The presented master thesis deals with the phenomenon of creative clustering in urban environment. The thesis is conducted in the form of a case study exploring a specific creative cluster on a micro level in order to gain insight into its dynamics, inner mechanisms and structure. The study's focus area is the neighborhood of Letna, Prague, Czech Republic where a cluster of designer and artist studios, galleries, centers for art education has formed in the last four years. Using primarily qualitative techniques, specific factors were identified as decisive for choosing this location by those individuals. The thesis focuses on inner functioning of the cluster through the insider perspective of its members and tries to identify the requirements and conditions for the emergence and development of a creative cluster. A lack of micro level research of creative clustering in the Czech Republic was a dominant motivation for conducting this thesis.

The diploma thesis entitled "The position of video game industry among the creative industries in the Czech Republic" brings up a complex view on the Czech video game market. It has been created based on data acquired from numerous local and international scientific studies and also using interviews with selected representatives of the Czech video game market. It has turned out that the Czech video game industry builds up its economical position step by step. Its year-on-year turnover grows and thus gradually counts up to even larger portion of the return of cultural and creative industries. This happens spontaneously, without systematic support from the national or local governments. However, such a support is common in other European countries. Interested parties that play a part in the Czech video game market would be (according to conducted interviews) very interested in this kind of support, mainly in form of tax relief and the promotion of local developers abroad (which would also bring foreign investors into the country). Thus, the claim that the implementation of institutional support of Czech video game would solve its two most acute problems, is valid. All addressed representatives (coming from different segments of video game market) have confirmed that these two issues are the lack of financial and marketing support. In case these barriers of market development are removed, the process of growth of the Czech video game market as a strong member of the industry would speed up significantly. All abovementioned facts, along with other aspects of the problematics, are reflected in SOAR analysis that brings the thesis to an end.

The purpose of this thesis is to explore the impact of the situation imposed by the spread of COVID-19 on people working in creative industries and their creative processes, and analyse the role of media in reconstructing their work and leisure spaces at home. The research topics include handling of this change by the creatives, the role of media in reconstructing creatives' homes and the impact of this situation on their creativity. The methodology for gathering data is centred around interviews with the representatives of the group of people working in the creative industries. The empirical data is analysed with the help of the theoretical framework. Among the theories, the six most important topics are: Connectivity versus connectedness, Front region and back region, Boundary theory, Transformations between regions, Reasons to disconnect from media, and Influences on creativity. On one hand, the conclusion of this thesis is that creatives were handling the change of their work environment mostly well, possibly, perhaps creativity is usually influenced by internal factors, and as such the changed work environment as an external factor doesn't influence it as much as the social isolation situation due to COVID-19 as a whole. On the other hand, for many creatives the changed work environment provided calmer conditions for work and offered more time for leisure, although the majority of the participants were working more in this new situation than before. Due to the fact that all of the interviewees had to use their digital technologies and internet in order to work, the escape to the offline world often served as a place for relaxation. Moreover, the majority of the interviewees' devices was used for multi-functional purposes, for both work and for relax. Ultimately the impact on the creatives and their work was studied from different perspectives, offering a snapshot of creative work in extraordinary times.

There has been an increasing relevance of the cultural sector in the economic and social development of different countries. However, this sector continues without much input from multi-criteria decision-making (MDCM) techniques and sustainability analysis, which are widely used in other sectors. This paper proposes an MCDM model to assess the sustainability of a musical institution’s program. To define the parameters of the proposed model, qualitative interviews with relevant representatives of Catalan cultural institutions and highly recognized professionals in the sector were performed. The content of the 2015–2016 season of the ‘Palau de la Música Catalana’, a relevant Catalan musical institution located in Barcelona, was used as a case study to empirically test the method. The method allows the calculation of a season value index (SVI), which serves to make more sustainable decisions on musical season programs according to the established criteria. The sensitivity analysis carried out for different scenarios shows the robustness of the method. The research suggests that more complex decision settings, such as MCDM methods that are widely used in other sectors, can be easily applied to the sustainable management of any type of cultural institution. To the best of the authors’ knowledge, this method was never applied to a cultural institution and with real data. / Universitat Oberta de Catalunya

