster local economic development. This adoption is evident not only at core cities and regions, but also at non-core places that are hoping to become a significant node in the information society. This dissertation investigates such a case of a non-core city, via the analysis of the core media related creative industries in the city of Salvador, Bahia, Brazil. The analysis of Salvador’s core media related creative industries indicates the importance of the logic of proximity/agglomeration and concentration for the creative industries, and also indicates how a non-core city incorporates the concept the creative industries and the media related creative industries into its development planning and economic development strategy.
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42

Ching, Ku Pei, and 古珮菁. "The Transformation of Conventional Industries to Cultural Creative Industries-Case of Miaoli County." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/92185952867806996253.

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碩士
國立聯合大學
資訊與社會研究所
101
Taiwan conventional industry played an important role in the economic development in the past, but it has been gradually losing superiority due to the impact of globalization. The circumstances caused many small enterprises to face a crisis and resulted in closing the business. Then the industrial transformation takes place to change its management style to cope with new environment changes for the purpose of sustaining business. This study aimed to understand the process of transformation of conventional industries, experiences and ideas they have gone through, specifically focused on some conventional industries successfully transformed to cultural and creative industries in Miaoli. The study explored how they dealt with the pressure, frustrations in the beginning of the transformation as well as their strategies and management approaches in the latter development. This study carried in a qualitative approach by using case studies and semi-structured interviews. Three stores were selected to examine their transformation process: Ya Siang Bao and Mao Siang Tan Fang in Sanyi, and Ba Ba Keng Dao in Sanwon. The results of the study revealed several important findings. First, the reason for conventional industries to transform due to the market environment changes and conventional culture sustenance. Second, the government, folk cultural and educational organizations have provided many supports to make a smooth transition. Third, the frequent challenges they encountered was lacking of manpower, and craft technical experts in the transformation process. In addition, facing of limited crowds in the early stage, mostly depends on the support and advertisement from the government and the media to increase their visibilities. Lastly, after the transformation, how to maintain competitiveness in the future, these businessmen try to establish a good interaction with visitors as their ultimate goal, hopefully, maintain cultural heritage mission will be passed on.

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43

Chien, Chia-Wei, and 簡嘉緯. "Mazu Culture Study on Cultural and Creative Industries." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09228433154217640884.

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碩士
明道大學
設計學院碩士班
98
In recent years, the concept of “cultural creativity” has been become more popular around the world. The Executive Yuan of Republic of China proposed that ‘’challenges 2008: the plan of the national development becomes the main strategy “from 2002. Furthermore, it proposed that “cultural and creative industries” takes a major development industry and with the positive concept of the industry chin to redefine the value of the cultural industry. In addition, it look forward to the accumulation of culture and creativity, creative, cultural and economic could acquired the new structure by the formation and utilization of Intellectual Property, to develop the industry with the international prospect. However, the development and impact of the concept of cultural and creative, With the Mazu belief in cultural representation of Taiwan culture response to this trend which generate a great impact on commercialization of festivals, the development of Matsu product and the development of religion in industrial. Therefore, the concept of cultural and creative industries has become more popular. Nowadays, there are a wide variety of Mazu culture products which enrich the local culture.

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44

Eunike, Agustina, and Agustina Eunike. "INDUSTRIAL CLUSTER ANALYSIS FOR ICT-BASED CREATIVE INDUSTRIES." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31621125824042087151.

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碩士
國立臺灣科技大學
工業管理系
99
This research investigates the development of an ICT (Information and Communication Technology) creative industry cluster. It examines what and how factors affect the cluster size. By knowing the factors and its effect, effective policies can be constructed to develop the industrial cluster and increase its competitiveness. The factors are determined through literature analysis of previous study about cluster size and an observation of Taiwan creative ICT industry in practice. The proposed model using system dynamics justifies the behavior and the effect of each factor. We found that market demand, innovation, and government incentive play important roles in increasing the cluster size. From an evaluation by scenarios, this study confirms that a policy in enhancing market demand will give higher effect to the cluster size as compared to a direct incentive policy.

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45

HUNG, TSAI CHIH, and 蔡志泓. "MCDM Model for Exploring Cultural and Creative Industries." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/wmnn8a.

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碩士
開南大學
商學院碩士在職專班
102
Cultural and creative industries, by definition is a combination of cultural and creative industries. While the culture has many different definitions of the term. Broadly speaking refers to living together in a society of people that have similar habits, customs, and beliefs. Narrowly speaking, which means the art is a people created by the new types of products. Whether in the narrow or broad culture, a culture of creativity that is present in both cultures, adding each country, ethnic, and other creative individuals, giving a new style and cultural value. This paper utilizes decision making trial and evaluation laboratory (DEMATEL), DEMATEL-based analytical network process (DANP), and VlseKriterijumska Optimizacija I Kompromisno Resenje (VIKOR) to explore the interrelationship, influential weights, and the gaps of aspiration level within dimensions/criteria. The criteria of cultural and creative industries possessed a self-effect relationship based on DEMATEL technique according to the influential network relation map (INRM). In the fourteen criteria, green design is the most significant criterion. The gaps within each industry for improving the cultural and creative industries performance are displayed in the results.

