Creative economies can establish sustainable development through co-creative cultural projects. Project management practice and particularly project governance can balance creativity and control fostering the co-creative environment that inspires and ignites innovation. The success of those cultural projects is the platform that leads to long-term development and growth.   This thesis work aims to answer the following research question, “How will project governance structure provide the environment for the co-creation approach to flourish and enhance project performance?” The objective of this research is to examine how the project governance structure creates a conducive environment for the co-creation approach to burgeon and boost project performance.   The authors investigate the subject by building a theoretical frame of reference, formulating a proposition and designing the research strategy in order to answer the research question. This research applies the qualitative method through semi-structured interviews based on a case study on Umeå 2014 as the ECoC. Thirteen respondents participated in this research, all of whom are members of the Umeå 2014 Project Team. As secondary data, six interviews with Umeå 2014 project owners were investigated and analysed in order to support and increase the reliability of the research findings from the primary data analysis. All primary and secondary data were analysed based on the theoretical framework.   The research revealed that project governance nurtures the environment necessary for co-creation to flourish. The co-creation approach will flourish when developed within the mixture of hierarchical and relational project governance structures that foster co-creative elements. The synergy between co-creation and project governance will boost the potential to achieve sustainable development and long-term growth.

Šio darbo užsibrėžtas tikslas - išanalizuoti kultūrinių kūrybinių industrijų (KKI) ir didžiųjų prekybos centrų kaip moksliniame diskurse antagonistinių miesto raidos kelių santykį Šiaulių mieste bei įtaką miesto raidai. Magistro darbe, remiantis Lietuvos ir užsienio mokslinės literatūra bei dokumentų analize išanalizuotos kultūrinių kūrybinių industrijų (KKI) sampratos, atskleidžiamos kaip miestų vystymo, regeneracijos instrumentai bei moksliniame diskurse populiarios miesto regresavimo idėjos, siejamos su didžiųjų prekybos centrų neigiamu poveikiu miestų raidai. Tyrimas atskleidžia, kad neišvystytos iki konkurencingo lygmens bent jau Lietuvos kontekstu KKI mieste praktiškai neturi įtakos Šiaulių raidai, todėl didieji prekybos centrai, pirmiausia savo reikmėms bendradarbiaudami su KKI, gali būti traktuojami kaip polifunkciniai centrai, perimantys tradicines miesto funkcijas, įtakojantys ne vien neigiamus, bet ir teigiamus miesto raidai procesus ir net matomi kaip tolimesnė miesto raidos perspektyva. / The main goal of this paper is to analyze antagonistic relationship of the cultural creative industries (CCI) and hypermarkets as scientific discourse in the development of the city of Siauliai as well as its influence on urban development. According to the Lithuanian and foreign scientific literature and document analysis cultural creative industries (CCI) concepts are revealed as urban development regeneration instruments and in scientific discourse popular urban regression ideas associated with the major hypermarkets negative implications for urban development The survey shows that CCI that has not reached the competitive level (at least in the context of Lithuania) has little influence to development of Siauliai city, therefore hypermarkets primarily for their needs cooperating with the CCI may be considered as polyfunctional centers, who absorbs the traditional city functions, affecting not only negative, but positive processes for urban development as well, and even seen as a further urban development perspective.

Based on an individual longitudinal data on dependent employment we analyse the role of Creative Industries for the employment system of Vienna. We focus on gross job flows and firm dynamics in this priority field of Vienna's urban policy and analyse the characteristics of the different parts of the cluster's production system. We find ample evidence for positive effects of Creative Industries on employment growth and firm birth, but also reveal considerable job turnover and a large heterogeneity of firm growth in the cluster. Especially, we find rather different evolutions along the clusters value chain, which points to weak linkages between upstream and downstream activities in the cluster. (author's abstract) / Series: Creative Industries in Vienna: Development, Dynamics and Potentials

Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent who they are and what they want to say. Positioned as &quotcultural catalysts", &quotthe new pioneers" and &quotfirst navigators" young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. Performance commentators (Schnechner 2002; Shusterman 2000; Auslander 1999; Hill and Paris 2001; Phelan 1993 and Kershaw 1992) believe that there has been a profound shift in the nature of making theatre and performance works. The forces of globalisation, the new economy and advancements in new media technologies have affected young people's making of performance. Three key concepts animate contemporary young people's performance devising and presenting processes. These concepts can be defined as: performativity, convergence and openness of form. These three categories can be harnessed under the umbrella concept of deterritorialisation. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediated forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres.

The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.

The dissertation is an attempt to culturologically view the development of cultural policy in the context of the knowledge society and the related socio-economic processes of the knowledge and creative economy that are part of the new economy. The new economy is a term that encompasses specific types of economies whose common denominator is a combination of a new form of organization and decision-making processes of economic subjects with links to technological and non-technological innovation as well as the development of human resources. The aim of the thesis is to analyze the development of cultural and creative industries concepts and their application to cultural policy and other related public policies. At the same time, the aim of this work is a case study on the current situation in the development of the concepts of cultural and creative industries in relation to the analyzed concepts and their reflection in public policies in Slovakia.

[pt] O licenciamento internacional é um modo de entrada vital para as indústrias criativas, consideradas um dos setores mais dinâmicos da economia global, com crescimento mais rápido do que o dos setores tradicionais. O contexto da digitalização aumentou a relevância e o valor do licenciamento de conteúdo e marcas/personagens. Em 2016, o mercado de vendas de mercadorias licenciadas atingiu 272 milhões de dólares, estimulado pelo segmento de entretenimento/ personagens, que representou 45 porcento do total (LIMA, 2017). A literatura de Negócios Internacionais (NI) argumenta que o licenciamento deve ser visto como um modo de entrada de baixo custo, baixo envolvimento e baixo risco, mas trata-se, em alguns casos, da única forma de internacionalização acessível a algumas empresas. A insuficiência de pesquisa acadêmica sobre o tema, a relevância do licenciamento para as indústrias criativas e a limitada presença de empresas brasileiras no mercado internacional motivaram esta pesquisa. Esta tese de doutorado compreende quatro ensaios que foram desenvolvidos em direções paralelas, ainda que de forma complementar, para entender melhor as diferentes perspectivas sobre o tema. Procurou-se, inicialmente, mapear a literatura sobre licenciamento internacional. Assim, o primeiro ensaio avaliou o uso de diferentes perspectivas teóricas na pesquisa em NI e a aplicação de tais perspectivas teóricas a pequenas e médias empresas. O segundo ensaio realizou uma revisão de artigos publicados em NI para estudar as influências teóricas, usando um enfoque bibliométrico. Os dois últimos ensaios caracterizam-se como pesquisa empírica. O terceiro ensaio, de natureza exploratória, analisou estudo de casos de pequenas empresas brasileiras, com o propósito de compreender como o licenciamento internacional estava representado em seus negócios e seu uso no processo de internacionalização. Finalmente, o quarto ensaio consistiu de uma survey para identificar as percepções de licenciamento internacional de executivos de um segmento das indústrias criativas, no que se refere a conteúdo e marcas/personagens. Por fim, conclusões gerais foram extraídas dos quatro ensaios, chegando-se a implicações teóricas e recomendações quanto ao uso de licenciamento por gerentes. / [en] International licensing is a vital entry mode for the creative industries, a dynamic sector of the world economy, growing at a faster pace than traditional sectors. The context of digitalization increased the relevance and value of content and brand/character licensing. In 2016 global retail of licensed merchandise reached 272 billion dollars driven by entertainment/character which represented 45 per cent of the total (LIMA, 2017). The International Business (IB) literature argues that licensing is a low-cost, low-involvement and low-risk entry mode although it is the sole alternative for some sectors. The lack of academic research on the subject, the relevance of licensing for the creative industries and the limited presence of Brazilian firms in the international market motivated this research. This Ph.D. dissertation comprises four essays that evolved in parallel, although complementary, directions to better gather different perspectives on the subject. The initial effort was to map the extant literature on international licensing. The first essay evaluated the use of different theoretical perspective in IB research and the application of these theoretical perspectives to small and medium-sized firms. The second essay reviews the IB literature to understand the theoretical influences on the study of licensing using a bibliometric approach. A third essay, of an exploratory nature, analyzed for case studies from small-sized Brazilian firms aiming at understanding how licensing was present in their business and its use in their international process. Finally, the fourth essay consisted of a survey to identify the perceptions of executives from a segment of the creative industries concerning international licensing for their content and brands/characters. Finally, general conclusions were drawn from the four essays, theoretical implications were presented and recommendations were made for the use of licensing by managers.

Intellectual property is an instrument that ensures rights involving essential factors to protection of copyright, inventor, artist, patent, trademarks, etc. The World Intellectual Property Organization - WIPO (1975) defines as Intellectual Property, the sum of the rights to all creation to literary, artistic and scientific works. Adding to this information is a creative industry that involves the sectors related to creativity this fundamental factor to leverage the advancement of craft creation. The objective of this study was to map the Creative Industries Sergipana focusing on the craft and its relationship to intellectual property. Visits were carried out in some institutions such as the Brazilian Service of Support for Micro and Small Enterprises in Sergipe - SEBRAE, San Francisco of the Valleys Development Company and Parnaíba - CODEVASF, National Confederation of Artisans - CONSTRIART and Sergipe Program Handicraft Development - PROARTE, to obtain information about the groups of artisans in the state and acquiring contacts, and finally , there was the applicability of the questionnaire with the artisans of Aracaju and the interior of the Sergipe State. There was a significant potential of Sergipe artisans , especially in relation to creativity , however , these professionals do not have the knowledge about the Intellectual Property or on your copyright in favor to protect , enhance and stimulate craft productivity. / A Propriedade Intelectual é um instrumento que garante direitos que envolvem fatores imprescindíveis à proteção dos direitos do autor, inventor, artistas, patente, marcas etc. A Organização Mundial da Propriedade Intelectual - OMPI (1975) -, define como Propriedade Intelectual a soma dos direitos relativos a toda criação de obras literárias, artísticas e científicas. Somando a estas informações, encontra-se a indústria criativa que envolve os setores relacionados à criatividade, fator este fundamental para alavancar o avanço da criação do artesanato. O objetivo deste estudo foi mapear a Indústria Criativa Sergipana enfocando o artesanato e sua relação com a Propriedade Intelectual. Foram realizadas visitas em algumas instituições como: Serviço de Apoio ás Micro e Pequenas Empresas Sergipe - SEBRAE, Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba - CODEVASF, Confederação Nacional dos Artesãos - CONSTRIART e Programa Sergipano de Desenvolvimento do Artesanato - PROARTE, para obtenção de informações sobre os grupos de artesãos no Estado e aquisição de contatos, e por último, ocorreu à aplicabilidade do questionário com os artesãos de Aracaju e do interior do Estado sergipano. Observou-se um potencial significativo dos artesãos sergipanos, principalmente em relação à criatividade, entretanto, esses profissionais não contam com o conhecimento em relação à Propriedade Intelectual nem sobre os seus direitos autorais em prol de proteger, valorizar e estimular a produtividade do artesanato.

The cultural and creative industries worldwide have seen an enormous increase in revenue and growth, and the prosperous development of these industries in Thailand presents a particularly successful case. Government policy interventions have introduced Thai creative products to the international market, and support from the private sector has bolstered Thailand’s cultural and creative industries, particularly through the multiple coups that Thailand has faced. This study therefore examined Thailand’s cultural and creative industries from the perspectives of politics and private society, probing into relevant policies between 1997 and 2017. Finally, because Thailand’s film industry enjoys a great global reputation, this industry was selected as a case to examine the specific measures of the Thai public and private sectors facilitating its development.

The thesis contains survey options for the development of social and cultural environment in Prague district Libeň through the establishing of a cultural club in culture monument Paláce Svět at Elsnicovo Square, which is currently without function. The work describes the history, demographics and existing cultural offer in Prague 8. Based on that information the business opportunities for Palác Svět are suggested. This work also reflects a new trend in the current economy, which are the cultural and creative industries. These theoretical findings are further developed in the practical part where the author proposes a business plan for cultural and social club in Palác Svět. The business plan purpose is finding arguments for representatives of municipal district Prague 8 to attempt to open cultural club in Palác Svět and thereby develop the district Prague 8. The document uses methods such as PEST analysis, SWOT analysis, market research including marketing survey and financial analysis. The conclusion synthesizes information in the theoretical part and the business plan to evaluate the potential of this project.