Wyniki wyszukiwania - Biblioteka Nauki

1

Znaczenie klastrów w kształtowaniu się gospodarki kreatywnej regionów (na przykładzie Dolnego Śląska)

100%

Pięta-Kanurska M.

|

nr 12

127-137

EN

The experience of leading world economies shows that cluster organization is fully in line with the requirements of the creative economy. A particular form of cluster organizations are creative clusters, which directly affect the development of innovative cities and regions. The application example for undertaken consideration is Lower Silesia.

2

Success in Creative Industries. A Discussion About Critical Success Factors

100%

Dziurski P.

Journal of Management and Financial Sciences

|

2016

|

tom 24(2)

87-100

EN

The goal of this article is to present a discussion about the critical success factors in creative industries and recommendations for the managers within them. In the article we positively verify the thesis that sectors in creative industries have general as well as sector-specific critical success factors. Additionally, we formulate the thesis that organisations in creative industries, due to their nature, are specifically managed. This has justified an increase in the number of research on management in organization on creative industries, which enable us to raise the knowledge about those sectors and formulate recommendations for their managers.

3

Interoganizational cooperation amid uncertainty: the creative industries’ perspective

100%

Czernek-Marszałek K. , Juszczyk P. , Wójcik D. , Klimas P.

Journal of Management and Financial Sciences

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2023

|

tom 16

|

nr 49

73-93

EN

Uncertainty is not a novel issue in strategic management, hence one may notice that the modern world is becoming increasingly volatile and unpredictable. The literature points out that uncertainty and crises situations change not only the business environment and business implementation, but the effects of uncertainty also have an impact on interorganizational cooperation. This article focuses on exploring the significance of uncertainty stemming from a large-scale emergency situation (i.e. the COVID-19 pandemic) for the course of interorganizational cooperation (IC). The research was conducted in Poland within a group of 30 interviewees (in total 5 virtual FGIs) representing four creative industries. Our research shows that in conditions of uncertainty, interorganizational cooperation in creative industries still existed. However, very often cooperation had a completely different form, because three main elements changed: (1) IC partners, (2) opportunities to build social relationships underlying the establishment of IC, and (3) motives and goals of undertaking cooperation.

4

Sektor kreatywny w Polsce – stan i znaczenie

100%

Szara K. , Wojtowicz P.

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nr 8

7-21

EN

The aim of the study is the inclusion in the ongoing debate among theoreticians and practitioners in the creative sector and the presentation of its state of development in Poland. Used for this data from the Local Data Bank for the period of 2015 years, and made a critical analysis of the literature. Differences were found not only in the definition and classification but the available data sources.

5

Determinants, level and dynamics of the service sector development in Lodz

100%

Stawasz D.

Acta Universitatis Lodziensis. Folia Oeconomica

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2016

|

tom 2

|

nr 320

EN

The paper aims to present changes in the structure of activities undertaken in Lodz, oriented towards the development of the service sector, including creative industries. A well-developed service sector provides a city and its residents with a long-term income increase and – in the case of Lodz – it creates opportunities to overcome industrial monoculture. The paper will present the dynamics of the service sector development in Lodz during Poland’s economic transformation. The conducted analysis will be based on the available statistical data. Many publications and reports related to the socioeconomic situation of the city will be also used for the purpose of the paper. Conclusions will allow to indicate the role and importance of the service sector in the city economy and to determine the competitive position of the city in the European dimension.

6

Creative industries and knowledge replication

100%

Łukasik P.

Nauki o Zarządzaniu

|

2019

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nr vol. 24 no. 3

10-15

EN

The concept of creative industries is becoming popular in recent years. Therefore, many publications deal with this topic. Nevertheless, fewer of them are dedicated to managerial issues. Most publications concentrate on the scope of creative industries and their influence on economy and society. The first aim of this paper is to present the specificity of management of organization in creative industry and its activity. The second aim is to collect and cite different definitions of knowledge replication to explain the meaning of the notion of knowledge replication. The third aim is to show the role of knowledge replication for organization’s activity in creative industries. The article also contains an introduction concerning different approaches to definition and classification of creative industries.