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46

Yu, Yi-Chen, and 游怡真. "Design Strategy in the Culture and Creative Industries." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/h279pj.

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碩士
銘傳大學
設計管理研究所碩士班
94
Considering the globalization and the development of regional culture, the authority in Taiwan has been working on promoting the cultural and creative industries. There is a strong connection between the traditional craft industry and regional culture. However, the traditional craft industry has declined with the flow of time. This study investigates the existing status of how the employers set up and carry out the design strategy to transfer the traditional craft industry into a new stage. This research focuses on the how the traditional craft industry transferred into culture creativity industry in Taiwan as an object of study. The case study was adopted to explore four enterprises and the people in charge in the company were proceeding to face-to-face in in-depth interviews. The inductive analyses for qualitative data and the context analyses were used to analyze the data. The aim of this research is to develop a design strategy for the execution of the craft industry’s transformation into the cultural creative industries. The main findings of the craft industry’s transformation into the cultural creative industry are as follows: (1) The essential elements of design include the local culture, the industrial and product culture, and the innovative technique, accompanied with the elements of exotic culture, creative thinking, development of products series, etc. (2) The creative source comprises cultural connotation, special techniques, the development orientation of design direction, etc. (3) The applications of cultural connotation contain animals and plants, Taiwan argil, representatives in the environment, cooking culture, aboriginal culture, special space culture, penmanship, drawing, etc. (4) The expressions of culture include the locals, the marketing area, the industry and product cultures, etc. (5) The main points of design strategies in company comprise the cultural connotation, the enterprise resource, the development orientation, etc. (6) The major difference between the design strategy for design project and company are the product advance skill, complementary strategy, etc. (7) The methods for getting rid of inferior position include the consideration of strategy for transformation, the integration with consuming market, the promotion of special field, the increase of the chances to develop, the blend of other culture, and the emphasis of the importance on the intellectual property rights. (8) The methods for the uplift of industry include the increase of product value, the creation of developing the opportunity and the characteristics, the expansion of tourism and regional industries to attract sightseers, professional reeducation based on the cultural connotation, productivity base on project sort, along with the innovative technology and the protection of intellectual property rights. (9) The complementary strategies consist of the combination of different industries, the assistance in regional development, the integration with tourism, and the transmission of tradition skills. Keywords: Cultural Creative Industries, craft industry, design strategy.

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47

Chuang, Su Yu, and 莊素玉. "Evergreen Creative Industry Model Three Case Studies of Three Creative Industries in Kyoto." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/05538836597026698672.

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碩士
國立政治大學
經營管理碩士學程(EMBA)
98
As technolgy innovations accelerate, creative industries have gained more prominance in our daily life in the 20th century.Creative Industries have drawn attentions in every develped country.Whether Taiwan can attract the new creative class and culture glitterati will determine Taiwan's path fo development. The creative industries have gained more and more influence in today's society. The so-called "Creative Class" is the most primary and significant social class in the 21th century. The creative class is concerned about environment, human rights, peace, and spiritual wealth. They are the forerunners of civil movement and student activism in the 1960s. The countries, regions, and cities, who failed to attract creative class, will face the inevitable fate of decline. This study attempts to explore the reason of longevity and sustainibilty of Kyoto's creative industries. Through the methodology of case studies. This thesis draws on theories of Richard Florida, Elizabeth Currid、 Nobuyuki Idei 、Takashi Murakami、Yuichiro Nonaka、Ken Mogi、Renfan Lee This thesis focus on deep analysis of one 400-years-old 唐長 and discussion on other 2 craftmanship and creative enterprises in Kyoto to arrive at the conclusion of ever-gr0wing vitality of Kyoto's creative industries. This studies find out that the old creative industries in Kyoto has absorbed the historial tradition, geographical characteristic, and culture uniqueness of Kyoto. The core philosophy of management is familial succession. The historical tradition, geographical characteristics and family management have become implicit knowledge and gives birth to Kyoto-unique organic learning organiztion. This research suggests that private enterpreneur should learn from local history and local culture and distill geniune local flavors, refine the aesthetic flavors into "knowledge spiral," and make the implicit knowledge of knowledge to pass on to future generations. The second advice is that county and local government should encourage the preservation of local culture and culture tourism to lay the foundation for future new creative enterpreneurship.

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48

Pires, Bruno Miguel Teixeira Bento. "The impact of ‘Creative Industries’ definitions on subsector typologies." Master's thesis, 2012. http://hdl.handle.net/10400.14/16571.

