1、本科毕业论文外文翻译出处SCIENCEDIRECT作者GRAHAMDRAKE原文THISPLACEGIVESMESPACEPLACEANDCREATIVITYINTHECREATIVEINDUSTRIESTHEGROWINGBODYOFTHEORYONTHECREATIVEINDUSTRIESALREADYACKNOWLEDGESARELATIONSHIPBETWEENPLACEANDAESTHETICCREATIVITYBUTTHEFOCUSISALMOSTENTIRELYONCREATIVITYASACOLLECTIVEORSOCIALPROCESSANDLARGELYCONCENTRAT
2、ESONCREATIVITYASAPRODUCTOFINTERACTIONSWITHINPLACEBASEDCLUSTERSOFCREATIVERMSTHECONTENTIONOFTHISPAPERISTHATINTHEEMERGINGSPATIALTHEORYCONCERNEDWITHTHECREATIVEINDUSTRIESTHEEMPHASISONCOLLECTIVECREATIVITYANDCLUSTERSOFCREATIVEENTERPRISESISUSEFULANDAPPROPRIATEBUTHASTENDEDTOOBSCURETHERELATIONSHIPBETWEENPLACE
3、ANDINDIVIDUALISEDCREATIVITYTHEPAPERARGUESTHATTHEREISANEEDTOINTEGRATETHEIMPORTANCEOFPLACEFORINDIVIDUALCREATIVITYINTOTHISEMERGINGTHEORYDEFININGTHECREATIVEINDUSTRIESAPROBLEMWITHANYINVESTIGATIONOFTHECREATIVEINDUSTRIESISTHATTHETERMITSELFISPROBLEMATICTHEREISSOMECONSENSUSWITHINACADEMICANDPOLICYCIRCLESONTHE
4、MEANINGOFTHETERMSCULTURALINDUSTRIESANDCREATIVEINDUSTRIESANDINBOTHARENASTHETERMISNOWWIDELYUSEDSUGGESTINGTHATTHESEAREASOFECONOMICACTIVITYAREPERCEIVEDTOBEDISTINCTIVEINSOMEWAYHOWEVER,THEREISNOWIDELYACCEPTEDAGREEMENTONWHERETHEBOUNDARYLIESBETWEENCULTURALANDCREATIVEINDUSTRIESANDOTHERECONOMICACTIVITYSIMILAR
5、LY,THEREISALACKOFCLARITYABOUTWHETHERTHETERMSCREATIVEINDUSTRYANDCULTURALINDUSTRYAREINTERCHANGEABLEORWHETHERTHEYDENOTEDIERENTAREASOFACTIVITYWHILEITISOUTSIDETHESCOPEOFTHISPAPERTOREVIEWTHISDEBATEINDETAILITISNECESSARYTOATTEMPTSOMECLARICATIONIFTHEIRTREATMENTASADISTINCTIVEFORMOFECONOMICACTIVITYISTOBEJUSTIE
6、DTHEBRITISHGOVERNMENTSDEPARTMENTOFCULTURE,MEDIAANDSPORTDENESCREATIVEINDUSTRIESASCOMPRISINGACTIVITIESWHICHHAVETHEIRORIGINININDIVIDUALCREATIVITY,SKILLANDTALENT,ANDWHICHHAVETHEPOTENTIALFORWEALTHANDJOBCREATIONTHROUGHTHEGENERATIONANDEXPLOITATIONOFINTELLECTUALPROPERTYTHESEARETAKENTOINCLUDETHEFOLLOWINGKEYS
7、ECTORSADVERTISING,ARCHITECTURE,THEARTANDANTIQUESMARKET,CRAFTS,DESIGN,DESIGNERFASHION,LM,INTERACTIVELEISURESOFTWARE,MUSIC,THEPERFORMINGARTS,PUBLISHING,SOFTWAREANDTELEVISIONANDRADIODCMS,1998,P10WHILETHISLISTOFRELEVANTSECTORSPROVIDESAUSEFULINDICATOROFTHETYPESOFECONOMICACTIVITYTHATCANBECATEGORISEDASCREA
8、TIVEINDUSTRIESANDITISNOTABLEINTHECONTEXTOFTHISPAPERTHATTHEDENITIONREFERSTOINDIVIDUALCREATIVITYTHEDCMSDENITIONLACKSSUCIENTCLARITYFORRESEARCHPURPOSESMOST,IFNOTALL,SECTORSOFTHEECONOMYCOULDJUSTIABLYCLAIMTOBEBASEDONINDIVIDUALCREATIVITY,SKILLANDTALENTANDONTHEEXPLOITATIONOFINTELLECTUALPROPERTYMORECONVINCIN
