9. Unlocking the potential of cultural and creative industries European Commission
Green Paper - Unlocking the potential of cultural and creative industries
2010
Green Paper, White Paper
• Green Papers (European Commission): range of ideas in order to launch the Europe-wide consultation and debate on a specific theme.
è request for an opinion on the proposals.
• White Papers: A set of proposals for Community action in a specific area. For policy decisions and concerted European policy.
Preliminary reports
• Economy of Culture in Europe (2006)
• The impact of culture is creativity (2009)
• 2000 Lisbon 2010 target: "the knowledge economy the most competitive and dynamic World »
• 2007: European Agenda for Culture: 2. Culture as a catalyst for creativity in the framework of the Lisbon Strategy for Growth and Jobs
• 2010: 2020 Goal ...
I. A comprehensive strategy
Europe must respond to avoid decline
"Smart growth - an economy based on knowledge and innovation "
"Smart growth means strengthening the role of knowledge and innovation as the engine of our future growth. This requires improving the quality of our education, enhancing the performance of our research, promotion of innovation transfer and knowledge throughout the Union, the full utilization of information technology and communication and this needs to transform innovative ideas into new products and services to create growth, jobs and quality to meet the European and global societal challenges. "
Report on KEA Economy of Culture (2006)
• " The role of cultural and creative sector in this context is largely ignored. "
• "For many, the function of culture is " illuminate " or entertain, and its economic contribution is considered marginal. "
• "Hence the lack of statistical tools"
• "The study shows how culture makes the economic and social development, as well as innovation and cohesion. "
• "The cultural and creative industries is a growth sector that is growing faster than the rest of the economy. "
• Jobs: "Again the sector has performed better than the rest of the economy." (KEA, 2006)
The economy of culture in Europe
Direct Impact
• A turnover of more than 654 Ma €
• 2.6% of GDP in the European Union,
• growth stronger than rest of economy
• 5.8 million jobs, or 3.1% total employment
Indirect impact
; (and unquantifiable) in Lisbon
• The interdependence between the cultural and creative industries and ICT sector: the growth of "content" (Particularly cultural) and NICT are two sides of one coin.
• The "creative clusters" and the contribution of culture and creativity in local development: culture allows help cities and regions to attract investment, the creative talents and cultural tourism.
• Culture: an important tool for social integration and territorial cohesion
/ / The Experience Economy : another way
J. Pine and J. Gilmore: the Experience Economy
"creative industries" + toys / entertainment, tourism, sports, edutainment
/ / Intangible Economy
• "In this new paradigm, marketing and services are as important as production."
• "Indispensable to use skills and creative thinking, because the productivity gains made in production no longer sufficient to ensure a competitive advantage. " (Kea, 2009)
II. Creative Industries
• "Within the creative sector, culture becomes an" input "in the production of non-cultural goods. This sector includes activities such as design (fashion, interior design, product design), architecture and advertising. " (Kea, 2006)
• "Creativity is considered in this study as the use of cultural resources in the form of intermediate consumption during the production process in non-cultural sectors, and hence as a source of innovation."
Creative Industries
• UK (DCMS): Advertising, Architecture, the arts and antique market, crafts, design, designer fashion, film and video, interactive leisure software, music, performing arts, publishing, software and computer services, radio and television.
• En: Cultural Industries: Publications (books, music), audiovisual activities (television, cinema, ...), Activities directly related (news agencies)
A global process
A market « juteux », des enjeux considérables
« The creative industries account for 3.4 per cent of total world trade, with exports reaching $424.4 billion in 2005 and an average annual growth rate of 8.7 per cent during 2000-2005 » (UN, 2009).
• Propriété intellectuelle (copyright)
• Information Technology and Communication
(an interesting reference: Luke Brabandere, The value of ideas )
"creativity based on Culture depends
• personal skills (ability to think in a nonlinear manner, imagination)
• technical skills (artistic skills or craftsmanship)
• ; a social environment
- a social context - including education and learning that encourage and appreciate creativity
- an economy that invests in growing and lacréativité based on it.
Impact of culture on creativity
III. The Green Paper
" In this new digital economy, the intangible value determines more practicality, consumers looking for "experiences" new and rewarding. The ability to create experiences and social networks has become a competitive factor "(3).
solution: culture
• "Building on its rich culture and varied, Europe must explore new ways to create value added, but also to live in community, share resources and appreciate its diversity. "
• "The cultural and creative industries in Europe offer a real potential to address these challenges and thereby contribute to the strategy Europe 2020 "(3)
a very inclusive definition
• "The" cultural industries "are industries which produce and distribute goods or services concerned at the time of their design as having a quality, or use a specific purpose or vehicle that embodies cultural expressions regardless of commercial value that these goods or services may have.