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Being the ‘Creative Industries’ (CI) a growing economical sector, many studies have tried to define it as well as to identify it's subsectors. However, the discussion still remains as to whether the sector should be called ‘Cultural Industries’ or if these should be included inside the wider CI group. Other discussions debate how the CI should be identified. So, what are Creative Industries? What makes this sector different from other sectors? It is of vital importance to define this sector and not just enumerate possible subsectors, so that future mappings can provide us exact numbers on its extension and influence on economy, both direct and indirect. This study aims to contribute to the definition of Creative Industries by analyzing previous definitions, namely in terms of criteria and subsectors.

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HUI, HUANG CHIUNG, and 黃瓊慧. "Preliminary Study on the development of cultural and creative industries in Taiwan – In the case of Chiayi Cultural and Creative Industries Park." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10692370219039617981.

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碩士
國立嘉義大學
管院碩士在職專班
101
In this globalized era, the content of industrial competition has changed from the model of industrialized mass production into the age of knowledge-based economy. In Taiwan, the establishment of cultural and creative industries park has become the symbol of the upgrade of industrial park. In 2010, “Law for the Development of the Cultural and Creative Industries” had pass, therefore, the proper use of the national development fund to invest the cultural and creative industries and make sure that can exert the maximum benefit will be an important issue of Taiwan Government. In this study, the range of investigation will focus on “Chiayi Cultural &; Creative Industries Park”. Access objects include: non-governmental persons or groups who have the experiences that been participated in cultural and creative industries and the undertakers and directors of government. Using qualitative survey interview as research method and interview the director of cultural bureau who manage the cultural and creative industries park in government, project managers, the person in charge of private enterprises, municipal advisors, the planner of communities empowerment, artists in residence, former dean of the National Palace Museum, former national policy advisor etc, then integrated the research results to reflect the development and possibility of cultural and creative industries park. According to the conclusion of this study, we found that the cultural and creative industries in Chiayi have enough cultural basis, use the cultural and creative industries park as a base to approve the development of the local leisure and tourism industry would be a feasible direction, by the way, we suggest that competent administrative units need to emphasis and implement on local culture, amendment to the relevant laws, devolved, to reach the fully cooperated of local public sector and the team that stationed in industries park.

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Chang, Yi-Yun, and 張意雲. "A research on residents’ attitude of cultural and creative industries in Hualien City：A case study of Hualien Cultural and Creative Industries Park." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/39033480118133207440.

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碩士
國立東華大學
臺灣文化學系
100
This study aimed to explore the residents in Hualien City about their attitude of current situation,differences, relevance and impact factors to Hualien Cultural and Creative Industry Park. The subjects are the residents whom have domiciled in Hualien City administrative area over 20 years old or more, via the self-edit questionnaire "The research of Hualien City residents’ attitude about cultural and creative industries " to collect empirical data, using Proportionate Stratified Sampling method to get 825 residents as samples, the total usable are 710 samples. The questionnaire collected data are analyzing by the statistical methods such as Statistical Package for Social Science (SPSS) to do the descriptive statistics, Independent Sample T Test, One-Way Analysis of Variance, Pearson's Product-moment Correlation Coefficient and Stepwise Regression Analysis. After discussing the analysis results, the conclusions are made and also make recommendations which could be the reference for the relevant units. The main conclusions of this study are as follows: 1. The residents’ performance of "cognitive", "cordiality", "behavioral tendencies" about the attitude of Hualien cultural and creative industries park are moderately, positive, where as the average score is. 2. At the "cognitive" aspect ,the attitude of Hualien cultural and creative industries park, six items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence area. At the " cordiality " aspect , seven items showed significant differences as below: education level, occupation, personal monthly income, marital status, ethnic and residence time, and there are seven significant differences at the "behavioral tendencies" aspect which are: age , education level, occupation, personal monthly income, marital status, ethnic and residence area. 3. Among the residents’ "cognitive," " cordiality," "behavioral tendencies" aspects, all have a significant positive correlation, in which of them, the correlation between the " cordiality " aspect and "behavioral tendencies" aspect is the highest, next is the correlation between the "cognitive" aspect and the " cordiality " aspect, and the lowest correlation is between "cognitive" aspect and "behavioral tendencies" aspect. The "cordiality " aspect of Hualien residents has most relevant with "overall attitude ". 4. The significant factors which influence the residents about the "Cognitive" of Hualien's cultural and creative industrial park are " cordiality " aspect, "behavioral tendencies" aspect, "ethnic, " occupation", " residence area". The significant factors which influence the residents about the " cordiality " of Hualien's cultural and creative industrial park are: "behavioral tendencies" aspect, "cognitive" aspect, " occupation ", "education level ", "residence time". Final, about the significant factors which influence the residents about the "behavioral tendencies" of Hualien's cultural and creative industrial park are "cordiality " aspect, "cognitive" aspect, " occupation ", "personal monthly income", "residence area" and "residence time".

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Dissertations / Theses on the topic 'Sustainability e creative industries'

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