Private Sector

The overall economic impact, social role and status of cultural professionals involved in the film industries of the Central Asian countries (Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan) remain relatively understudied. However, the film industry is recognized as one of the oldest and most developed cultural and creative industries of the region since the mid 20th century. In this context, this publication assesses the film industries of Central Asia and concerned legislation.

This publication, Backstage: Managing Creativity and the Arts in SouthEast Asia, draws on the findings of UNESCO’s recent study of the creative sector in the nine countries of the South-East Asian region (Cambodia, Indonesia, Lao PDR, Malaysia, Myanmar, the Philippines, Singapore, Thailand and Viet Nam), which involved a quantitative survey, in-depth interviews and policy analysis.

While music rights holders are collectively being remunerated more than ever before, the (re)distribution of revenue in the music streaming value chain remains extremely uneven and opaque. When the COVID-19 pandemic curtailed live performance opportunities, it became clear that despite the success of music streaming, the great majority of artists remain unable to rely on digital revenues alone to sustain their livelihoods.

Workers in the cultural and creative sector (CCS) are involved in a wide range of jobs and activities including advertising, gaming, newspapers and magazines, motion picture production, sound recording and music production, as well as live performance and radio/TV broadcasting. In 2015, UNESCO estimated that the cultural and creative sector worldwide generated US$2,250 billion in revenues. According to 2019 ILO estimates, there were nearly 180 million people employed in the arts, recreation and entertainment, representing 5.4 per cent share of global employment.

In order to learn how a creative entrepreneurship can flourish in Latin America and the Caribbean, first it is necessary to know the talent that will develop the projects. Launching an Orange Future, you will not only get to know what the creative entrepreneurs in the region are like, you will also get to know their perceptions, failures, successes as well as the health of their entrepreneurships. This study will help you understand that those who take big risks achieve even higher rewards. Are you ready to be a creative entrepreneur?

This study assesses the present state of the audiovisual sector in Latin America and the Caribbean in the context of increased demand resulting from the growth of streaming and national industries in the region. The document includes an assessment of audiovisual milestones while centering on current public policy debates and 21st-Century skills.

The COVID-19 pandemic has underlined the importance of the media and culture sector in uplifting people during difficult times. As hundreds of millions of people were confined to their homes during the pandemic, many turned to music, films, television and other art forms for entertainment, education and cultural enrichment, leading to a surge in streaming and online services.

This book describes the forms of copyright-based transactions and contractual practices that together form what could loosely be described as an international standard. It can be observed in countries where film and audiovisual production industries have reached a certain level of maturity in terms of legal, financing and distribution infrastructures.

This profile aims to analyse the wealth of data on the media and culture sector (MCS) and its sub-sectors, using as a starting point economic activities rather than occupational profiles. While this provides an opportunity to highlight the overall employment contribution of the sector (i.e.