9、GLYBANKSETAL2000SUGGESTTHATCREATIVEINDUSTRIESPRODUCEGOODSANDSERVICESWHOSEPRIMARYVALUEDERIVESFROMTHEIRAESTHETICATTRIBUTESTHISECHOESLASHANDURRYS1994ARGUMENTTHATINCREASINGLYSIGNSAREBEINGPRODUCEDRATHERTHANMATERIALOBJECTSANDTHATGOODSANDSERVICESAREBECOMINGINCREASINGLYAESTHETICISEDWITHTHEIRSYMBOLICATTRIBUT
10、ESFORMINGAGREATERPROPORTIONOFVALUEADDEDSCOTT2000,P30SIMILARLYDENESTHEOUTPUTOFTHECREATIVEINDUSTRIESASARTEFACTSIMBUEDWITHIMAGINATIVEAESTHETICANDSEMIOTICCONTENTPRODUCEDBYSECTORSINMODERNCAPITALISMTHATCATERTOCONSUMERDEMANDSFORAMUSEMENT,ORNAMENTATION,SELFARMATION,SOCIALDISPLAYANDSOONSUCHOUTPUTSHAVEHIGHSYM
11、BOLICVALUERELATIVETOUTILITARIANPURPOSESSCOTT,1999,P807UNLIKETHEDCMSDENITIONTHESEDENITIONSUSEFULLYATTEMPTTOHIGHLIGHTTHERELATIVEDOMINANCEOFSYMBOLICVALUE,SIGNVALUEOREXPRESSIVEVALUEINTHEOUTPUTOFTHECREATIVEINDUSTRIESSCOTTSDENITIONINPARTICULARISUSEFULINSUGGESTINGANUMBEROFSALIENTPOINTSFIRSTLY,UNLIKETHEDCMS
12、DENITION,ITSTRESSESTHEREQUIREMENTTHATOUTPUTHASAHIGHAESTHETICANDSEMIOTICCONTENT,RATHERTHANDIRECTLYREFERRINGTOINPUTSOFAVAGUELYDENEDCREATIVITYTHISISSIGNICANTINTHECONTEXTOFTHISPAPERSINCEITSFOCUSISHOWTHISAESTHETICORSEMIOTICCONTENTMIGHTBESHAPEDBYTHEATTRIBUTESOFLOCALITIESSECONDLY,BYSTRESSINGARTEFACTSITSEEM
13、STOEXCLUDETERTIARYACTIVITIESSUCHASLIBRARIESANDGALLERIES,WHICHUNDERSOMEDENITIONSARECATEGORISEDASCREATIVEINDUSTRIESBUTWHICHAREARGUABLYLIKELYTOHAVEVERYDIERENTCHARACTERISTICSTOTHOSEOFPRODUCERSOFARTEFACTS,WHETHERTHOSEARTEFACTSARETANGIBLESUCHASJEWELLERYORINTANGIBLESUCHASCOMPUTERSOFTWARETHIRDLY,INTHESECOND
14、PARTOFTHEDENITIONTHEEMPHASISISONTHEDEMANDSIDEOFTHEMARKET,ASOPPOSEDTOTHESUPPLYSIDEINOTHERWORDS,THEREISANATTEMPTTODENECREATIVEINDUSTRIESBYFOCUSINGONTHETYPEOFCONSUMERDEMANDTOWHICHTHEYARECATERINGINPARTICULAR,THEREISANEMPHASISONCONSUMERREEXIVITY,INDIVIDUALITYANDIDENTITYHOWEVER,THISDENITIONBYNOMEANSREMOVE
15、SALLTHEAMBIGUITYFOREXAMPLE,MANYBRANDSOFMOTORCARCLEARLYHAVEVERYHIGHEXPRESSIVEANDSEMIOTICVALUEWHICHISEXPLOITEDHEAVILYBYMANUFACTURERSANDADVERTISERS,BUTFEWWOULDSUGGESTTHATTHEAUTOMOBILEINDUSTRYCANSENSIBLYBECATEGORISEDASPARTOFTHECREATIVESECTORINREALITY,ITISDOUBTFULIFANUNAMBIGUOUSGENERICDENITIONCANBEPROPOS
16、EDDIERENTDENITIONSWILLBEAPPLICABLEINDIERENTCIRCUMSTANCESPRATT,1997ITISMOREUSEFULTOSEETHECREATIVEINDUSTRIESASADENITIONALCONTINUUMWHICHMAYCOMPRISEAVARYINGRANGEOFECONOMICACTIVITIES,PARTICULARLYATTHEMARGINSOFTHECATEGORYCERTAINLYTHETERMCREATIVEINDUSTRIES,HOWEVERITISDENED,COMPRISESAHIGHLYDIVERSESETOFECONO
17、MICACTIVITIESANDISLIKELYTOPROVETOOGENERICTOBEUSEFULFORTHEPURPOSESOFEMPIRICALRESEARCHITISFORTHISREASONTHATTHEEMPIRICALRESEARCHOUTLINEDLATERINTHISPAPERFOCUSESONTWODENEDSUBSECTORSOFTHECREATIVEINDUSTRIES,BUTALSOUSESTWOCONTRASTINGSUBSECTORSTOREECTTHEDIVERSITYOFTHESECTORASAWHOLEFINALLYONTHEISSUEOFDENITION