Bakgrund och forskningsfråga: Målstyrning är ett viktigt hjälpmedel för företag i deras strävan efter att följa sina strategier. Målstyrning kan ske genom användning av formella eller informella styrmedel, och ska anpassas efter varje enskilt företag. Traditionella affärsverksamheter har ofta som fokus att generera vinst och använder sig främst av formella styrmedel. Kreativa näringar har istället sitt fokus på kreativiteten, och använder sig främst av informella styrmedel. Kreativa företag har inte samma möjlighet att konkurrera på marknaden som traditionella affärsverksamheter, men den ekonomiska aspekten är fortfarande viktig då det är ett krav för deras fortlevnad. Flertalet kreativa näringar väljer att diversifiera sin verksamhet inom relaterade områden för att skapa en mer stabil ekonomi. Detta medför dock en utmaning i att behålla kreativiteten inom ett område, trots en diversifierad verksamhetsstruktur. Studiens övergripande forskningsfråga är: Hur håller kreativa företag, inom konstsektorn, med relaterat diversifierad verksamhetsstruktur samman hela organisationen genom målstyrning? Syfte: Syftet med denna studie är att beskriva hur kreativa företag med flertalet olika verksamhetsgrenar utformat sin målstyrning med hjälp av olika formella och informella styrmedel. Ytterligare ett syfte är att analysera vilka fördelar och nackdelar de olika styrmedlen skapar för företagen gällande deras målstyrning. Metod: Denna studie utgör en fallstudie av två kreativa näringar. Undersökningen utgår från en abduktiv forskningsansats med en kvalitativ forskningsstrategi. Den teoretiska referensramen är främst baserad på insamlat material från litteratur och vetenskapliga artiklar. Det empiriska materialet utgörs främst av ingående personliga intervjuer, samt viss information från hemsidor tillhörande de organisationer som deltar i denna studie. Slutsats: Kreativa näringar med relaterat diversifierad verksamhetsstruktur använder formella styrmedel för att styra de ekonomiska aspekterna och informella styrmedel för att styra kreativiteten och de anställdas beteenden. Denna målstyrning gör att de kan uppfylla både deras ekonomiska och konstnärliga mål och hålla samman sin relaterat diversifierade verksamhetstruktur. / Background and research question: Performance management is an important tool for businesses in their efforts to pursue their strategies. Performance management can be achieved through the use of formal or informal control instruments, and should be tailored to each individual company. Traditional businesses often have the focus to generate profit and primarily use formal control instruments. Creative industries have instead its focus on creativity, and primarily use informal control instruments. Creative companies do not have the same opportunity to compete in the market as traditional businesses, but the financial aspect is still important as it is a requirement for their survival. Most creative industries choose to diversify their business in related areas to create a more stable economy. However, this means a challenge to retain the creativity in one area, despite a diversified business structure. The study's overall research question is: How do creative businesses, in the arts sector, with a related diversified business structure hold together the entire organization through performance management? Objective: The purpose of this study is to describe how creative companies with several different branches of business activity have designed its performance management using different formal and informal control instruments. Another purpose is to analyze the advantages and disadvantages that the different control instruments create for companies concerning their performance management. Method: This study is a case study of two creative industries. The survey is based on an abductive research approach with a qualitative research strategy. The theoretical framework is mainly based on material collected from literature and scientific articles. The empirical material consists mainly of detailed personal interviews, as well as certain information from websites belonging to organizations involved in this study. Conclusion: Creative industries with a related diversified business structure are using formal control instruments to steer the financial aspects and informal control instruments to steer creativity and employee behavior. This performance management enables them to meet both their financial and artistic goals and hold together its related diversified business structure.

Comment se construisent, se structurent et s’organisent les filières des industries culturelles et créatives au Burkina Faso ? Quel est leur niveau de développement ? Quels sont les défis actuels auxquels elles sont confrontées et quelles sont les stratégies des acteurs. Ce sont-là les questions que se propose de répondre notre travail de recherche.Le développement des industries culturelles au Burkina Faso est en marche depuis les indépendances et s’est accentué lors de ces dix dernières années. Cette dynamique connait des hauts et des bas au gré des circonstances (environnement), des acteurs et des politiques publiques. Malgré les efforts et les avancées dans le secteur, on note la faible industrialisation de la culture et le caractère dit embryonnaire des filières. Pendant ce temps les espoirs des acteurs placés en ces industries culturelles et créatives pour leurs capacités à créer des richesses et des emplois sont grands et relatifs. Les discours et les pratiques sont souvent contradictoires et les politiques publiques manquent de pragmatisme.Face à cette situation, couplée avec les mutations qui atteignent aujourd’hui les industries culturelles, notre travail s’est évertué à montrer l’état ou l’environnement dans lequel a évolué et évoluent actuellement l’industrialisation de la culture et comment les acteurs à chaque niveau des filières industrielles (Livre, Musique enregistrée, Cinéma et audiovisuel, Jeux vidéo) et des filières dites créatives (Mode et textile et Design & artisanat d’art) s’organisent et structurent leurs secteurs pour continuer d’exister dans un contexte d’ouverture, de mondialisation des œuvres artistiques et culturelles. Enfin, le travail se conclut en s’ouvrant sur les mutations actuelles qui caractérisent les filières industrielles de la culture, tant au niveau des facteurs de production que des stratégies des acteurs.Mots-clésIndustries culturelles ; Industries culturelles et créatives ; Développement culturel ; Filières ; Stratégies d’acteurs ; Politiques culturelles ; Politiques publiques ; Economie de la culture ; Economie politique. / How are built, to structure and organize courses cultural industries and creative in Burkina Faso? What is their level of development? What are the current challenges they are facing and what are the strategies actors? These are just issues that sets out to answer our research work.The development of cultural industries in Burkina Faso is in operation since independence and has intensified over the past ten years. This dynamic knows the ups and downs depending on the circumstances (environment), actors and public policy.Despite the efforts and progress in the sector there is the low industrialization of culture and embryonic chains character. Meanwhile the hopes of the actors placed in them (cultural industries and creative) for their ability to create wealth and jobs are large and related. Discourses and practices are often contradictory and public policy lack of pragmatism.Faced with this situation, our work is striven is to show the State or the environment in which evolved and are currently changing the industrialization of culture and how the actors at each level of the streams industrial (Book, Music, Cinema and audiovisual, Video games) and the so-called creative industries (Fashion and textile design & Arts and crafts) are organized and structure their sectors to continue to exist in a context of openness, globalization of artistic and cultural works.Finally, the work closes by opening up the current changes that characterize the industrial sectors of culture both at the level of production factors in the strategies of the actors.KeywordsCultural industries ; Cultural and creative industries ; Cultural development ; Dies ; Stakeholder strategies ; Cultural policies ; Public policies ; Economy of culture ; Political economics.

Cette recherche vise à passer en revue les différentes manifestations de l'économie de la connaissance en Équateur. Pour ce faire, l'approche historique utilisée cherche à rendre compte des politiques de transformation productive mises en œuvre en Équateur au cours du dernier demi-siècle (1968-2017). Parallèlement à l'examen du processus de développement économique poursuivi dans le pays, nous synthétisons la progression théorique des concepts de connaissance, de capital humain et d'innovation. Les deux analyses cherchent à contextualiser les politiques publiques de promotion des secteurs à forte intensité de connaissances appliquées en Équateur au cours de la deuxième décennie du XXIe siècle, face aux tendances dominantes du capitalisme mondialisé contemporain, qui délimitent dans une large mesure les actions et options d'une économie périphérique. Dans un second temps, à partir d'un exercice empirico-statistique, la recherche se fonde sur la collecte d'informations et la construction d'indicateurs permettant de mesurer la contribution économique des secteurs à forte intensité de connaissances, en l'occurrence les secteurs économiques intensifs en créativité. Ce qui permet de quantifier la dynamique de la création de valeur ajoutée, de l'emploi et des résultats du commerce extérieur des industries du droit d'auteur dans le cas de l'Équateur durant la période 2010-2014. Enfin, la recherche se termine par l'analyse de deux politiques du secteur public en gestion des connaissances dans des domaines typiquement régaliens, comme l'éducation et la santé, et basées sur l'hypothèse de l'existence de systèmes différents de transmission des connaissances : formel et traditionnel. / This research aims to discuss the different aspects of knowledge economy in Ecuador.For this purpose, we first use an historical approach that reflects the productive transformation policies implemented in the country over the past half-century (1968-2017). Simultaneously, we examine the economic development process in the country and we synthesize the theoretical progress of the concepts of knowledge, human capital and innovation. Both analyses seek to contextualize public policies to promote knowledge-intensive sectors, implemented in Ecuador during the second decade of the twenty-first century. These policies confront the dominant trends of the contemporary globalized capitalism, which to a large extent delimit the actions and options of a peripheral economy.Secondly, on the basis of an empirical-statistical exercise, through data collection, we constructed indicators that measure the economic contribution of knowledge-intensive sectors, particularly creative­intensive economic sectors. This exercise allows to quantify the performance of value added creation, employment and foreign trade of the Ecuadorian copyright industries during 2010 and 2014. Finally, we analyze two public policies concerning knowledge management in typically 'sovereign functions' such as education and health, based on the assumption that different systems of knowledge transmission exist: formal and traditional.

