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.
The Work Plan for Culture 2019-2022 selects gender equality as one of the five sectoral priorities for EU action. The purpose of this study is to provide background information and context on the specific challenges faced by women in the cultural and creative sectors for the OMC Working Group. The main focus of the report is on understanding the current state of affairs concerning women in the CCSs, the gender gaps at work, and the underlying drivers of those gender gaps.
This booklet contains the collected recommendations of the OMC expert group report ‘Towards Gender Equality in the Cultural and Creative Sectors’ (2021). All recommendations are based on practical experience and good practise case studies. They highlight the importance of political commitment to improving gender equality in the cultural and creative sectors (CCS).
The present study analyses the 2016 Statistics South Africa Labour Market Dynamics Survey (LMDS), using the UNESCO Framework for Cultural Statistics (2009) to identify cultural occupations and cultural industries.
This report aims to capture the scale of the global disruption caused by the pandemic of COVID-19. It examines the economic impact and consequences of the pandemic on the cultural and creative industries, and explores digital innovations that have emerged in response to this unprecedented crisis.
Over the longer term, the creative economy is likely to be a key driver of economic growth as governments around the world look to rebuild their economies in the wake of the downturn associated with Covid-19. It is reasonable to expect that the sector will return to its long-term trend of growing faster than the wider economy as, for example, advertising is likely to recover strongly with the wider economy and other sources of income have been more resilient.
Empty cultural places, drastically reduced mobility and tourism blockade as an effect of COVID-19 confinement measures not only generate an evident economic damage to cultural institutions, companies and workers but also create a strong economic and social discomfort at city level. Although many EU member states are now entering into a de-confinement phase, many cultural places remain closed or subject to stringent physical-distancing measures.
This report has been commissioned by the World Intellectual Property Organization, with the objective of presenting the impact of the COVID-19 pandemic on cultural and creative industries, education and research, identifying their initiatives and challenges in facing the pandemic, and consequently, the main trends and trajectories that emerged.
This report explores trends, challenges and responses that affect the cultural value chain and its main actors; it also acknowledges the need to develop well-calibrated strategies that place people at the centre of our thinking and consider the whole cultural ecosystem. It identifies a recurring set of themes that could inform how public agencies – in different contexts worldwide, with varied opportunities, challenges and barriers – might approach supporting culture in the digital age.
Many countries around the world have large populations of impoverished people and high unemployment rates. In order to improve conditions in these countries, national governments must develop effective economic growth strategies with strengthening the creative industries at the forefront. The international community is only just beginning to recognize the socioeconomic potential of creative and cultural industries (CCIs), such as film, fashion, and music.