7

Przemysły kreatywne a zarządzanie wiedzą

100%

Fazlagić J.

Problemy Jakości

|

2013

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tom R. 45, nr 6

7--9

8

Factors Which Influence the Growth of Creative Industries: Cross-section Analysis in China

100%

Zhang J. , Kloudova J.

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tom 1

|

nr 1

5-19

EN

With the more and more important roles of creative economy, its research has become one of the major fields in economic development. The creative economy has the potential to generate income and jobs while promoting social inclusion, cultural diversity and human development. As a developing country, China is also in need of developing the creative economy to adjust the economic structure and realize the sustainable development. In this paper, we examined the factors which influence the growth of creative industries in China through the cross-section analysis of 23 regional data in 2007. Four main factors were examined in this multi-regression model, that is, GDP per capita, the number of higher education institutions, the number of students enrolled in higher education institution and the number of patents.The statistical analysis found that the model's fit is quite good and 69% of dependent variable (the ratio of value-added of creative industries to the GDP) is explained by the model. Specifically, there are three sub-conclusions. Firstly, there is not a positive relationship between GDP per capita and dependent variable; on the contrary, there is a weak negative relationship in this model. We infer that it is because of the stage of economic development. China heavily depends on the development of the second industry in the process of industrializing. Secondly, there is no linear relationship, in this model, between the number of higher education institutions and the dependent variable. We infer that it is mainly due to the differences between the higher education institutions, such as scales and qualities, etc. Thirdly, there is enough evidence to conclude that the number of students enrolled in higher education institution and the dependent variable are linearly related; the number of patents and the ratio of creative industries are linearly related, as well. They represent the important roles of talents and technology in the development of creative industries.

9

Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA

100%

Bowsher A.

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nr 2

102-112

EN

This article examines the cultural practice of effecting an independent marketplace for reissued music in the United States, based on ethnographic fieldwork in Austin, Texas with independent record labels and consumers. As the music industry is not a homogenous entity (Williamson and Cloonan, 2007), I argue that the practice of legitimising an independent marketplace requires the formulation of a ‘mainstream’ market to which the independent is opposed, and the erecting of marketplace myths (Arsel and Thompson, 2010) to substantiate the independent marketplace’s claims to differ from the mainstream. Legitimising strategies (Strachan, 2007) protect the investments made by producers and consumers of goods in their marketplace. To overcome the anxiety that commodified culture is inauthentic culture, the independent marketplace for reissued music is idealised as a realm of soft capitalism that enables the commodification of cultural goods without the stigmatisation of profiteering, exploitation and ‘inorganic’ music associated with the mainstream (Negus, 1992).

10

DOES THE NATURE OF INTERACTIONS WITH HIGHER EDUCATION INSTITUTIONS INFLUENCE THE INNOVATIVE CAPABILITIES OF CREATIVE FIRMS? THE CASE OF A SOUTHWESTERN NORWEGIAN COUNTY

100%

Calignano G. , Jøsendal K.

Quaestiones Geographicae

|

2018

|

tom 37

|

nr 4

67-79

EN

Our study contributes to a limited body of literature and aims to examine the type and frequency of linkages between creative industries and higher education institutions (HEIs). The objective of our study is to investigate the extent to which various types of linkages contribute to enhanced innovative capabilities in creative industries. Based on a qualitative research design and a case study carried out in a peripheral south-western Norwegian county, our empirical analysis shows that HEIs are generally not very relevant partners and that other actors are mainly involved in innovation dynamics. As clarified and discussed in the paper, this finding largely depends on some specific characteristics of HEIs, the form of knowledge primarily employed by creative firms (symbolic knowledge base), and the cultural divergence between the two spheres.

11

Problemy metodologiczne badania sektora kreatywnego

89%

Stachowiak K.

Rozwój Regionalny i Polityka Regionalna

|

2015

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nr 30

EN

The paper aims to identify and characterise the major methodological problems of the research on the cultural and creative industries. In the first part attention is paid to the problems associated with the semiotic issues, especially with the definitions, classification and translation. In the second part of the paper, the results of empirical research is presented. Body of work on cultural and creative industries were examined in detail. Focus was made on the methodologies used by various studies on cultural and creative industries. The outcome of this investigation have helped to characterise the main methodological features of research on the cultural and creative industries, such as the subject of the study, level of analysis, spatial scale, research methods, the type and source of the data used and the type of knowledge generated by this research.