• Besides the traditional sectors of the arts (performing arts, visual arts, cultural heritage - including the public sector), these goods and services also include movies, DVDs and videos, television and radio, video games, new media, music, books and newspapers "(7).
• "The 'creative industries " are the industries that use culture as an input and have a cultural dimension, although their productions are essentially functional. They include architecture and design, which integrates creative elements in the broader processes and sub-sectors, such as graphic design, fashion design and advertising "(7).
structure of the book
- political background, objectives and scope of the book
- Cultural diversity switchover and globalization: the main drivers of future development of ICC
- Acquiring adequate resources
- The local and regional development, springboard to global success
- Towards a Creative Economy: Impacts of the ICC
Acquiring adequate resources
• New areas of experimentation, innovation and entrepreneurship in the cultural sector and the creation
è How to support experimentation?
• better meet the demand of the ICC jurisdiction
è How to improve skills
(partnership schools / peer learning )?
• Access to finance
è How to stimulate private investment?
The local and regional development, springboard to global success
• the local and regional
è How best to incorporate the ICC?
• mobility and circulation of cultural works and creative
; è How to promote mobility?
• Cultural exchanges and international trade
è European tools to promote cooperation and exchange?
Towards a Creative Economy: Impacts of the ICC
è How to accelerate the benefits?
è How to promote "partnerships" with lessons, public and private?
è How to better use the existing intermediate?
responses already partially written
• An ongoing process, already structured
- Improve the
- Moving from regional to international
- Accelerating economic benefits and know-how
• Promote partnerships, better use of existing, etc..
• responses to improve - not the white page
A process of three months 27 / 4 to 30 / 7 / 2010
• Public Authorities (all levels)
• European organizations (lobbies)
• ; Other organizations (cultural or industrial)
• Individuals (everyone can speak)
French Government Response
• (To be assessed based on its role in promoting cultural diversity)
• ICC: audiovisual, music , book
• "In terms of application of competition law and state aid, in particular, it is important Member States can benefit from a wide discretion to define what they mean by the term "culture"
è Development EU support
è Maintaining State policy
"Under the Convention UNESCO, audiovisual services should continue to be excluded from trade negotiations on services, both in multilateral negotiations than in bilateral trade agreements negotiated by the European Union. è Continue through Unesco, not the WTO
Réponse du Gouvernement britannique
« The creative industries form a key part of the UK ’s economic growth strategy and the UK ’s approach is one of balance between having the right policy and financial support in place, whilst making sure that this is light touch and leaves entrepreneurs and the market free to pursue their business ». è Intervention UE lorsqu’elle apporte une réelle valeur ajoutée
Ouvrir la compétition dans les échanges
« The UK wants a European Union that remains open to trade and investment, recognising the opportunities and challenges from global competition. Regulation should be a last resort and should not be used to force or restrict innovation. The UK ’s cultural and creative industries operate competitively in the global economy and are world renowned ». Copyright
For Europe to become a centre of innovation, the effective protection and commercialisation of IP is important. This would be assisted by the agreement and I mplementation of a business-friendly and cost effective EU patent and patent court for hearing disputes.
è Solutions framing European
è European solutions to prosecute counterfeit
An ongoing process
• policy implementation in the coming years.
• A White Paper? Proposals Commission • The following
- The intangible economy
- Creative Economy
- scan and ICT Policy
A particular language ... sometimes called " waffle "
diplomatic reasons
Sometimes can not take a position, or to hide its incompetence
risks?
• Who will be able to develop such tools?
- Which countries? Which regions?
- Which cultural sectors?
• culture as a factor in economic development
- The best reason to fund culture?
- Exit Adorno ...
The Motorcycle Show of Paris will therefore make his return in 2011 and this under a different name in 2011 it will no longer be the World on 2 wheels but the show of the Motorcycle Paris. For 2011 will be organized as in the past by AMC Promotion, the organizer of all time, has enlisted the assistance of Claude Michy known for the excellent organization of Grand Prix de France moto . This show is expected to take six days order to reduce costs for exhibitors, it would have the same duration Motorcycle Show in Cologne and Milan. 
