Critical Evaluation on the Role of Creative Enterprises in Community Development

Updata:01-01-1970

Source:
By:Yunong Sang

DOI: https://doi.org/10.30564/ret.v2i1.436

Abstract:

Creative enterprises can bring new opportunities to the development of the industry and are new engines for promoting regional development. Creative enterprises play an active role in promoting regional economic development, solving employment problems, strengthening cultural education, and improving the ecological environment. But at the same time, there are still many problems in the process of developing creative enterprises. For example, who are the real beneficiary, and what price are paid when developing creative enterprises. What are these problems and how to avoid them are the main content of this article.

 

References:

[1] Cunningham, S.D. (2005) Creative enterprises. In Hartley, John (Ed.), Creative Industries, Blackwell Publishing, United States of America, Massachusetts, Malden, pp. 282-298. [2]Mark J. S. &Susan C. S. (2008) From the creative Society A social policy paradigm for the creative sector has the potential to address urban poverty as well as urban vitality. From Creative Economy to Creative Society.: pp. 9-12. [3] Groen, A. and Walsh, S. (2013) Introduction to the field of creative enterprise. Technological Forecasting and Social Change,80(2), pp.187-190. [4] E-c-c-e.de. (2018) ecce - European center for Creative Economy: Startseite[online] Available at: https://www.e-c-c-e.de//index.php [Accessed 29 Jan. 2018]. [5] Barry, A. and Slater D. (2002) Introduction: the technological economy. Economy and Society, 31(2), pp. 142-145. [6] Martinez Dy, A., Martin, L. and Marlow, S. (2014) Developing a Critical Realist Positional Approach to Intersectionality. Journal of Critical Realism, 13(5), pp.447-466. [7] Number of enterprises in the creative, t. (2018) UK enterprises in the creative activities sector by turnover 2017 | UK Statistic[online] Statista. Available at: https://www.statista.com/statistics/320479/uk-enterprises-in-the-creative-arts-and-entertainment-activities-sector-by-turnover/[Accessed 29 Jan. 2018]. [8] Sismanyazici N. (2006) Creative Change Worldwide by Arts for Global Development: pp. 66-70. [9] Victor H. R. (2005) Powerful Profits from Internet Gambling. U.S. [10] John N (2010). British Council’s Creative and Cultural Economy Series: pp. 5-19. [11] Number of employees in the creative industry in the United Kingdom (UK) from 2011 to 2016 (in 1, 0. 2018) Creative economy employment UK 2011-2016 | Statistic [online] Statista. Available at: https://www.statista.com/statistics/284927/employment-in-the-creative-economy-of-the-united-kingdom-uk/[Accessed 29 Jan. 2018]. [12] Howkins, J. (n. d.). The Creative Economy. pp. 132-133. [13] Zitcer, A. (2016) Review of “Cultural Mapping as Cultural Inquiry,” edited by Nancy Duxbury, W. F. Garrett-Petts, and David MacLennan. The Journal of Arts Management, Law, and Society, 46(5), pp. 297-299. [14] Global Citizen. (2018) This Board Game Got Fathers Talk to Their Daughters About Feminism – and the Results Are Amazing[online] Available at: https://www.globalcitizen.org/en/content/deardaughters-feminism-womens-rights-photos/[Accessed 29 Jan. 2018]. [15] BOP Consulting. (2010) Mapping the Creative industries: a toolkit. Creative and Cultural Economy series: pp. 24-25 [16] Moe.gov.cn. (2018) Government portal of the ministry of education of the People's Republic of China[online] Available at: http://www.moe.gov.cn [Accessed 29 Jan. 2018]. [17] FREITAG. (2018) About FREITAG[online] Available at: https:// www. freitag.ch /en/about%20[Accessed 29 Jan. 2018]. [18] Amabile, T.M. (1996) Creativity in context. New York: Westview Pres. [19] OECD. (2005) Culture and Local Development 2005 Organization for Co-operation and Development, OECD: pp. 143-145. [20] Sohu.com. (2018) Why is it that the whole world is “blind” to buy such a plastic-smelly bag?[online] Available at: http://www.sohu.com/a/153653158_479981 [Accessed 1 Jul. 2017]. [21] Cooper, M. (2008) The inequality of security: Winners and losers in the risk society. Human Relations, 61(9), pp. 1237-1238. [22] McLeod, C., O’Donohoe, S. and Townley, B. (2009) The elephant in the room? Class and creative careers in British advertising agencies. Human Relations, 62(7), pp.1022-1023. [23]BottleDream. (2018) Afghan teachers use a bicycle to keep children away from suicide bombers[online] Available at: https://www.bottledream.com/articles/7882[Accessed 28 Sep. 2016]. [24] Dpm.org.cn. (2018) The Palace Museum[online] Available at:http://www.dpm. org.cn/Home.html[Accessed 29 Jan. 2018]. [25] Mcprc.gov.cn. (2018) Ministry of Culture of the People’s Republic of China[online] Available at: http://www.mcprc.gov.cn [Accessed 29 Jan. 2018]. [26] O’Connor, J. and Gu, X. (2012) Creative industry clusters in Shanghai: a success story? International Journal of Cultural Policy, 20(1), pp. 1-20. [27] Britishcouncil.org. (2018) Creative Europe programme launches in the UK | British Council. [online] Available at: https://www.britishcouncil.org/organisation/press/creative-europe-programme-launches-uk[Accessed 29 Jan. 2018].

Tags: