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Analele Universit ii Constantin Brncui din Trgu Jiu, Seria Litere i tiine Sociale, Nr.2/2011

Annals of the Constantin Brncui University of Trgu Jiu, Letters and Social Sciences Series, Issue 2/2011

33

MODELE PENTRU INDUSTRIILE

CREATIVE SI IMPLICAIILE LOR N

POLITICILE ECONOMICE ICULTURALE ALE UNEI REGIUNI

Cornelia TOMESCU-DUMITRESCU1

George NICULESCU2

Rezumat: Aceast lucrare trateazimportana industriilor creative pentru perspectivaeconomici cultural a unei regiuni.

Industriilor creative, n viziunea prezeneilucrri, au valoare n dinamic i nu doar staticeconomic; acestea contribuie la procesul decretere economici, mai mult, au o contribuieimportantla dezvoltarea culturii i societii.

Rolul industriilor creative n dezvoltareacomunitii este de a organiza un cadru adecvat

dialogului i cooperrii ntre oamenii de decizie,reprezentanii firmelor i organizaiilor careactiveaz n sectorul industriilor creative alturide creatorii i antreprenorii individuali, astfelnct acetia s se poat cunoate, s seautopromoveze i s fie capabili s realizeze

proiecte comune i s acioneze mpreun,eficient, ca grup de lobby fa de autoritilelocale.

Explicm relaia fiecrui model privinddiferitele teorii fundamentale, ceea ce ar trebui sne ateptm pentru a observa dac fiecare model

este real i cadrul politicilor adecvate n fiecarecaz.

Cuvinte cheie: industrii creative, evoluieeconomic, model, politici culturale i economice

MODELS FOR CREATIVE

INDUSTRIES AND THEIR

IMPLICATIONS IN THE ECONOMICAND CULTURAL POLICIES OF A

REGION

Cornelia TOMESCU-DUMITRESCU3

George NICULESCU4

Abstract: This paper deals with theimportance of creative industries for theeconomic and cultural perspective of a region.

Creative industries, in the view of thispaper, have dynamic value and not only staticallyeconomic; it contributes to the process ofeconomic growth and moreover, they havesignificant contribution in the development ofculture and society.

The role of creative industries in the

development of the community is to organize anadequate framework for dialogue and cooperationbetween decision factors, representatives ofcompanies and organizations that activate in thefield of creative industries along with individualscreators and entrepreneurs, in order for them to

be able to know each other, to promotethemselves and be able to achieve common

projects and efficiently act together as a group oflobby towards local authorities.

We explain the relation of every modelregarding various fundamental theories what we

should expect in order to see whether everymodel is real and the policies framework isadequate for every case.

Key words: creative industries, economicevolution, model, cultural and economic policies

1Confereniar univ. dr. Universitatea Constantin Brncui din Trgu-Jiu2Profesor univ. dr. Universitatea Constantin Brncui din Trgu-Jiu3PhD - Reader Constantin Brncui University of Trgu-Jiu4PhD University Professor Constantin Brncui University of Trgu-Jiu


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Industriile creative, un vector aldezvoltrii

Industriile creative constituie unconcept relativ nou, lansat la mijlocul anilor

90, iniial n Australia i dezvoltat de MareaBritanie n special, prin contribuia fostuluiministru britanic al Culturii Chris Smith. nconceptul de "industrie creativ" intraurmtoarele domenii a cror activitate implicacreativitate artisticsau tiinific: arhitecturi regenerare urban, arta i design, artelespectacolului, film i video, fotografie,inventica industrial i inteligena artificial,mass-media (pe suport hrtie, audio sauvideo), mod i design vestimentar,

meteuguri tradiionale, monumente iturism cultural, muzica, publicitate, softwarei jocuri video interactive, tiprituri ilegatorie, web design (fig. nr.1). Pe scurt,industriile creative vizeaz tot ceea ce este

produs de creativitatea artistici tiinificiare potenial industrial, adicintra n circuituleconomic, produce valoare, genereazvenituri publice prin taxele i impozitele

pltite, creeazlocuri de munci profit, ajutala dezvoltarea regionali naional.