PL

W artykule dokonano identyfikacji i charakterystyki głównych problemów metodologicznych badania sektora kreatywnego. W pierwszej części uwagę poświęcono zagadnieniom semiotycznym związanym z podstawowymi pojęciami, zwłaszcza z ich definiowaniem, klasyfikacją i tłumaczeniem. W drugiej części artykułu przedstawiono wyniki empirycznego badania zbioru prac dotyczących sektora kreatywnego. Pozwoliły one scharakteryzować najważniejsze cechy metodologiczne dotychczasowych badań nad sektorem kreatywnym, takie jak przedmiot tych badań, poziomy analizy, skala przestrzenna, stosowane metody naukowe, rodzaj i źródła wykorzystywanych danych oraz charakter wiedzy o sektorze kreatywnym wytworzonej w efekcie tych badań.

12

Creative Commons Licensing and Relations of Production in the Sound Industry

88%

Miszczyński M.

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2021

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tom 215

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nr 3

253-368

EN

This article describes current production practices taking place in the sound industry, concentrating on the process of implementation and popularization of Creative Commons. Existing studies have considered the role of classical copyright in the creative industries, pointing at its functions in regulating the creative process, but so far have not extensively examined its relationship to alternative intellectual property frameworks. This paper uses the empirical example of the largest sound repository to describe the change occurring in cultural production. The article posits that mass popularization of Creative Commons provokes transformation within three key and intersecting areas of production, including the subjects of property (creators), objects of property (creations) and articulation of usage (source information). The paper theoretically frames and expands our understanding of change provoked by open licensing and its relationship to the creative production process.

13

Coworking Spaces as a Driver of the Post-Fordist City: a Tool for Building a Creative Ecosystem

88%

Bednář P. , Danko L.

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2020

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tom 27

|

nr 1

105-125

EN

Collaborative places nurture creativity and efficiency of cultural and creative industries. Research in collaborative places revealed they are essential for networking and cooperation in the creative ecosystem. The results of studies focusing on competitiveness of coworking spaces and their effect on boosting entrepreneurship are rather vague. Furthermore, an awareness of how coworking spaces stimulate coworkers to engage in urban regeneration through local community initiatives is limited. Hence, this study seeks to provide an insight into coworking spaces from the organizational perspective devoted to entrepreneurship and competitiveness. Simultaneously, the paper aims to reveal synergies between creative communities and local development. The method of data gathering consists of semi-structured in-depth interviews with managers and entrepreneurs from selected countries of the EU applying the grounded theory for their analysis. The results suggest that coworking spaces indicate a boosting of the entrepreneurship of the creative class through collective projects. These activities tend to stimulate knowledge creation and open innovation in the creative ecosystem that benefit local development. Coworking spaces also represent a driving force to initiate and maintain a dialogue between the creative ecosystem and local authorities for culture-led urban development.

14

Analysis of state aid policy to stimulate innovation and internationalization in Lithuanian animation industry

88%

Mitkus T. , Maditinos D. I.

Oeconomia Copernicana

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2017

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tom 8

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nr 3

433-446

EN

Research background: In order to achieve systematic development and growth of creative industries, instead of its being a random process, effective cultural policy tools need to be implemented. This task is greatly burdened by the fact that creative industries are a heterogeneous concept. Evidence suggests that indirect state aid is one of the most effective ways to stimulate growth and development of audiovisual segment. Lithuanian indirect state aid case suggests that there is still a great deal of confusion and misconception with the implementation and exploitation of this tool. Purpose of the article: To analyze how effectively indirect state aid is constructed to stimulate growth and development of the Lithuanian animation industry. Methods: This paper uses two methods to gather data. The first one is a quantitative questionnaire design to evaluate the overall situation of Lithuanian animation industry. The second method involves qualitative semi-structured interviews to collect specific data about Lithuanian film tax incentive from representatives of government institutions that administrate local fiscal incentive scheme and representatives of audiovisual industries. Findings & Value added: Results show that although Lithuanian film tax incentive can be considered as a successful cultural policy tool that brought a noticeable inward investment to the local film industry and economy in general, it had no positive effect on the local animation industry. The gathered evidence suggests that indirect aid tool should be constructed with more of surgical precision for each industry, rather than a fit-for-all cultural policy tool.