Syfte: Förklara begreppen empowerment och medarbetarskap samt visa hur de kan te sig i praktiken inom kulturnäringarna. Metoder: Kvalitativ metod med material från litteraturstudier och ostrukturerade samtal med medarbetare på olika positioner och nivåer i åtta gävleorganisationer inom kulturnäringarna. Resultat & Slutsats:Observationerna gjorda på plats stämmer relativt bra med befintliga tankar om välfungerande organisationer i litteraturen. Organisationer inom kulturnäringarna överlever alla på något vis genom sina medarbetares kreativitet. För att utnyttja det på bästa sätt bör organisationen... ...vara organisk, det vill säga kunna anpassas efter de personligheter och kompetenser som finns i den. Detta sätter å andra sidan höga krav på rekrytering och social kompetens. ...ha någon form av plattform (i uppsatsen också kallat idékatalysator) där medarbetare från organisationens delar kan mötas, utbyta information och komma med synpunkter på varandras idéer. Detta kräver dock att man har ”högt i tak” samtidigt som man respekterar varandras expertområden. ...göra medarbetare delaktiga – då ökar deras engagemang och viljan att vårda det de själva är med och bygger upp. Ansvar under frihet. Dessutom finns nu tecken på att omgivningens inflytande blivit så stort att något vi kallar ”den utomstående medarbetaren” har skapats. Är kulturnäringarnas medarbetarskap att föredra även i andra näringar? / Objectives: The purpose of this thesis is to explain the teoretical terms of empowerment and employeeship by exploring their usage in a practical context of the Creative Industries. Scientific Methods: Qualitative research method with theoretical material gathered by Analysis of Literature and empirical material by performing Unstructured Interviews with employees in eight organizations acting in the fields of the Creative Industries in the Gaevle Municipality, Gaevleborg County. Results & Conclusions: The study shows that employeeship and empowerment will be most effective in the organizations of the Creative Industries if... … the organization is able to adapt to the qualifications and personalities of its staff. This demands a lot in recruitment and social skills. ...some kind of platform is used where personnell from different departments can swop information, comment and improve each others ideas. This requires a freedom of action where everybody dares to speak. ...all employees are involved. This will increase the commitment and reach an ”independence with responsibility”-situation. The terms of the literature are reminiscent of the field work findings, thought rarely put down in words in the studied cases. May the employeeship of the Creative Industries be preferable in other industries and services as well?

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.

Porter¡¦s (1990) Four Stages of National Competitive Development are: factor-driven, investment-driven, innovation-driven and wealth-driven. At last stage, the drivers of social development come from the desire to upgrade living quality and pursue the goal of entertainment, leisure, enjoyment, and beauty. In the background, every country begins to emphasize on knowledge economics and creative economics. As well as Taiwan, government brings up two tern plan of culture and creative industries. The first tern stresses on promoting artistic appreciation to enrich the facilities of industrial park. Next, the second tern accents on combinations from different business sectors/fields and culture clusters. Five greatest of culture and creative parks always at the stage of drawing land ownership and building hardware infrastructures in five years. Hwa Shun Cultural and Creative Industrial Park is set on the golden area in Taipei and finally bidden the fifteen-year ownership of ROT (Refurbish-Operate-Transfer) by Taiwan Culture and Creative Company and introduced to the business model. Be the first mover of culture an d creative parks in Taiwan, the experiences of Hwa Shun is definitely important no matter It would success or lose. In this essay, the writer trys to modify Porter¡¦s diamond model(1996,1999) according to the characteristic of culture and creative industries, and pick the Beijing 798 Artistic Village, and Korea Paju Bookcity plus Heiry Artistic Village as the success case to discuss the essential elements of culture and creative clusters. Finally benchmarks the key points to Hwa Shun, and discusses the role of government and the problem of promoting culture and creative industrials in Taiwan. Above all, this essay indicates the interaction between the core of creation and environment, plus the good corporate situation between creative workers and A-style talent are the most important cluster factors. To go a step further, it needs lot of fund and infrastructures to become a industry, in the meantime, how to set up a good evaluated system to inject fund into culture and creative industries through accumulated knowledge is a key point. Otherwise, mass media is other culture and creative industries¡¦ channel, it always has a long and complicated supply chain, and an integrated supply chain can reduce cost effectively and encourage knowledge circulation through cluster effect, therefore be the one that government can nurture strenuously. In demand part, this essay based on three factors of artistic appreciation including culture participation, culture opportunity, and culture consumption to analysis consumers, according to this view, mass population are easier possess capacity to be engaged in culture campaign and really result in consumption. A proper feedback system and platform would benefit cash and resources inflow and support more creative works in experiment step keep creating, and furthermore provide excellent products by means of A-style peoples¡¦ cooperation, finally gain the mass population¡¦s identification and increase culture participation and culture consumption.