Submitted by Márcia de Freitas Duarte (marcia.freitas.duarte@gmail.com) on 2015-06-09T09:18:35Z No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Approved for entry into archive by Pamela Beltran Tonsa (pamela.tonsa@fgv.br) on 2015-06-09T13:02:54Z (GMT) No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Made available in DSpace on 2015-06-09T13:41:03Z (GMT). No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) Previous issue date: 2015-05-11 / This thesis aims to understand the practices and actions of organising necessary for production /organization of a musical theatre show in São Paulo, in order to explore how materially heterogeneous relations and articulations sustain it and allow their presentations. The focus on practice and organising is aligned to the concern of Organizational Studies (OS) about how 'organizations happen' and in the understanding of the everyday organizational processes and practices, referring to the comprehension of organizations as a process (organizing) in constant state of (re)constitution. The literature in creative industries presents a lack related to the organization of creative goods or services, considering it focuses its attention more in the consumption of these products than in their organization or production. The notion of creativity is also pointed as just a human attribute, a talent or ability without emphasizing some creative or cultural goods or services only can happen or are produced considering the relations and actions between human and non-human elements. In organizational literature, theatre is studied as metaphor or as a sort of intervention/tool in processes of organizational changes or learning and not as a particular form of organization. Musical theatre, a creative industry, seems to be a consolidated activity in Brazil, mainly by the increase of large musical montages from Broadway shows and its increasing professionalization, particularly in the last decade and especially in São Paulo, SP. Its production differs from other theatrical genres by the number of professionals, the amount of investments and presence of technology highlighted in its sound, light and set design and stage management department, making it a fertile field for the exploration about how these actors get together and form the visible show (seen on the stage by the audience) and the invisible one (hidden behind the scenes). About this aspect, Actor-Network Theory (ANT), here used as theoretical and methodological framework , is an approach which provides an analytical repertoire for understanding the organization as the effect of a network of heterogeneous elements, with a stability temporarily achieved. This is a qualitative research and to achieve the aim of exploring the organization of a musical I carried out a fieldwork inspired in ethnographic principles along ten months in one company whose show was being presented in São Paulo between 2013 and 2014. From what was observed in the field, I described the associations and articulations between human and non-human actors, which are permeated by efforts to generate a stabilized order, even if precarious, which is here understood the musical itself (macro-actor or network-of-actors) and its more than three hundred performances during the season, resulting from actions in continuous (re)constitution. Negotiations concerning copyright acquisitions, particular aspects of the Portuguese language, the Brazilian audience, the bodies and voices of the Brazilian cast, the structural constraints of the theater, the production of documents, marking the rehearsing room, the articulation of the show via sound and image systems, the acquisition of specific equipment and the ‘calling system’ which allows to 'call the show' during the presentation are some of the themes I explored. In conclusion, with this research, I attempted to link the growing interest of OS field in relation to organising and some of the possibilities offered by ANT on the understanding of the multiplicity and heterogeneity inherent to organizational practices, in order to enrich the discussion of the organization and production of creative goods and services highlighting how the organization 'musical theatre show' is multiple and materially heterogeneous, and not only an idea related to human agency or creativity as production input, as emphasize the most descriptions related to creative industries. / Esta tese tem por objetivo compreender as práticas e ações de organizar necessárias à produção/organização de um espetáculo de teatro musical em São Paulo, a fim de explorar como as relações e articulações materialmente heterogêneas o sustentam e permitem suas apresentações. O foco nas práticas está alinhado à preocupação dos Estudos Organizacionais (EO) acerca de como ‘as organizações acontecem’, e na compreensão dos processos e práticas de organizar do cotidiano organizacional, remetendo ao entendimento das organizações como processos (organising) em constante estado de (re)constituição. O campo das indústrias criativas apresenta ainda lacunas pouco exploradas, referentes aos bens e serviços criativos. Seu foco de estudos está mais voltado para o consumo de tais bens e poucas pesquisas dedicam-se à sua produção e/ou organização. A própria noção de criatividade é entendida apenas como um atributo humano, talento ou habilidade, sem se enfatizar que alguns bens e serviços criativos e culturais apenas são possíveis a partir das relações e ações entre humanos e não-humanos. Na literatura organizacional, o teatro é amplamente estudado como uma metáfora ou como uma ferramenta de intervenção em processos de mudança ou aprendizado, sendo ainda raros estudos dedicados a explorar um espetáculo teatral como forma particular de organização. O teatro musical, inserido nas indústrias criativas, parece se consolidar no Brasil, principalmente pelo aumento de montagens de grandes musicais oriundos da Broadway, NYC, EUA, e sua crescente profissionalização, sobretudo na última década e, especialmente, na cidade de São Paulo, SP. Sua produção difere de outros gêneros teatrais pelo número de profissionais, investimentos e presença da tecnologia evidenciada em seus projetos de som, luz, cenografia e gestão de palco, tornando-o um campo fértil para a exploração sobre como atores se reúnem e formam o espetáculo visível (visto pelo público no palco) e o invisível (oculto nos bastidores). Sobre tal aspecto, a Teoria Ator-Rede (TAR), aqui utilizada como referencial teórico-metodológico, fornece um repertório analítico para a compreensão da organização como efeito de uma rede heterogênea de elementos, com uma estabilidade temporariamente alcançada. Para concretizar meu objetivo de explorar a organização de um musical, realizei uma pesquisa qualitativa, com inspiração etnográfica, na qual permaneci em campo durante dez meses junto a uma companhia cujo espetáculo esteve em cartaz em São Paulo entre os anos de 2013 e 2014. Descrevo, assim, como ocorreram as associações a articulações entre atores humanos e não-humanos, permeadas por esforços no sentido de gerar uma estabilização, um ordenamento, mesmo que precário, o qual é aqui entendido o musical (macro-ator ou rede-de-atores) em si e suas mais de trezentas apresentações durante a temporada, resultantes de ações em contínua (re)constituição. Negociações referentes a aquisições de direitos autorais, aspectos particulares da língua portuguesa, do público brasileiro, dos corpos e vozes do elenco brasileiro, as restrições estruturais do teatro, a produção de documentos, a marcação na sala de ensaios, a união do espetáculo via sistemas de som e imagem, a aquisição de equipamentos específicos e o sistema que permite ‘chamar o show’ durante a apresentação são alguns dos temas que exploro. Com esta pesquisa, busquei assimilar o crescente interesse dos EO em relação organising e algumas das possibilidades oferecidas pela TAR quanto à multiplicidade e heterogeneidade inerentes às práticas organizativas, com o intuito de enriquecer a discussão acerca da organização e produção de bens e serviços criativos, destacando como a organização ‘espetáculo de teatro musical’ é múltipla e materialmente heterogênea, e não apenas uma ideia exclusiva à ação humana ou criatividade como insumo de produção, tal como apregoa a maior parte das descrições referentes às indústrias criativas.