15

Spory o przemysły kreatywne

75%

Kopecka-Piech K.

|

2013

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nr 3(96)

50-72

EN

In the context of the growing importance of the creative industries in the economy and emerging questions about a place of public, cultural, social, economic and innovative policy, an important question appears: what is an essence of the concept of the creative industries? The idea of integration, support and building an identity of the institutions, which activities are based on talented and creative work, has its origins in the United Kingdom and Australia. It is now entering Polish market and arouses interest in policy-makers, academics and practitioners. Still, for many people, the term seems to be vague and arouses a lot of controversy. The article shows the discourse on the creative industries, especially the ongoing debate between: European (mainly British), Australian and American scholars. Furthermore, arguments of critics and defenders of the concept are also presented. The arguments derived from the tradition of the criticism of mass culture which represent the current research on economization of culture are compared in this text. There are three main grounds of the dispute: the definition of the concept, the essence of the concept of a new sector and application in practice. Furthermore, two main phases in the discourse and the pragmatics of the creative industries are also presented: the transition from cultural industries to creative industries and emphasizing the importance of innovation and networking. The study used a critical analysis of the content of not only Polish but also foreign public documents, industry reports and scientific papers. The methodological conclusions drawn from the emergence of a new interdisciplinary research area are also presented. These findings specifically relate to Poland which is entering a crucial phase of policy development in the field of the creative industries. The need for an action is systematized: definitional, classificational and critical analysis of achievements and mistakes of the countries implementing policies to support the sector, as well as the need to adopt it to the local conditions. In the context of relatively limited academic reflection on the issues in Poland, the need of interdisciplinary analysis is also emphasized.

16

Projektowanie modeli biznesowych w branżach twórczych

75%

Pichlak M.

Zeszyty Naukowe. Organizacja i Zarządzanie / Politechnika Śląska

|

2015

|

tom z. 86

83--91

PL

W artykule zidentyfikowano kluczowe źródła tworzenia wartości w organizacjach funkcjonujących w branżach twórczych, które należy uwzględnić w procesie projektowania modeli biznesowych. Zaproponowana autorska konceptualizacja twórczej architektury organizacji wynika ze specyficznych cech branż twórczych, a w szczególności z unikalnego charakteru generowanych w tych branżach twórczych produktów (usług), specyfiki treści wykonywanej w nich pracy, interaktywnego zaangażowania klientów w tworzenie dóbr twórczych oraz nowatorskiej strukturalizacji nawiązywanych przez podmioty twórczych relacji. Zaprezentowane rozważania mogą być potraktowane jako punkt wyjścia do podjęcia szerszej dyskusji naukowej na temat projektowania modeli biznesowych w tak specyficznym kontekście zewnętrznym.

EN

In the paper an identyfication of the basic sources of value creation in the Creative Industries – that should be taken into account while designing business models – is presented. The proposed original conceptualization of creative business architecture considers the peculiarities of the Creative Industries, particularly the degree of uniqueness of the creative products (services), the original nature of carried in these industries work, active engagement of consumers in the creative production and innovative structure of creative relationship in these sectors. It may also encourage undertaking a broader scientific discussion on the business model design in such a specific external context.

17

State intervention in the context of creative industries

75%

Drab-Kurowska A.

Management

|

2018

|

tom Vol. 22, no. 1

74--84

EN

The aim of this article is to present the impact of state intervention on the development of the creative sector. The article attempts to identify the reasons why the state should lead to this kind of action. In addition, it pointed out possible areas of impact with regard to the way of influence. To achieve the objective pursued was used domestic and foreign-language specialist literature and reports of foreign institutions on the operation of creative sectors, and support were the observations of his own Polish creative sector.

