This is a collection of works prepared by the participants of the 2011 Summer School "Creative Industries and a Creative Economy: Developing Academic and Applied Interdisciplinary Research and Projects" - fellows of the Oxford Russia Fund and project experts. Texts gathered together here will be of interest and useful to anyone who would like to become further acquainted with the theories and practices of creative industries and the creative economy, and will help paint a clearer picture of what is happening both within Russia and abroad.
Purpose – The purpose of this paper is to introduce findings of comparative analysis and various models based on cultural heritage resources to foster regional development.
Design/methodology/approach – Comparison of operational schemes, market positions and branding of three successful cultural heritage centers in Germany, Great Britain and Russia demonstrates a variety of regional development models based on cultural resources and tourism development, and reveals their advantages and disadvantages.
Findings – The paper evidences the potential of cultural resources and the tourism sector as drivers for regional development, and helps formulate basic recommendations for the Russian situation requiring elaboration of adequate financial and social instruments.
Originality/value – The paper provides a complex analysis of different operational models in three European countries with regard to specific national situations and specificity of heritage operational management.
The author considers the distinctive features of human factor in the innovation process management at industrial enterprises. He focuses on the cognitive and functional competences of a successful innovation manager. The basis of modern economy is involving creative activity in economic usage. Today in the struggle for the consumer acquisition of competitive advantages is impossible without building up the innovation environment at the enterprise, the essence of which lies in the commercialization of innovation activity.
This article examines the ways that novelty can operate as an emancipatory thrust within the creative field today. For this purpose, it first discusses how novelty is understood by creative economy rhetoric and demonstrates the ways that this understanding is incorporated in the actual production of works associated with the field. Whereas creative economy increasingly embraces the ‘poetics of the open work’ and recognizes the creative capacities of the audiences, it regards innovation as a quality that principally advances forms of competitive advantage. This emphasis on ‘openness’ often comes to mask the twofold exploitation of the audience- based labour and the (self-) exploitation of the creative worker. It will be argued that within the creative field today, novelty can operate as a force of emancipation only when it is articulated within emancipatory frameworks of respective value systems.