...November 2010 Creative clusters and innovation Putting creativity on the map Caroline Chapain, Phil Cooke, Lisa De Propris, Stewart MacNeill and Juan Mateos-Garcia Disclaimer This work contains statistical data from ONS which is Crown copyright and reproduced with the permission of the controller of HMSO and Queen’s Printer for Scotland. The use of the ONS statistical data in this work does not imply the endorsement of the ONS in relation to the interpretation or analysis of the statistical data. This work uses research datasets which may not exactly reproduce National Statistics aggregates. Copyright of the statistical results may not be assigned, and publishers of these data must have or obtain a licence from HMSO. The ONS data in these results are covered by the terms of the standard HMSO ‘click-use’ licence. Creative clusters and innovation Putting creativity on the map Foreword No one doubts the economic importance of the creative industries to the UK. At 6.2 per cent of the economy, and growing at twice the rate of other sectors, they are proportionately the largest of any in the world. But there is some evidence that the UK’s creative industries support innovation and growth in other parts of the economy too. The significance of these spillovers has only recently begun to be examined rigorously. And we know next to nothing about their geographical dimensions. This gap in our understanding is what NESTA set out to address in Creative Clusters and Innovation...
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...The Creative Industries and Scottish Film. With its exquisite landscapes, monumental architecture, and breath-taking coastlines, it is no wonder Scotland has always been such a powerful draw to film makers and producers alike. The Scottish film industry has grown from strength to strength in recent years. Arguably putting itself on the map in the nineties with films such as Braveheart (1995) and Trainspotting (1996), Scotland now lends its locations to multimillion-pound productions such as Skyfall (2012), The Dark Knight Rises (2012), Sunshine on Leith (2013) and The Railway Man (2014) as well as TV productions including Game of Thrones (2011) and Outlander (2014). To what extent have Scottish films such as Braveheart and Trainspotting impacted on the tourism industry and given their contrasting portrayals of the Scots, does one hinder tourism more than the other? Can we say whether or not there is a distinct notion of ‘Scottish national identity’ and if such a concept exists to what level is it illustrated in Scottish film? Has the Scottish film industry had an impact on the political landscape in Scotland since it was devolved in 1998? Finally given the effects of Scottish film in Scotland, what has the government put in place in order to develop the industry further? Scotland has produced many world renowned films over the last two decades and has had a large impact on the creative industries in Scotland. It has long retained a certain romance which frequently appeals...
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...media policy brief 1 Creative Destruction and Copyright Protection Regulatory Responses to File-sharing Bart Cammaerts and Bingchun Meng London School of Economics and Political Science Department of Media and Communications LSE Media Policy Project: Media policy brief 1 Creative destruction and copyright protection Acknowledgements The authors would like to thank Professors Robin Mansell and Sonia Livingstone for their insightful editorial contributions on earlier drafts of this media policy brief. We are also grateful for the research and organizational assistance of our resourceful and talented interns: Dorota Kazcuba, Nate Vaagen, Ben Murray, Davide Morisi and Liam O’Neill. In addition, Jim Killock and Mark Margarattan contributed to stimulating discussion during the project’s expert meeting on ‘File-sharing, the DEA and its implementation’. The LSE Media Policy Project is funded by the Higher Education Innovation Fund 4. LSE Media Policy Project Series Editors Zoetanya Sujon and Damian Tambini Creative Commons copyright licence, Attribution-NonCommercial. This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms. March 2011. LSE Media Policy Project. http://blogs.lse.ac.uk/mediapolicyproject/ 1 LSE Media Policy Project: Media policy brief 1 Creative destruction and copyright...
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...to show that Britain’s film industry is now the third biggest in the world and a prime destination for inward investment. This success story was heralded by James Purnell, new Minister for the Creative Industries, in a speech to the Institute of Public Policy Research in June this year.[1] But what is the relation of this economic success to the vibrancy and breadth of our film culture? A further look at the statistics provided by the UK Film Council for 2004 shows that last year domestic production fell from 44 films to 27, where domestic is taken to be films made by a UK production company shot wholly or partly in the UK. In 1997, the year when the government set up the Department of Culture, Media and Sport, UK production had been at a record high, and 84 domestic productions were registered. In terms of what UK audiences could see in 2004, beyond American features and American co-productions, the rest of the world share of the market in UK and Ireland was just 2.7%, a figure which betrays the failure of film policy to encourage interest and understanding in the stories of what goes on beyond our shores. Last year also saw the consolidation of companies operating in the exhibition sector and a series of momentous deals which changed the landscape of UK exhibition. In August 2004, Terra Firma acquired both the Odeon and UCI cinema circuits for a total of 580 million pounds, acquiring a 35% share of the market. Then in December Cineworld UK, controlled by the Blackstone...
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...Brighton, A (2006) Consumed by the political in Culture Vulture M. Mirza, London: Policy Exchange. Varbanova, L. (2013) Strategic Thinking: Vision, Mission and Objectives in Strategic Management in the Arts, London: Routledge, pp 58-72 | 3 | Money: Financial Management and Fundraising | Glow (2010) Taking a Critical Approach to Arts Management in Asia-Pacific Journal of Arts and Cultural Management, Vol. 7, No. 2, Australia: University of South AustraliaMcRobbie, A. (2001) 'Everyone is Creative': Artists as New Economy Pioneers?, London: openDemocracyBolton, M. and Carrington, D. (2007) New and Alternative Financial Instruments. UK: Mission, Models Money | Additional ReadingArts Council England. (2007) Call it a Tenner: The Role of Pricing in the Arts. Research Report. (http://www.artscouncil.org.uk/publications/publication_detail.php?browse=recent&id=594)Bertelli, A. et all (2013): Politics, management, and the allocation of arts funding: evidence from public support for the arts in the UK, InternationalJournal of Cultural Policy, DOI:...
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...Top 6 Undergraduate Courses in Interior Design in the UK Interior designing is one of the interesting disciplines that include studying how to design the interiors of buildings. In order to be successful in this professional, working on live projects and gaining practical skills is the most essential requirement. The various universities in the UK that offer undergraduate courses in interior designing strongly focus on this aspect. Live projects, studio tutorials, seminars and workshops are part of the curriculum that make the students become professionals to land their dream jobs on the basis of building of strong portfolios. Thus, while learning the course itself, you will gain exposure on how to satisfy the clients. The country of the UK...
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...AN INTRODUCTION TO CROWDFUNDING The late 19th century saw the creation of one of the world’s most recognisable landmarks with the gift of the Statue of Liberty by the French to the US. While the French paid for the construction and shipping of the statue it was down to the US to fund the base upon which it would stand. With the statue ready to leave France, the Americans were still well short of the $300,0001 needed to build the base and erect the statue. Running short of time the American Committee (responsible for raising the funds) teamed up with newspaper owner Joseph Pulitzer to launch a campaign to invite citizens to donate even small amounts to help in the funding of the pedestal, offering donors miniature replicas of the statue in return. This 19th century crowdfunding campaign raised $100,000 in just five months, contributed to one of the most popular attractions in the world and illustrated the financing power of a large crowd when tapped for funding. While the American Committee were lucky to have Mr Pulitzer and his paper to publicise their plea for donations, others wishing to access so many people would have had no such help. This, however, has changed in recent years with the rise of social media and the new ease with which communities can form and interact online. Annual growth in the number of crowdfunding platforms worldwide Growth |||||||||||| |||||||||||| |||||||||||| ...
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...This group of employed individuals consists of 0.6% agriculture, 6.4% construction, 14.6% production, 78.4% services, and sees fifteen percent of the population living below the poverty line. Trade is vital to the British and this is reflected in that their exports and imports consumes 57% of the GDP. The country welcomes foreign investment, and has an average applied tariff rate of 1.5%. The state still holds some bank ownership, but the financial sector is strong. Trade is bustling for the UK, and they are involved with many free trade agreements including major economies such as those in Asia like China and Japan, Australia, North America, as well as within the European...