Syfte: Att undersöka huruvida scenkonstkompanier bildar industrispecifika kluster som ger upphov till gemensamma fördelar och därmed kan höja den konstnärliga kvaliteten.  Metod: En kvantitativ enkätundersökning bland aktiva svenska scenkonstkompanier som analyserats genom principalkomponentanalys. Slutsatser: Det tycks finnas ett kluster av scenkonstverksamhet i Stockholm. Klustret inkluderar dock inte alla kompanier som finns på platsen, vilket indikerar att scenkonst inte är ett bra begrepp för att avgränsa kluster. Genre, professionalitetsgrad och närvaron av en konstnärlig ledare som inte också ingår i ensemblen tycks vara viktiga faktorer för att förstå vilka verksamheter som bildar gemensamma kluster. / Purpose: To determine whether the Performing Arts form industry specific clusters that share positive externalities and improve artistic quality. Method: A quantitative study based on a survey among active Swedish performing arts companies, analyzed by means of a Principal Components’ Analysis. Results: A cluster of Performing Arts’ companies seems to exist in Stockholm. However, the cluster does not include all Performing Arts’ activities present in the area, indicating that Performing Arts is not a good delineator of the specific activities prone to form a common cluster. Genre, professionality and the presence of an Artistic Director who doesn’t take part in the ensemble seem to be important factors to predict liability to form local clusters.

