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ngland and an ethnographic-ally based case study programme with five ofthese firms.The data reveal that the ways inwhich creativity is defined and managed areboth varied and context specific–with notionsand practices of creativity being utilised for avariety of personal and organisational ends.We conclude that this may have importantimplications for how policy makers,educatorsand skills development agencies can interveneto enhance creativity to improve organisationalcompetitive advantage(Groth&Peters,1999).The coming of‘creative’industriesWithin Western economies,the creative orcultural industries have been identified as anew and fast growing industrial sector(Bankset al.,2000;DCMS,1998,2001;Hall,2000;Lash&Urry,1994;Pratt,1997).The reasons fortheir emergence are manifold and complex.
We can,however,point to a number of keyfactors that derive from new convergencesbetween the traditionally distinct spheres of‘economy’and‘culture’.The term‘creativeindustries’itself hints at this resolution ofopposites–the blending of the historicallyseparate worlds of culture and economy,orart and commerce,to form a new and hybridsector.
The driving force of the cultural or creativeeconomy is primarily to be found withincapitalism’s seemingly limitless quest for newcommodities to bring into the market system
(Harvey,1989).Further,the rise of discretion-ary leisure time and disposable income havefuelled the demand for unique and nichecreatively or culturally distinct goods andservices(Lash&Urry,1994).As Scott notes,for good or ill,‘the realm of human culture asa whole is increasingly subject to commodifica-tion’(2000,2)–with the result that commod-ities now being circulated and exchanged arejust as likely to be valued for their aesthetic,informational or symbolic attributes as theyare material qualities.Creative industries areboth cause and consequence of a new con-vergence,at the local,national and global
level,of culture and economy,art andtechnology and the shift towards an‘informa-tional’,‘symbolic’and‘knowledge-based’modes of production–largely,but not ex-clusively,realised through the boom in infor-mational,leisure and educational products(Castells,1996).We argue that this processshows little signs of abating and will ensurethat creativity and innovation continue to be-come more central to the generation and ex-ploitation of new products and productivity.Defining creative industriesIn the UK context,debate over creative indus-tries has been framed around the work of the#p#分页标题#e#
Department of Culture,Media and Sport’sCreative Industries Task Force(CITF)andtheir 1998 Creative Industries Mapping Docu-ment.The aim of this report was to flag up thegrowing importance of creative industries,and to make some quantitative estimate ofthe economic value of the sector.In thisdocument 13 sub-sectors are identified asbeing part of the Creative Industries
.Anupdate of this report in 2001 claimed that over￡112 billion pounds of revenue are generatedby a sector that now employs over 1.3 millionpeople–the majority in freelance,micro-orsmall and medium sized enterprises.TheCITF defines creative industries thus:
..those industries which have their origin individual creativity,skill and talent and whichhave a potential for wealth and job creationthrough the generation and exploitation ofintellectual property(DCMS 2001,5).This attempt to define‘creative industry’isnot without problems.Firstly,it is problem-atic in that it places creativi