Aa cum Internetul a fost un fenomencare a dus la schimbri majore n ultimadecad, fenomenul industriilor creative va finoul boom n urmtorii 10-20 de ani. Unfenomen ce are multe nume: industriicreative, industrii culturale, industriileculturale i creative, Economie Creativ... nspatele acestui lucru este un model consistent:economia este n principal fundamentata pecutarea i gsirea de idei, formate, desene iinovaii ce conduc la schimbri rapide imbuntiri. Industriile creative sunt unmotor important al unei noi forme deactivitate economic.

Economia Creativnu este doar un picnou, un pic diferit, nu putei sadugai puri simplu la existente. Ce ne-am face frsoftware, computere, metode, proceduri,

procese, maini, medicamente? Toate acesteasunt evident rezultatele ale refleciei, precumn cele din urmo cas, o autostrad, o cldire

comercial, o imagine, un film, o bucat

Creative industries, a vector ofdevelopment

Creative industries are a relativelynew concept, launched at the middle of the

90s, at the beginning in Australia anddeveloped by Great Britain especially,through the contribution of the BritishMinister of Culture Chris Smith. The conceptof "creative industry" includes the followingfields whose activity involves artistic orscientific creativity: architecture and urbanregeneration, art and design, show arts, filmand video, photography, industrial invention,artificial intelligence, mass-media (on paper,audio or video format), fashion and clothes

design, traditional craftsmanship, monumentsand cultural tourism, music, advertising,software and interactive video games,

printing, web design (fig. nr.1). In short,creative industries refer to everything

produced by artistic and scientific creativityand has industrial potential, that it whichenter the economic circuit, produces values,generates public income due to taxes andduties paid, creates jobs and profit, helpsregional and national development.

Just as the Internet was a phenomenonthat has caused major changes during the lastdecade, the phenomenon of creativeindustries will be the new boom in the next10-20 years. A phenomenon with severalnames: creative industries, cultural industries,cultural and creative industries, CreativeEconomics... There is a consistent model

behind this: the economy is basically foundedon searching and finding ideas, drawings andinnovations that cause rapid changes andimprovements. Creative industries are animportant engine of a new form of economicactivity.

The Creative Economics is not just alittle new, a little different, one cannot justadd it to the existing ones. What would we dowithout software, computers, methods,

procedures, processes, cars, medicines? Allthese are obviously the result of reflection,

just like a house, a highway, a business

building, an image, a movie, a piece of music


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muzicale sunt produse ale minii.Industriile creative sunt forme

fundamentale ale societii bazate pecunoatere. Ele reprezint principalul

potenialul de a viitorului nostru: social,economic, politic i cultural.

are products of the mind.Creative industries are fundamental

forms of the knowledge society. They are themain potential of our future: social,

economic, politic and cultural.

Fig. 1. Structura industriilor creative / Structure of creative industries

Constituirea de centre de creativitate nmrile orae

Oraele au devenit noduri deatractivitate i centre - incubatoare decretere i dezvoltare a entitilor creative,oameni, instituii i corporaii, careconcureaz global n a excela . Oraele ngeneral sunt privite ca factori decisivi n nouaeconomie, fiind locurile care pot sprijini isusine producie individual intelectual,creativitate, inspiraie, dar care totodatoferi piaa de desfacere pentru astfel de

producie sau infrastructura necesar.Una din opiniile mult rspndite este

acea c numai investiiile publicesemnificative n cultura pot crea industriicreative, autosustenibile, concureniale, deci

sntoase, viabile. Londra de exemplu (unul

Establishing creativity centres in big citiesCities have become attractiveness and

centre junctions incubators for increasingand developing creative entities, people,institutions and corporations that globallycompete in being the best. Cities in generalare considered decisive factors in the neweconomy, being the places that can supportintellectual individual protection, creativity,inspiration, but which at the same time

provide a retail market for such a productionor the necessary infrastructure.