PL

Celem artykułu jest przedstawienie wpływu interwencjonizmu państwa na rozwój sektora kreatywnego. W artykule podjęto próbę wskazania przyczyn, dla których państwo powinno skłaniać się do tego rodzaju działań. Ponadto wskazano na możliwe obszary wpływu z uwzględnieniem sposobu oddziaływania. Dla zrealizowania założonego celu wykorzystano krajową i obcojęzyczną literaturę fachową oraz raporty zagranicznych instytucji, dotyczące funkcjonowania sektorów kreatywnych oraz wsparto się obserwacjami własnymi polskiego sektora kreatywnego.

18

The Creative Industries: a discourse-theoretical approach

75%

Mäe R.

|

nr 2

78-87

EN

The aim of this paper is to examine the emergence of the idea of the creative industries in a particular former socialist country – Estonia. Instead of regarding the creative industries as an economic sector, the article (re)conceptualises it as an ‘empty signifier’. The paper borrows its central theoretical concepts (hegemony, empty signifier, floating signifier) from post-Marxist discourse theory and employs them to explore the ways in which the creative industries are instituted within particular social, discursive or political struggles. The article proposes that Laclauian (or post-Marxist) discourse theory can raise some new fruitful methodological problems and challenging research directions among the researchers of the creative industries and cultural policy, especially in the Eastern European context.

19

Zarządzanie w sektorze gospodarki kreatywnej

75%

Mirski A.

Państwo i Społeczeństwo

|

2012

|

nr 4

47-64

EN

Fundamental to an understanding of the creative economy – what it comprises and how it functions in the economies of both developed and developing countries – are the concepts of “cultural industries” and “creative industries”. This article provides an overview of the development of the concepts of “creativity” throughout this decade leading to what became known as the “creative economy”. The author’s intention is not to reach a final consensus about concepts, but to understand its evolution. It also considers the emergence of the associated concepts of “creative class”, “creative cities”, “creative clusters”, as well as the most recent innovative notions relating to the “experience economy” “creative commons” and “creative ecology”. The major drivers of the growth of the creative economy and its multiple dimensions are examined in the light of recent developments including the world economic crisis. This article also provides evidence on the economic contribution of the creative industries to the economies of various advanced countries.

20

The development of creative tourism in Ukraine and globally during the COVID-19 pandemic

63%

Liubarets V. , Zinkova I. , Zemlina Y. , Voroshylova H. , Tymeichuk A.

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nr 2

PL

Artykuł przedstawia wyzwania, jakie stoją przed branżami kreatywnymi działającymi w turystyce, będące istotnym zjawiskiem w warunkach globalnego problemu, którym jest pandemia COVID-19. Doprecyzowano pojęcia przemysłu kreatywnego i turystyki kreatywnej oraz określono przejawy turystyki kreatywnej (zrównoważony rozwój ekonomiczny, społeczny i ekologiczny). Po przeprowadzeniu analizy opisano możliwości wprowadzenia branż kreatywnych do turystyki i trudności z ich wprowadzeniem. Autorki podkreślają, że turystyka kreatywna jako produkt samowystarczalny łatwo zmienia format i tematykę w zależności od założonych celów, a jednocześnie zachowuje swój twórczy charakter i twórcze założenia. Omówiono możliwości rozwoju usług turystycznych oraz obszary priorytetowe turystyki kreatywnej. Przedstawiono również rekomendacje odnośnie do wprowadzania technologii kreatywnych przez odpowiednie instytucje rządowe i przedsiębiorstwa turystyczne.

EN

The article identifies the challenges to the creative industries in tourism as an important phenomenon in the conditions of the urgent global issue of COVID-19. The concepts of “creative industries”, “creative tourism”, and signs of creative tourism (economic, social and ecological sustainability) have been specified. An analysis has been made, and the issues and opportunities for introducing creative industries into tourism have been determined. It is emphasized that creative tourism, as a self-sufficient product, easily changes format and subject matter depending on the objectives set, while remaining creative in its nature and purpose. The main opportunities for the development of tourist services and creative tourism priority areas have been outlined. Recommendations for introducing creative technologies by relevant government institutions and tourism enterprises have been suggested.