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The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries (especially in Europe ) or the creative economy , and most recently they have been denominated as the Orange Economy in Latin America and the Caribbean ((Buitrago & Duque 2013 )). Howkins' creative economy comprises advertising, architecture, art, crafts, design, fashion, film, music, performing arts, publishing, R&D, software, toys and games, TV and radio, and video games . Some scholars consider that education industry, including public and private services, is forming a part of creative industry.〔Kultur & Kommunikation for Nordic Innovation Centre (2007), ("Creative Industries Education in the Nordic Countries" ); Mœglin, Pierre (20010, Les Industries éducatives, Paris, Puf〕 There remain, therefore, different definitions of the sector . Yet so far Howkins has not been internationally recognized. The creative industries have been seen to become increasingly important to economic well-being, proponents suggesting that "human creativity is the ultimate economic resource," and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation" . ==Definitions of the creative industries== Various commentators have provided varying suggestions on what activities to include in the concept of "creative industries" , and the name itself has become a contested issue - with significant differences and overlap between the terms "creative industries", "cultural industries" and "creative economy" . 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", . 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" the DCMS definition recognizes nine ''creative sectors'', namely: # Advertising and marketing # Architecture # Crafts # Design: product, graphic and fashion design # film, TV, video, radio and photography # IT, software and computer services # Publishing # Museums, galleries and libraries # Music, performing and visual arts To this list John Howkins would add toys and games, also including the much broader area of research and development in science and technology . It has also been argued that gastronomy belongs in such a list.〔("Does cuisine have a place in the Creative Economy and what role does Creative Leadership play in its production?" )〕 The various fields of engineering do not appear on this list, that emerged from the DCMS reports. This was due, probably, to the fact that engineers occupy relevant positions in "non-cultural" corporations, performing activities of project, management, operation, maintenance, risk analysis and supervision, among others. However, historically and presently, several tasks of engineers can be regarded as highly creative, inventive and innovative. The contribution of engineering is represented by new products, processes and services. 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 . The DCMS list has proven 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 often comes into question, since it does not generally involve production (except of reproductions and fakes). The inclusion of all computer services has also been questioned . Some areas, 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 up the creative industries according to who owns the copyrights at various stages during the production and distribution of creative content. The Inter-American Development Bank (IDB) has denominated them for Latin America and the Caribbean as the Orange Economy〔(The Orange Economy: An Infinite Opportunity )〕 which is defined as the "group of linked activities through which ideas are transformed into cultural goods and services whose value is determined by intellectual property." 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). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Creative industries」の詳細全文を読む スポンサード リンク
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