One of the spread opinions is that onlysignificant public investments in culture canecreate creative, self-sustainable,competitional and therefore healthy, reliableindustries. London, for instance (one of the

cities that deserves the attribute of creative)


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din oraele ce pe drept i merita apelativul decreativ) investete 50 milioane lire ndezoltarea acestui tip de industrii i ateaptn schimb un profit de 60 de ori mai mare

adic32 miliarde lire de la industriile creativei 200.000 de locuri de munca noi. n 2002 nLondra erau 1.9 milioane oameni angajai naceste industrii, din care 800.000 narhitectur i design. Mai mult FinancialTimes arata ca industriile creative au fost peanul 2004 de exemplu mai active, mai

productive dect sectorul financiar, iar ntregsectorul creativ este efectiv mai important,chiar o prioritate per ansamblul economieiengleze.

Sectorul creativ este astzi unul dintreprincipalele motoare ale creterii economicen Europa i n rile dezvoltate. Constituireaunui centru al creativitii a ce poate conducela o cretere importanta a gradului de ocuparea forei de muncn Industrii Creative ( 12%cifra medie din Europa, din totalul forei demunc).

n jurul Centrului Creativ se potdezvolta, independent sau n parteneriat, oserie de ntreprinderi Creative durabile i

autosustenabile.Exemple de cteva linii de activiti

care au ca scop sprijinirea IndustriilorCreative (IC).Cursuri, seminarii i workshopuri specifice

pentru antreprenori i companii creative caredoresc sse dezvolte:

- Seminarii intensive de scurtdurat.- Traininguri pentru companiisusinute/ predate de venturecapitalists.- Workshopuri de mbuntirea

nivelului de cunotine n urmtoareledomenii: proprietate intelectual, investiiiinternaionale, fazele investiiilor, ntoarcereacapitalului/investiiei, elevator pitch, etc.

Programele se adreseazantreprenorilor cu o idee de afaceri pentrusectorul industriilor creative i care doresc snfiineze propria afacere. Cteva exemple:

- Programe de sprijin n parteneriat

adresate sectorul industriilor creative,

invests 50 million pounds in the developmentof this type of industry and expects a profit60 times higher that is 32 billion pounds fromcreative industries and 200.000 new jobs. In

2002 in London, there were 1.9 millionpeople employed in these industries, of which800.000 in architecture and design. MoreoverFinancial Times shows that creativeindustries were in 2004 more active, morelucrative than the financial field and theentire creative field is actually moreimportant, even a priority within the Englisheconomy as a whole.

The creative field is nowadays one ofthe main engines of economic growth in

Europe and developed countries. Establishinga centre of creativity that could result in asignificant increase of employment inCreative Industries ( 12% average figure inEurope, of the total of work force).

Various durable and self-sustainableCreative Enterprises can be built around theCreative Centre, independently or in

partnership.Examples of several lines of activities

that have the purpose of supporting Creative

Industries (CI).Courses, seminars and workshops specific forentrepreneurs and creative companies thatwant to develop:

- Short-term intensive seminars.- Trainings for companies supported

by venture capitalists.- Workshops for improving the level

of knowledge in the following fields:intellectual property, internationalinvestments, investments phases, return of thecapital/investment, elevator pitch, etc.

Programs address to entrepreneurswith a business idea for the field of creativeindustries and that want to create their own

business. Several examples:- partnership support program

addressed to the field of creative industries,conceived to provide competitiveness and

positioning at global level.- customized creative programs

dedicated to economically strategic fields that


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conceput pentru a le asigura competitivitateai poziionarea la nivel global.

- Programe creative personalizatededicate unor sectoare strategice economic cu

mare potenial de cretere pentru ora.- Instrumente de sprijin pentruprocesul de creare de afaceri integrat cu restulaciunilor ce vizeazpromovarea i cretereagradului de contientizare a creativitii ca unsector strategic pentru ora.

- Programe de sprijinire aantreprenorii creativi pentru a obineabilitile, competenele tehnice i alte calitinecesare nceperii, gestionarii i dezvoltriiunor companii de succes ntr-o piaglobal.

Beneficii instituionale ale constituiriiCentrului Creativitii:

- Ofer oraului posibilitatea de aanaliza toate activitile i politicile n scopulsprijinirii industriilor creative implementaten oraele membre ale parteneriatului.

- Identific cele mai bune practicipuse n aplicare n orai oferansa de a ledifuza.