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...| HND in Business | | Advertising and promotional Strategy | | LCC 20135057 | | Syed Hussain | | 26/11/2014 | M A Kashem Table of Contents Advertising and promotional Strategy 1 Introduction 3 Task 1 3 1.1 Communication process that applies to advertising and promotion of Sainsbury’s to focus upon the consumers buying behaviour and decision making process 3 1.2 Explain the organisation of the advertising and promotions industry 4 1.3 Assessment of promotion regulation in UK 5 1.4 Examine current trends in advertising and promotion including the impact of ICT 6 Task 2 7 2.1 Explain the role of advertising in an integrated promotional strategy for Sainsbury’s PLC 7 2.2 branding and how it is used to strengthen the market position of Sainsbury’s PLC 8 2.3 Creative aspects of advertising by measuring advertising effectiveness in Sainsbury’s 9 2.4 Ways of working with advertising agencies by focusing on process and methods of agency selection and agency/client relationships 10 Task 3 12 3.1 Primary techniques of below-the-line promotion 12 The promotional strategy for any of the company follows some steps and flow onwards. The primary techniques of below the line promotional strategy for Sainsbury PLC are: 12 3.2 Evaluate other techniques used in below-the-line promotion by taking into consideration word-of-mouth personal selling and the use of new media in Sainsbury’s PLC. 13 Task 4 14 4.1 Follow an appropriate...
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... a major manufacturer and distributor in the UK dealing with luxury clothing and other fashion accessories. The analysis unmasks the strategy behind the company being a pacesetter in the fashion industry especially since commencing online distribution in the UK in 2006. To achieve this, the paper applies the strategic analysis through; PESTEL analysis, SWOT analysis, value chain analysis, Porter’s three generic strategies and five forces of the market. The company has for centuries cemented its activities and most recently it took direct control of distribution of its products by offering licenses to distributors. On analysis of the UK’s fashion industry, various factors emerge as propagating the success of the company. Majorly the success is pinched on; a stable political environment in the United Kingdom, a fresh pool of design talents available to recruit from and favorable government policies regarding the domestic industries. However there are factors such as fierce competition from within the economy, government tax policies on retailers and loss of designer talents to other countries due to fiscal policies that threat to cripple the fashion industry. Additionally, despite the firm being among the trend setter in women’s wear, the women’s fashion industry is unpredictable and dynamic and consequently creating an uncertainty of the future regarding sales and market share. The firm has a focus-strategy approach to the industry; however few adjustments to this such as embracing...
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...Industry/Market Analysis Industry Size With annual sales in excess of £18 billion each year beer is undoubtedly a huge market in Britain. Information from Euromonitor shows that the UK Beer Market size is of 4, 364.3 million liters in 2013, a number that has consistently been decreasing since 2011 where the total volume was of 5,152.3 million liters2. Along with the volume size, the Consumer Expenditure on Beer was of 3,984.3 million £ in 2013, a number that represents a diminution in three consecutive years since 2011. As for the general alcohol consumption, it goes up to £15 billion per household. The beer industry is extremely competitive as Britain has more breweries per head of the population than any other country with a total number of 1285. There is currently one brewery for every 50,000 people in the UK. Trends In Britain sales of mainstream beer are currently in decline, as consumers seem to be drinking less beer in general. However the number of microbreweries are increasing and Britain can now boast that they have over 1,000 microbreweries; many of which are branching away from traditional styles and are experimenting with different flavours. More adventurous, new and creative beers have been doing very well 2014. This being said craft beer is no longer being considered a niche market as it is becoming more and more popular in the UK with one third of the population stating that they associate craft beers with high quality that they would be willing...
