Definitions of The Creative Industries
Various definitions on what activities to include in the creative industries have been suggested (DCMS 2001, p. 04)(Hesmondhalgh 2002, p. 12)(Howkins 2001, pp. 88–117)(UNCTAD 2008, pp. 11–12) and even the name itself is a contested issue - there being significant differences and overlap between the terms 'creative industries', 'cultural industries' and 'creative economy' (Hesmondhalgh 2002, pp. 11–14)(UNCTAD 2008, p. 12).
Lash and Urry suggest that each of the creative industries has an 'irreducible core' concerned with "the exchange of finance for rights in intellectual property," (Lash & Urry 1994, p. 117). This echoes the UK Government Department for Culture, Media and Sport (DCMS) definition which describes the creative industries as:
- “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property.” (DCMS 2001, p. 04)
The current DCMS definition recognises twelve creative sectors, down from fourteen in their 2001 document. They are:
- Advertising
- Architecture
- Arts and antique markets
- Crafts
- Design (see also communication design)
- Designer Fashion
- Film, video and photography
- Software, computer games and electronic publishing
- Music and the visual and performing arts
- Publishing
- Television
- Radio (DCMS 2006)
('Film and video' became 'Film, video and photography; 'Music' and 'performing arts' were combined to form 'Music and the visual and performing arts'; 'Interactive leisure software' was combined with 'Computer services' to form 'Software, computer games and electronic publishing')
To this list John Howkins would add toys and games, and also include the much broader area of research and development in science and technology (Howkins 2001, pp. 88–117). It has also been argued that gastronomy should be included.
Hesmondhalgh reduces the list to what he terms 'the core cultural industries' of advertising and marketing, broadcasting, film, internet and music industries, print and electronic publishing, and video and computer games. His definition only includes those industries that create 'texts' or 'cultural artefacts' and which engage in some form of industrial reproduction (Hesmondhalgh 2002, pp. 12–14).
The DCMS list has been influential, and many other nations have formally adopted it. It has also been criticised. It has been argued that the division into sectors obscures a divide between lifestyle business, non-profits, and larger businesses, and between those who receive state subsidies (e.g., film) and those who do not (e.g., computer games). The inclusion of the antiques trade is often questioned, since it does not generally involve production except of reproductions and fakes. The inclusion of all computer services has also been questioned (Hesmondhalgh 2002, p. 13).
Some nations, such as Hong Kong, have preferred to shape their policy around a tighter focus on copyright ownership in the value chain. They adopt the WIPO's classifications, which divide the Creative Industries up according to who owns the copyrights at various stages during the production & distribution of creative content.
Others have suggested a distinction between those industries that are open to mass production and distribution (film and video; videogames; broadcasting; publishing), and those that are primarily craft-based and are meant to be consumed in a particular place and moment (visual arts; performing arts; cultural heritage).
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