- Favorizeaz dialogul inter-instituional intre instituiile oraului deoarece

unul din scopurile sale este s analizezeprofund toate politicile i activitile desusinere a industriilor creative implementaten orae.

- Instruirea funcionarilor oreneti leofer acestora ansa de a nva de la toatecelelalte orae implicate n proiect.

- nvarea de modele diferite,provenite din orae diferite, ajuta la analizarezultatelor diferite obinute prin politicilediverse aplicate n aceste orae.

- Completeaz serviciile oferiteIndustriilor Creative (IC) cu idei proveninddin alte orae implicate n proiect.

Beneficii antreprenoriale aleconstituirii Centrului Creativitii:

- Este o ans pentru antreprenoriioraului de a participa la evenimenteinternaionale i de a socializa cu companiiinternaionale din acelai domeniu.

- Interesele antreprenorilor creativi

devin cunoscute la nivel european.

have a high potential of growth for the city.- Support instruments for the

integrated business process with the rest ofthe actions that refer to promoting and

increasing the awareness level of creativity asa strategic field for the city.- support programs for creative

entrepreneurs in order to get the skills,technical competences and other qualitiesnecessary for initiating, managing anddeveloping successful companies on a globalmarket.

Institutional benefits for establishingthe Creativity Centre:

- It gives the city the possibility to

analyze all the activities and policies in orderto support creative industries implemented inmember cities of the partnership.

- it identifies the best practices appliedin the city and gives the chance to broadcastthem.

- it allows inter-institutional dialoguebetween the city institutions because one ofits purposes is to analyze all the support

policies and activities of creative industriesimplemented in cities.

- Training city officials gives them thechance to learn from all the other citiesinvolved in the project.

- learning various models comingfrom various cities, helps analyzing theresults achieved through various policiesapplied in these cities.

- it completes the services provided tovarious Creative Industries with ideas comingfrom other cities involved in the project.

Entrepreneurial benefits ofestablishing the Creativity Centre:

- it is a chance for the cityentrepreneurs to participate in internationalevents and socialize with internationalcompanies from the same field.

- the interests of creativeentrepreneurs become known at Europeanlevel.

- European creativity networksbecome familiar with the European networks

of creative entrepreneurs.


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- Reelele europene de creativitate sefamiliarizeaz cu reelele europene deantreprenori creativi.

- Pot beneficia de studii cu privire la

cele mai bune practici n ora.- Pot folosi studii privind principaleletendine n sprijinirea IC n orae ca punct de

plecare, de referin.- Pot mbunti relaiile internaionale

ale oraului direcionat pe politici de sprijin aIC.

- Antreprenorii din ora auposibilitatea de a socializa la nivelinternaional (propagarea conceptuluiCreative metropole i evenimente comune).

- Promovarea procesului intern degndire privind politicile de sprijinire aIndustriilor Creative (IC).

- Achiziiile publice pot deveni parte apoliticii de ncurajare/promovare acreativitii n orae.

- O posibilitate interesant de astructura o politicintegratde sprijinire a ICn loc de politici diferite ncurajate de ctreorganisme publice diferite.

- Noi contacte european ce stimuleaz

internaionalizarea IC.Romnia se pregtete de schimbare.

n urmtorii ani, un nou tip de afaceri i vaface loc ncet, dar sigur n ara noastr:industriile creative. Afacerile creative potsalva economia unui ora, acolo undeeconomiile tradiionale, bazate pe agricultura,industrie sau comer au euat. Ele reprezintmbinarea fericit a dou caliti, cea de"artist" i de "om de afaceri". Sunt acelesectoare ale creaiei i dezvoltrii tehnologicece genereaz profit i care regndesc culturaca un motor al dezvoltrii regionale inaionale.

Iaiul, oraul creativ al RomnieiBritish Council a lansat n 2005

programul Orae creative", desfurat subtema Industrii creative". Acesta este un

program internaional implementat la nivel deora, care promoveazideile creative i ofer

un model de regenerare economici social

- they can have access to studies inrelation to the best practices in the city.

- they can use studies regarding themain trend in supporting CI in cities as a

starting, reference point.- they can improve the internationalrelations of the city directed towards CIsupporting policies.

