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Has the change with the cultural economy already started in Germanys biggest state North Rhine-Westphalia (NRW)? How can 2010 - the year when Essen (together with Pecs/Hungary and Istanbul/Turkey) is the European Capital of Culture - push the development toward a creative economy? And what about the traditional industry, which the Ruhr Area was famous for in the past? These and other questions tried to answer an international congress in Essen in September.
The programme for the fifth Creative Clusters Conference, released today, shows strong evidence that UK creative economy people have moved to a new level of engagement with the mainstream. But is it too little too late?

The Vermont Council on Rural Development's summer conference, Advancing Vermont's Creative Economy, drew over 250 participants from across the state. They were eager to share their stories, strategies and questions about growing a vibrant economy rooted in creativity, entrepreneurship and Vermont values.

Given the reputation which economists have nowadays as desiccated calculating machines, you may have been surprised to find that any economist is interested in the arts, let alone spends part of his time chairing a body such as the Tasmanian Arts Advisory Board.
Released February 2006, this study finds that artists careers are strengthened and urban neighborhoods and smaller city downtowns are revitalized with the presence of dedicated space for artists to convene, share workspace and equipment, find mentors, and compete for grants and opportunities to exhibit/publish/present.
Over the last few decades, the culture and creative industries have become a major economic force. The creative industries, a complex of eleven economic sectors, aroused a lot of attention in 2006 due to its surprisingly high turnover and growth figures. The culture and creative industries subsequently gained a new importance on the political agenda in the Lisbon process for the strengthening of economic growth in Europe as well as in the UNESCO Convention on Cultural Diversity, which was ratified by Germany in February 2007. At the beginning of the German EU Presidency in 2007, the German Federal Government placed the issue of culture and creative industries on the agenda of the informal meeting of the European Ministers of Culture in Berlin.
With a new record number of exhibitors and new ideas, SHOWTECH 2007 is set to go in Berlin . From 19 to 21 June, the trade show combined with a congress will show its unique range of technical equipment from the areas of stage, lighting, sound and event technology.

Creative industries is one of the fastest growing economic sector in the world and is gaining importance in Hong Kong and Mainland in recent years.

The conference "When Creative Industries Crossover with Cities" will be hold on April 2-3, 2007 in Hong Kong, China. The main theme of the conference is to explore how creative industries, one of the fastest growing economic sectors today, interact with and shape our cities. In particular, it wishes to explore ways in which creative industries could contribute to building vibrant and sustainable cities.

This article analyses and contextualises a variety of relationships between the cultural industries and cultural policy. A principal aim is to examine policies explicitly formulated as cultural (or creative)industries policies. It seeks to address questions such as: What lies behind such policies? How do they relate to other kinds of cultural policy, including those more oriented towards media, communications, arts and heritage? The first section asks how the cultural industries became such an important idea in cultural policy, when those industries had been largely invisible in traditional (arts- and heritage-based) policy for many decades. What changed and what drove the major changes?
This paper deals with Born Globals (BG), i.e. companies which internationalise at an early stage and view the whole world as their activity field. The internationalisation concerns both the inward such as procurement as well as the outward (such as sales) in microbusinesses from two experience based, or so called creative, industries, Swedish Music and Fashion, seldom subject to internationalisation studies. The project investigates in which countries/markets these firms have international activities, why these countries/markets were selected and identifies direct or indirect connections between the inward and outward activities. The research provides a better understanding of the driving forces in internationalization at the micro-level, and gives help for the formulation of new EU export promoting policies.
The impact of technologies facilitating digital distribution of music on the recorded music industry has in the last few years received much attention in the popular press, and to some extent in the scholarly literature. However, there have been few attempts to explore the underlying factors explaining differences in innovative capabilities among record companies.

This thesis proposes that social networks and specific knowledge areas are important factors that can explain these differences among Norwegian record companies. The study therefore investigates the role of social networks and knowledge and their systemic properties related to innovation within digital distribution in the Norwegian recorded music industry.
Worldwide governments and regional authorities have begun to take seriously the idea that cultural and creative activities are crucial areas of economic activity. Industries such as music, film, media, advertising, gaming and design are seen to be increasingly worthy of not just cultural policy but also industrial policy support.
This article explores the growing significance of legal questions to innovation and creative practice in what are now being termed the creative industries. Noting that the case for strong copyright protection as the cornerstone of innovation is highly contested, it explores the significance of Creative Commons licences as an alternative to Digital Rights Management and copyright law. It also introduces the case studies of music, online computer games, and remix culture that are covered in this special issue of the Media & Arts Law Review.
The film industry in Sweden is in constant change. This thesis focuses on the different authors in film projects and their rights. We have examined how the rights affect the development of the industry. Interviews have been made with five production companies and other people involved in the film industry in an effort to map out how the Swedish industry looks today and what challenges it is facing. Who the author is has a great influence on the financial and legal structure within the business.
This paper was published in July 2006 by Institute for Public Policy Research. It presented what copyright industries it is the author Anthony Lilley in mind. He also highlighted three tasks for policy makers: to look at how copyright works as part of overall system of value transfer and to reduce inefficiencies and friction, to concern the context in which copyright work is placed, and to influence the content in the market place and the mode of copyright.

In October, 2006, Live Performance Australia released this report Ticket Attendance and Revenue Survey Live Entertainment Industry in Australia, which aimed to give an overview of the financial development of entertainment and live performance industries in 2005 by statistics and analysis.

The box office raised up 21% on 2004, and attracted 13.7 million audiences.
The paper considers recent policy changes to the copyright law and its management, particularly digital rights management, and asks how they can be evaluated. Copyright law is perhaps the most important policy tool affecting the cultural industries and it provides the regulatory environment in which all enterprises in the music, film, book publishing, broadcasting and other media industries function. Digitalisation is now affecting all art forms and the management of rights is becoming an issue for arts managers as well. In Europe, the European Commission is seeking to increase competition into rights management but it is argued this may lead to restriction of cultural diversity and other cultural policy aims.
Following an open invitation to tender (DE), the European Commission selected KEA European Affairs to carry out this study. KEA worked together with Media Group (Turku School of Economics) and MKW Wirtschaftsforschung GmbH.
This study is a first at European level. It highlights the direct (in terms of GDP, growth and employment) as well as the indirect (links between creativity and innovation, links with the ICT sector, regional development and attractiveness) contribution of the cultural and creative sectors towards the Lisbon Agenda.
The contents of this final report include the overall positioning and the trend of integrated development, and an overview of the development, challenges and opportunities of cultural and creative industries in the Pearl River Delta.

Otherwise, it provides the analysis of the status of advertising, architecture, art, antiques & crafts, design, music, performing arts and other fields in Hong Kong.
Without doubts, during these years, creative industries are the largest and fastest blooming industries. It brings governments notice - both in Western and Eastern. This research report not only presents why it influences the economies so deeply through some examples and statistics, but also reviews the existing circumstances. Are there any challenges in creative industries? Or what are the opportunities for countries?