The analysis of cultural policy in the last decade suggests that creativity and the arts in general are extensively used in political agendas as means of capitalizing on the forecasted socio-economic potential of creative/artistic activities (e.g. Flew, 2005; Garnham, 2005; Hartley, 2005; Hesmondhalgh, 2007). Although some critical studies have highlighted instrumentalism, short-sidedness and practice/practitioners’ averse policy-making and intervention planning (Belfiore, 2004, 2009; Caust, 2003; Oakley, 2009; Newman, 2013), so far only very few studies have exposed the experiences and voices of particular groups of creative workers in the different national (country-specific) contexts to support this criticism. There has been a significant lack of studies that aim to understand how creative workers experience and cope with the changing policy context in their work. In particular, the voice of non-artists has rarely been considered when seeking a better understanding of the sector’s dynamics. This thesis explored the Scottish cultural sector through the eyes of cultural leaders. The study was carried out during a time of significant transformation to the funding structure, processes and relationships in the sector, catalysed by the establishment of a new funding agency (the funder). It focuses on cultural leaders’ understandings of an increasingly politicised cultural landscape that constitutes the context of their work. The thesis also looks at the influence of these understandings on the leaders’ role responsibilities, as well as the essence and the sustainability of the cultural sector. The empirical work for the thesis followed a qualitative research approach and focused on 21 semi-structured interviews with cultural leaders and industry experts based in Scotland. These individuals were purposefully chosen as a group of stakeholders who are able to engage in discussions about the cultural sector in the context of recent changes in the governance and financial subsidy of Scottish (publically funded) arts. The research findings illustrated the importance of leaders’ values and beliefs, which reflect the purpose of their work and shape their enactments in the sector. In particular, the intrinsic motivation, artistic ambitions, social and civic responsibilities of leaders emerged as crucial qualities of their work roles. The findings revealed a discrepancy between these artistic and civic concerns of cultural leaders and the socio-economic expectations of the funder, which contributed to a great deal of unproductive ('inorganic') tensions for which leaders had to find coping mechanisms. Bourdieu’s (1977, 1992) theoretical concepts were used as a starting point in understanding the cultural sector as a cultural field, and cultural leaders as actors enacting their work-related practices in the evolving socio-political and economic system of cultural production. However, upon further analysis of the data, the notions of a ‘worldview’ and ‘stewardship’ emerged and were used to better explain the greater complexity of work in today’s cultural sector. This thesis thus builds upon Bourdieu’s concept of ‘field’ and ‘artistic logic’ and explains the changing cultural sector as a holistic cultural field where cultural leaders enact their stewardship-like work responsibilities from within a strong and dynamic artistic worldview.

This thesis analyzes the state support of the cultural and creative industries in selected post-communist countries, now the Visegrad Group. The first part is devoted to the impact of the totalitarian regime on culture and cultural policy, economic transformation and current economic situation of individual countries with emphasis on chracteristics of the cultural and creative industries concept. The main part of the thesis deals with the issues of culture policy perspective of each state including the opportunities available under EU funds. The final section presents the summary of a comparative analysis along with pros and cons of the models in all countries.

Le constat de départ de cette recherche, souligné par la littérature, est celui du débat permanent au sein des organisations créatives, entre priorités artistiques et créatives d'un côté et intérêts économiques de l'autre côté. Nous interrogeons la manière dont les acteurs créatifs gèrent les contraintes économiques qui les entourent dans ce contexte marqué par la rationalisation. Au travers d'une étude qualitative et approfondie de l'industrie de la mode -entretiens et travail ethnographique, nous avons observé les pratiques quotidiennes des acteurs créatifs du secteur. Premièrement, et au travers du travail de Michel de Certeau, nous révélons ici les différentes tactiques et autres arrangements que ceux-ci développent vis-à-vis des contraintes, une forme d'action qui joue un rôle important dans les organisations créatives. Cette forme d'action, que l'on nomme trouble du créatif, entretient une ambiguïté autour du travail créatif en organisation, nécessaire pour créer. Ensuite, nous révélons les forces socio-matérielles et affectives qui constituent les pratiques créatives de façon intrinsèque, et soulignons le poids de telles forces dans la négociation permanente avec les motifs économiques. Subséquemment, nous proposons le concept de créativité-en-action, une manière à la fois incarnée, matérielle et affective d'agir créatif, au sein des industries créatives. / This PhD departs from the research literature that underlines the on-going debate arising in creative companies, between art/creative priorities on the one hand and economic/business interests on the other hand. We wonder how actors involved into the creative process deal with economic and rationalization constraints. Through an in-depth, qualitative study in fashion industry -interviews and ethnographic work, we investigate empirically the daily practices of creative actors. First, and notably through Michel de Certeau's work, we reveal the various tactics and arrangements that they develop towards such constraints, as a form of action that plays an important role in creative organizations. This form of action we call creative fuzziness maintains a necessary ambiguity around creative work. Second, we underline the socio-material and affective forces that inherently constitute creative practices, and how much such forces weigh in the economic negotiation. We then suggest the concept of creativity-in-action, an embodied-material and affective way of acting creative, within creative industries.

Le rôle des communautés a été intentionnellement négligé dans l’analyse les modèles d'affaires de la pornographie mainstream (Darling, 2014), nous soutenons cependant qu’il est essentiel à la production de pornographie alternative. Le but de cette thèse consiste alors à comprendre le rôle des communautés et des entrepreneurs dans la production de pornographie sex-positive dans un contexte où le régime de propriété intellectuelle est faible. Nous utilisons une méthodologie qualitative pour aborder cette question, afin de documenter l'activité communautaire et entrepreneuriale de cette niche. Nous concluons que le contenu pornographique sex-pos est exploité principalement par des moyens informels, fondés sur des motivations intrinsèques et des mécanismes de réputation. Plus précisément, ces communautés jouent un rôle central dans la création de contenu protégé par le droit d'auteur, car ils agissent comme des instruments d'exploitation et d'appropriation de la propriété intellectuelle. / Business models for mainstream porn were extensively explained by Darling (2014).While the role of communities was intentionally overlooked for this segment of the industry, I argue that it is central to the production of alternative pornographies. The research question, then, consists in investigating the role of creative communities and entrepreneurs in producing digital sex-positive pornography in a context of a weak intellectual property regime. I used a qualitative method to tackle this question,in order to document community and entrepreneurial activity in the sex-positive niche. As a conclusion, I find that sex-pos pornographic content is specifically exploited mostly through informal means, based on intrinsic motivation and reputational mechanisms. More specifically, these communities and entrepreneurs are central to the creation of copyrighted content, as they act as informal instruments of intellectual property exploitation and appropriation.

This thesis describes the phenomenon of alternative culture in public policy. The first part seeks to define what alternative culture means and builds on the research mainly from sociology and cultural studies. Very useful are then specific theory of social deviance, the theory of subcultures and postsubcultures. At the same time, the paper looks into the past, before 1989, when the alternative culture phenomenon was clearly defined, standing outside the mainstream culture and the alternative culture was illegal. Through the analysis of some events and political cases from the recent past, there could be seen both differences between alternative culture and an attitude to it before 1989, but also some important parallels with the current situation of alternative culture. Alternative culture is later specified by current alternative underground subcultures: freetekno - DIY, squatting and street art. In the case of these three controversial subcultures, the paper deals with an attitude of public policy to these subcultures through the extremism policy. The next part the paper deals with the contemporary cultural politics in the country. Briefly, it describes and outlines the current situation and possible areas for innovation in the context of alternative culture. In the last phase this thesis deals...