- city entrepreneurs have thepossibility to socialize at international level(broadcasting the concept of Creativemetropolis and common events).

- promoting the internal thinkingprocess regarding Creative Industriessupporting policies.

- public procurements can becomepart of the creativity encouraging/promotingpolicy in cities.

- an interesting possibility to structurean integrated policy of CI support instead ofvarious policies encouraged by various publicorganisms.

- new European contacts thatstimulate CI internationalization.

Romania is preparing for change.During the next few years, a new type of

business will make room slowly, but certainlyin our country: creative industries. Creative

businesses can save the economy of a city,where traditional economies, based onagriculture, industry or trade have failed.They are the perfect combination betweentwo qualities that of artist and that ofbusinessman. They are those parts ofcreation and technological development thatgenerate profit and rethink culture as anengine of regional and national development.

Iai, the creative city of RomaniaBritish Council launched in 2005 the

Creative cities program, developed underthe theme of Creative industries". This is aninternational program implemented at thelevel of the city that promotes creative ideasand provides a model of economic and socialregeneration through creative industries. Oneof the first steps of the project was choosing a

representative city.


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prin intermediul industriilor creative. Unuldin primii pai ai proiectului a fost alegereaunui orareprezentativ.

n cazul Romniei, n urma

prezentrilor fcute de reprezentaniiBucuretiului, Clujului, Iaiului i Timioarei,oraul ales a fost Iai, pentru care proiectulBritish Council a realizat cartografierea"industriilor creative locale, folosindu-se de

povetile de succes deja identificate aici.Iaiul face nsparte dintr-o reea sud-

est european a oraelor creative, n caremai sunt incluse oraele Plovdiv (Bulgaria),Split (Croaia), Novi Sad i Belgrad (Serbia -Muntenegru), Tuzla (Bosnia), Pristina

(Kosovo), Skopje (Macedonia) i Tirana(Albania).

n principal, aceste orae sunt plasatepe un loc secund n economia rii,marginalizate de politicile centraliste aleCapitalei. Sunt orae care mizeazpe cultura,ca o soluie de a se face mai vizibile i de agsi finanare pentru comunitatea local i

pentru administraie.Un ghid al industriilor creative din

Iai

Unul dintre proiectele esenialerealizate pnacum n cadrul acestui programa fost publicarea unui inventar unificat al

principalilor actori din sectorul industrial-creativ din Iai, att din domeniul privat, cti din cel public. Pentru seciunea destinatoperatorilor economici privai, au fostinvestigate urmtoarele domenii: Media &Publicitate, Design & Publicitate, Moda, IT,Arhitectur, Muzica & Video, alturi de careau fost prezentai o serie de "freelanceri". nseciunea a doua, consacrata instituiilorfinanate de la bugetul local sau central, aufost cuprinse: Mass-media; Arte scenice(teatru, dans etc.), Muzee, Biblioteci iArhive, altele. n esen, acestea suntcompaniile care ilustreaz potenialuleconomic al "industriilor creative" inecesitatea promovrii lor.

Urmtorul pas va fi realizarea unuistudiu de impact al industriilor creative n

ansamblul economic al Iaiului

In the case of Romania, as a result ofthe presentations made by the representativesof Bucharest, Cluj, Iasi and Timisoara, thechosen city was Iai, for which the British

Council project made a mapping of localcreative industries using the alreadysuccessful stories identified here.

Iai is part of a south-east Europeannetwork of creative cities, which includesthe cities of Plovdiv (Bulgaria), Split(Croatia), Novi Sad and Belgrade (Serbia -Montenegro), Tuzla (Bosnia), Pristine(Kosovo), Skopje (Macedonia) and Tirana(Albania).

These cities are basically placed

second in the economy of the country,marginalised by the centralist policies of thecapital city. They are cities that are based onculture as the solution to become more visibleand find funding for the local community andfor administration.

A guide of creative industries in IaiOne of the essential projects achieved

so far within this program was to published aunified inventory of the main actors from theindustrial-creative field from Iai, both in the

private field and in the public one. For thesection dedicated to private economicoperators, the following fields wereinvestigated: Media & Advertising, Design &Advertising, Fashion, IT, Arhitecture, Music& Video, presented along with a series of"freelancers". The second section, dedicatedto the institutions financed from the local orcentral budget consisted of: Mass-media;Scene arts (theatre, dance etc.), Museums,Libraries and archives, others. In essence,they are the companies that illustrate theeconomic potential of creative industriesand the need to promote them.

The next step will be to make animpact study of creative study within theeconomic whole of Iasi


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Modele n industriile creativePentru a rspunde relaiei n

dinamic dintre industriile culturale i restuleconomiei se propun 4 modele5

:Modelul welfare (bunstrii) ipotezde plecare este ca industriile culturale au unimpact net negativ asupra economiei,consumnd mai multe resurse dect produc.n acest model IC (industriile creative)

produc bunuri de merit care sunt necesarebunstrii ns nu sunt viabile economic,necesitnd astfel un transfer de resurse dinrestul economiei

Modelul competitiv n acest caz

ipotez de la care se pleac este ca IC suntefectiv doar o industrie ca oricare alta,

bunurile oferite neavnd o semnificaiemoralmai nalt; tot acest model presupunec impactul asupra creterii este neutru(impact normal asupra schimbrilortehnologice, creterii sau inovrii)

Modelul creterii aici ipotezeste cexist o relaie pozitiv economic intrecreterea IC i creterea economiei agregate;n acest caz IC sunt un motor al creterii ,

aa cum au fost considerate pe rndagricultur i industria manufacturier pe

parcursul secolului trecutModelul inovrii - n acest caz

ipotez de plecare este ca IC nu suntconsiderate ca o industrie n sine, ci maidegrabca un element n sistemul inovativ alntregii economii. Astfel acest modelreconceptualizeaz IC ca un sistem de unordin mai nalt care opereaz asuprantregului sistem economic. Prin urmare ICgenereazi coordoneazschimbarea n bazade cunoatere a economiei, avnd astfel osemnificaie crucial (i nu marginal) n

politicile economice. Creaia culturaleste unbun public dar din considerente dinamice inu statice. Spre deosebire de valoareamuzeelor, a artelor clasice, care vd valoarea

Models in creative industriesIn order to answer the dynamic

relation between cultural industries and therest of economy, 4 models are proposed6:

Welfare model starting hypostasis isthat cultural industries have a net negativeimpact on the economy, consuming moreresources than they produce. In this modelcreative industries produce merit goodsnecessary for welfare but which are noteconomically reliable, therefore requiring atransfer of resources from the rest of theeconomy.

Competitive model in this case, thestarting hypothesis is that creative industries

are actually just an industry like any other,the goods provided having no higher moralmeaning; this model also supposes that theimpact on growth is neutral (normal impacton technological changes, growth orinnovation)

Increase model here the hypothesisis that there is a positive economic relation

between the increase of creative industriesand the growth of aggregate economy; in thiscase CI are an engine of increase, like there

were considered in agriculture and producingindustry during the last century.

Innovation model - in this case thestarting hypothesis is that CI are notconsidered an industry in themselves, butrather an element in the innovating system ofthe entire economy. Therefore, this modelconceptualizes again the CI as a system ofhigher order which operates upon the entireeconomic system. Therefore CI generates andcoordinates the change in the knowledge

basis of the economy, having a crucialmeaning in economic policies. Culturalcreation is a public asset but due to dynamicreasons and not for static ones. Unlike thevalue of museums, of classic arts that seevalue by maintaining past knowledge, in thecase of CI, value refers to the development

5CUNNINGHAM, S. (2006) What price a creative economy? Platform papers #9. Currency House: Sydney.POTTS, J. (2007) How creative are the super-rich? Agenda. 13(4), pp. 13950.

6CUNNINGHAM, S. (2006) What price a creative economy? Platform papers #9. Currency House: Sydney.POTTS, J. (2007) How creative are the super-rich? Agenda. 13(4), pp. 13950.


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prin meninerea cunoaterii trecute, la ICvaloarea se referla dezvoltarea i adaptareanoii cunoateri.