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... a major manufacturer and distributor in the UK dealing with luxury clothing and other fashion accessories. The analysis unmasks the strategy behind the company being a pacesetter in the fashion industry especially since commencing online distribution in the UK in 2006. To achieve this, the paper applies the strategic analysis through; PESTEL analysis, SWOT analysis, value chain analysis, Porter’s three generic strategies and five forces of the market. The company has for centuries cemented its activities and most recently it took direct control of distribution of its products by offering licenses to distributors. On analysis of the UK’s fashion industry, various factors emerge as propagating the success of the company. Majorly the success is pinched on; a stable political environment in the United Kingdom, a fresh pool of design talents available to recruit from and favorable government policies regarding the domestic industries. However there are factors such as fierce competition from within the economy, government tax policies on retailers and loss of designer talents to other countries due to fiscal policies that threat to cripple the fashion industry. Additionally, despite the firm being among the trend setter in women’s wear, the women’s fashion industry is unpredictable and dynamic and consequently creating an uncertainty of the future regarding sales and market share. The firm has a focus-strategy approach to the industry; however few adjustments to this such as embracing...
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...Understand the impact of the economic environment The success of a business is affected by many different sections and decision makers in the local, National and global economy. A local, sole trader business cannot think they are only affected by local issues. Every business, even government run businesses are affected by: Global problems Unemployment Suppliers Government European Union Consumers The Uk has a mixed economy this means we are part a free market and part a planned market A Free MarketResources are owned by an individualPrices are set through demand and supply The profit motivation and control to be creative and run your own business encourages entrepreneurs ( risk takers) and this is good for the consumer and the economy. Why? | A Planned Market Resources are owned by the statePrices are set by the stateThe supply of goods and services does not depend on the profit motivation | The Mixed economyThe UK has a large private sector as well as the public sector which provides education, health and local authority services.Strengths of the private sectorEmployees and employers can create their own personal wealth through profit and hard work.A greater range of products is sullied.People have greater freedom to choose and buy what they want.Competition helps keep prices down and encourages new ideas.Strengths of the public sectorFor public services to operate they do not depend on profit and will often be provided even when they are being run at a loss.The provision...
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...The United Kingdom of Great Britain and Northern Ireland (the United Kingdom, the UK, or Britain) is located off the northwestern coast of continental Europe. ← An island country - an archipelago including Great Britain, the northeastern part of Ireland, and many small islands. ← Land border – btw N. Ireland and the Republic of Ireland. ← The UK is surrounded by the Atlantic Ocean, the North Sea, the English Channel and the Irish Sea. The largest island, Great Britain, is linked to France by the Channel Tunnel. General information ← The United Kingdom is a constitutional monarchy and unitary state consisting of four countries: England, Northern Ireland, Scotland and Wales. ← Governed by a parliamentary system with its seat of government in London, but with three devolved national administrations in Belfast, Cardiff and Edinburgh, the capitals of Northern Ireland, Wales and Scotland. ← The Channel Island bailiwicks of Jersey and Guernsey, and the Isle of Man are Crown Dependencies and not part of the UK. ← The UK has fourteen overseas territories, all remnants of the British Empire, which at its height in 1922 encompassed almost a quarter of the world's land surface, the largest empire in history. ← British influence - in the language, culture and legal systems of many of its former colonies. General information ← The UK is a developed country, with the world's sixth largest economy by nominal GDP and...
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...Scott / CULTURAL-PRODUCTS INDUSTRIES REVIEW / March 2004 10.1177/1078087403261256 URBAN AFFAIRS ARTICLE CULTURAL-PRODUCTS INDUSTRIES AND URBAN ECONOMIC DEVELOPMENT Prospects for Growth and Market Contestation in Global Context University of California, Los Angeles ALLEN J. SCOTT The article begins with a brief definition of the cultural economy. A first generation of local economic development policy approaches based on place marketing and associated initiatives is described. The possibilities of a more powerful second-generation approach are then sketched out with special emphasis on localized complexes of cultural-products industries. An extensive review and classification of these complexes is laid out, and their inward and outward relations to global markets are considered. On this basis, a critical discussion of local economic policy options focused on cultural-products industries is offered. Contrasting examples of development initiatives in major global cities, in selected old manufacturing towns, and in the Multimedia Super Corridor of Malaysia are briefly presented. It is suggested that the growth and spread of localized production agglomerations based on cultural-products industries are leading not to cultural uniformity but to greatly increased diversity at the global level. Keywords: agglomeration; cultural economy; globalization; industrial districts; local economic development; place marketing Over the past decade or so, the industrial profile...
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