[pt] Economia Criativa é um conceito relativamente recente, que ainda dá margem a diferentes interpretações, mas que vem ganhando crescente atenção e apoio por parte de governos de diversos países e organismos internacionais, tendo se tornado parte importante do comércio global, na qual a participação de países em desenvolvimento vem crescendo aceleradamente: em 2015, o valor das exportações de bens e serviços criativos desse conjunto de países superou o de países desenvolvidos. No entanto, o Brasil não vem aproveitando esse crescimento, estando ausente da lista de maiores exportadores de tais itens, mesmo se considerarmos apenas países em desenvolvimento, o que sinaliza a existência de barreiras relevantes à internacionalização das empresas brasileiras integrantes da Economia Criativa. Assim, o objetivo geral do presente estudo é explorar como stakeholders de empresas brasileiras da Economia Criativa percebem as barreiras à internacionalização de seus produtos e serviços. Para isto, utilizou-se um estudo de casos múltiplos, envolvendo três empresas de pequeno e médio porte (PME) do estado do Rio de Janeiro, produtoras e exportadoras de bens criativos (joias, semijoias, bijuterias, acessórios e objetos de decoração). A pesquisa indica que, de modo geral, as barreiras internas à firma são percebidas como as mais relevantes pelas empresas analisadas, principalmente barreiras funcionais (derivadas de limitações de recursos humanos e de capacidade produtiva) e de preço. Dentre as barreiras externas à firma, além das econômicas destacam-se as governamentais, indicando a necessidade de aperfeiçoamento em regulações e programas de incentivo à exportação vigentes no país. / [en] Creative Economy is a relatively recent concept, which still gives rise to different interpretations, but has been gaining increasing attention and support from governments of several countries and international organizations, having become an important part of global trade, in which the participation of developing countries has been growing rapidly: since 2015, value of exports of creative goods and services from this group of countries exceed that from developed ones. However, Brazil has not been taking advantage of this growth, being absent from the list of major exporters of such items, even if we consider only developing countries, which indicates the existence of relevant barriers to the internationalization of Brazilian firms of the Creative Economy. Thus, general objective of this study is to explore how stakeholders of Brazilian firms of the Creative Economy perceive barriers to the internationalization of their products and services. To reach this objective, it was done a multiple case study involving three small and medium-sized enterprises (SME) located in the state of Rio de Janeiro, which produce and export creative goods (jewelry, accessories and decorative objects). Results indicate that, overall, internal barriers are perceived as the most relevant by the analyzed firms, mainly functional barriers (derived from their constraints of human resources and productive capacity), as also as price barriers. Among the external barriers, in addition to the economic ones, the governmental ones stand out, indicating the need for improvement in Brazilian current export incentive programs and regulations.

Though feminist scholars criticize Helen Fielding’s Bridget Jones series as they feel that Bridget’s diary minimizes her work, close analysis reveals that Bridget’s work is equally important to her as her relationships. The novels charts Bridget’s linear progression toward autonomy and creative freedom, and her work mistakes function as ironic commentary on the creative industries. Though she critiques the entertainment industry, she validates its accessibility to a variety of audiences, particularly through adaptations. Throughout the series, Bridget documents her own life into her diary, and, in the final two novels, adapts her past diaries for a new purpose. The diary form departs from Austen’s more distanced narrator as well as from the traditional scholarship on the diary, which dictates the diary as a way to work through trauma. Fielding alters the diary form, and through her use of interiority, creates a complex protagonist whose success does not make her inaccessible.

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.