Sintetiznd, autorii arata ca acestemodele reprezint 4 posibile modaliti deinteraciune dinamic intre IC i economie,astfel:

- n modelul 1, economia determinaIC prin transferul de resurse

- n modelul 2, IC sunt doar o altramurindustrial

- n modelul 3, IC e motoruleconomiei prin rate nalte decretere

-

n modelul 4, IC fac sevolueze,s se dezvolte economia printransferul de cunoatere

ConcluziiProclamarea unei noi economii,

economia creativ conduce la crearea deactivitile i produse creative care joac,evident, rolul de lider. Industriile creativesunt n centrul economiei creative.

Rolul industriilor creative ndezvoltarea comunitii este de a organiza uncadru adecvat dialogului i cooperrii ntreoamenii de decizie, reprezentanii firmelor iorganizaiilor care activeaz n sectorulindustriilor creative alturi de creatorii iantreprenorii individuali, astfel nct acetiasse poatcunoate, sse autopromoveze isfie capabili srealizeze proiecte comune is acioneze mpreun, eficient, ca grup delobby fade autoritile locale.

Oraele n general sunt privite cafactori decisivi n noua economie, fiindlocurile care pot sprijini i susine producieindividual intelectual, creativitate,inspiraie, dar care totodat ofer i piaa dedesfacere pentru astfel de producie sauinfrastructura necesar.

Pe piaa ideilor romneti a aprutacest concept nou, numit "industrii creative",n care cultur a primit rolul de motor al

and adapting of the new knowledge.

Synthesizing, authors show that thesemodels represent 4 possible ways of dynamic

interaction between CI and economy, asfollows:1. In model 1, economy determines

CI through the transfer ofresources

2. In model 2, CI are only anindustrial branch

3. In model 3, CI is the engine ofeconomy through high rates ofincrease

4. In model 4, CI make economy

evolve, develop through thetransfer of knowledge

ConclusionsThe proclamation of a new economy,

creative economy leads to creation of creativeactivities and products that obviously play therole of a leader. Creative industries are in thecentre of creative economy.

The role of creative industries in thedevelopment of the community is to organizean adequate framework for dialogue andcooperation between decision factors,representatives of companies andorganizations that activate in the field ofcreative industries along with individualscreators and entrepreneurs, in order for themto be able to know each other, to promotethemselves and be able to achieve common

projects and efficiently act together as agroup of lobby towards local authorities.

Cities, in general are seen as decisivefactors in the new economy, being the placesthat can support an individual intellectual

production, creativity, inspiration and alsoprovide the retail market for such aproduction or the necessary infrastructure.

On the market of Romanian ideas, thisnew concept called creative industriesoccurred, where culture has received the role


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dezvoltrii regionale i naionale.

Romnia are toate ansele sajungofor regional n industrii creative, dac vaine cont de urmtoarele:

1. necesitatea unei cartografieri asituaiei actuale a industriilor creative; 2. necesitatea (cel puin temporar) asubvenionrii distribuiei i reproducerii

produselor creative, i a produciei lor (nunele cazuri);

3. necesitatea cooperriiinterguvernamentale (lucrul n grupuri mici iinterdisciplinare de experi) pentru

sincronizarea politicilor publice n domeniu;4. necesitatea echiprii creativilor cu

training-uri n domeniul business-ului i cuacces la fonduri de dezvoltare;

5..necesitatea consultrii tuturoractorilor implicai (largi advisory groups); 6..suport social pentru creativi i

pentru reelele lor informale; 7..promovarea industriilor creative n

infrastructura educaionala deja existenta; 8. sincronizarea politicilor de comerexterior n industriile creative cu cele ale EU;

posibilaliana cu lobby-ul francez.

Bibliografie

1. CHAI, A. EARL, P., POTTS, J.(2007) Fashion, growth and welfare: Anevolutionary approachAdvances in Austrian

Economics, 10: 187207.2. CUNNINGHAM, S. (2006) What

price a creative economy? Platform papers 9.Currency House: Sydney.

3. DEMOS (2007) So, what do youdo? A new question for policy in a creativeage. Green Paper. DE VANY, A. (2004)Hollywood economics. Routledge: London.

4. DOPFER, K. (2004) Theeconomic agent as rule maker and rule user:

Homo Sapiens Oeconomicus. Journal of

of engine of regional and nationaldevelopment.

Romania has every chance to becomea regional force in creative industries, if ittakes into account the following:

1. the need of mapping the currentstate of creative industries; 2. The need (at least temporary) to

provide subsidies for creative productsdistribution and reproduction as well as their

production (in some cases);

3. the need for intergovernmentalcooperation (working in small

interdisciplinary groups of experts) forsynchronizing public policies in the field;

4. the need to provide creative peopletrainings in the field of business and access todevelopment funds;

5. the need to talk to every actorinvolved (large advisory groups);

6. social support for creative peopleand for their informal networks;

7. promoting creative industries in thealready existing educational infrastructure

8. synchronizing foreign trade policiesin creative industries with the EU ones;

possible alliance with the French lobby.

References

1. CHAI, A. EARL, P., POTTS, J.(2007) Fashion, growth and welfare: Anevolutionary approachAdvances in Austrian

Economics, 10: 187207.2. CUNNINGHAM, S. (2006) What

price a creative economy? Platform papers 9.Currency House: Sydney.

3. DEMOS (2007) So, what do youdo? A new question for policy in a creativeage. Green Paper. DE VANY, A. (2004)Hollywood economics. Routledge: London.


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Evolutionary Economics, 14(2): 17795.5. HIGGS, P,, CUNNINGHAM, S.

(2007) Australia's Creative Economy:Mapping Methodologies,

http://eprints.qut.edu.au/archive/00006228/6. LEVY, F., MURNANE, R. (2004)The new division of labour. Princeton:Princeton University Press.

7. POTTS, J. (2007) How creativeare the super-rich? Agenda. 13(4), pp. 13950.

8. SCOTT, A. (2006)Entrepreneurship, Innovation and IndustrialDevelopment: Geography and the Creative,Field Revisited, Small Business Economics,

vol. 26(1), pages 1-249. SEAMAN, B. (2003) The

Economic Impact of the Arts Chapter 27 inThe Handbook of Cultural Economics, RuthTowse, editor, Cheltenham: Edward Elgar.Schlesinger, Philip. (2007). Creativity: fromdiscourse to doctrine? Screen, (48) 3, 377-386.

10. TETHER, B. (2003) The sourcesand aims of innovation in services: Varietywithin and between sectors Economics of

Innovation and New Technology, 12: 481505.

11. THROSBY, D. (2006) An artisticproduction function: Theory and anapplication to Australian visual arts Journalof Cultural Economics, 30: 114.. 12. TOWSE, R. (ed) (1997) CulturalEconomics. Edward Elgar: Cheltenham.

4. DOPFER, K. (2004) Theeconomic agent as rule maker and rule user:Homo Sapiens Oeconomicus. Journal ofEvolutionary Economics, 14(2): 17795.

5. HIGGS, P,, CUNNINGHAM, S.(2007) Australia's Creative Economy:Mapping Methodologies,http://eprints.qut.edu.au/archive/00006228/

6. LEVY, F., MURNANE, R. (2004)The new division of labour. Princeton:Princeton University Press.

7. POTTS, J. (2007) How creativeare the super-rich? Agenda. 13(4), pp. 13950.

8. SCOTT, A. (2006)

Entrepreneurship, Innovation and IndustrialDevelopment: Geography and the Creative,Field Revisited, Small Business Economics,vol. 26(1), pages 1-24

9. SEAMAN, B. (2003) TheEconomic Impact of the Arts Chapter 27 inThe Handbook of Cultural Economics, RuthTowse, editor, Cheltenham: Edward Elgar.Schlesinger, Philip. (2007). Creativity: fromdiscourse to doctrine? Screen, (48) 3, 377-386.

10. TETHER, B. (2003) The sourcesand aims of innovation in services: Varietywithin and between sectors Economics ofInnovation and New Technology, 12: 481505.

11. THROSBY, D. (2006) An artisticproduction function: Theory and anapplication to Australian visual arts Journalof Cultural Economics, 30: 114.. 12. TOWSE, R. (ed) (1997) CulturalEconomics. Edward Elgar: Cheltenham.

modele pentru industriile creative cornelia_tomescu_dumitrescu

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