18、SOMEREFERENCENEEDSTOBEMADETOTHERELATIONSHIPBETWEENTHETERMSCREATIVEINDUSTRIESANDCULTURALINDUSTRIESWHILEADORNOANDHORKHEIMER1977/1944MAYHAVEBEENTHERSTTOUSETHETERMCULTURALINDUSTRYINTHEIRCRITIQUEOFMASSPRODUCEDART,HESMONDALGH2002SUGGESTSTHATITWASAGROUPOFFRENCHSOCIOLOGISTSFOREXAMPLE,MIGE,1979WHOTHENADOPTED
19、THETERMBUTUSEDTHEPLURALCULTURALINDUSTRIESTOHIGHLIGHTTHECOMPLEXITYOFTHESECTORTHETERMWASRSTUSEDEXTENSIVELYINPOLICYCIRCLESBYTHEGREATERLONDONCOUNCILINTHE1980SOCONNOR,UNPUBLISHEDPAPERTHEUSEOFTHETERMCREATIVEINDUSTRIESSEEMSTOHAVEEMERGEDWITHGREATERLOCALANDNATIONALGOVERNMENTINTERESTINTHEIRPROMOTION,ANDOCONNO
20、RSUGGESTSTHATTHISMAYHAVEBECOMETHEPREFERREDTERMBECAUSEITEMPHASISESTHEECONOMICVALUEOFTHEPRODUCTSRATHERTHANTHELESSEASILYUNDERSTOODANDPOTENTIALLYMORECONTENTIOUSCONCEPTOFCULTUREINTHISPAPERTHETERMCREATIVEINDUSTRIESHASBEENFAVOUREDOVERCULTURALINDUSTRIESNOTNECESSARILYTOFAVOURONETERMOVERANOTHERBUTSIMPLYTOACHI
21、EVECONSISTENCYCREATIVITYINTHECONTEXTOFTHECREATIVEINDUSTRIESCREATIVITYISAHIGHLYCONTESTEDCONCEPTNEGUSANDPICKERING2000,P259SUGGESTTHATCREATIVITYISONEOFTHEMOSTUSED,ANDABUSED,TERMSINTHEMODERNLEXICONITCOMESLADENWITHAHOSTOFMEANINGS,CONNOTATIONSANDAPPLICATIONSWHICHAREREGULARLYIMPORTEDINTOARANGEOFVARYINGDISC
22、OURSES,INSTITUTIONSANDSETTINGSEVENIGNORINGPROBLEMSOFDENITIONTHEREISONLYLIMITEDCONSENSUSONTHEVARIABLESWHICHDETERMINELEVELSOFCREATIVITYATTEMPTSBYPSYCHOLOGISTS,SOCIOLOGISTSANDHISTORIANSTOANALYSEVARIABLESWHICHMAYAECTLEVELSOFINDIVIDUALCREATIVITYCONTINUETOBETHESUBJECTOFCONSIDERABLEDEBATE,ANDINCREASINGLYRE
23、SEARCHHASFOCUSEDONCREATIVITYASACOLLECTIVEORSOCIALPROCESSRATHERTHANASAPROCESSTAKINGPLACEWITHINTHEMINDSOFINDIVIDUALSALSO,MUCHOFTHELITERATUREISFOCUSEDONTECHNOLOGICALANDORGANISATIONALCREATIVITYRATHERTHANWHATTHISPAPERTERMSAESTHETICCREATIVITYADORNOANDHORKHEIMER1979WEREAMONGTHERSTTOFOCUSONAESTHETICCREATIVI
24、TYWITHINTHECREATIVEINDUSTRIESTHEYARGUEDTHATTHEEMERGENCEOFTHECREATIVEINDUSTRIESWASHAVINGANEGATIVEIMPACTONINDIVIDUALCREATIVITYANDTHATTHEAUTONOMYOFWORKSOFARTISTENDENTIALLYELIMINATEDBYTHECULTUREINDUSTRY,WITHORWITHOUTTHECONSCIOUSWILLOFTHOSEINCONTROLADORNO,1991,P86SINCETHENRESEARCHERSHAVEADOPTEDAMOREPOSIT
25、IVEPERSPECTIVE,BUTAGAINTHEEMPHASISHASSHIFTEDTOCREATIVITYASACOLLECTIVEORSOCIALPROCESSDIRECTLYMOULDEDBYTHEPARTICULARECONOMIC,SOCIALANDPOLITICALENVIRONMENTSWITHINWHICHCREATIVEWORKERSAREOPERATINGBECKER1982,FOREXAMPLE,FOCUSEDONCREATIVITYINTHEVISUALARTSBUTARGUEDTHATEVENTHEVISUALARTS,OFTENPERCEIVEDASAPREDO
26、MINATELYINDIVIDUALIZEDPROCESS,ARE,INREALITY,ACOLLECTIVECREATIVEPROCESSOTHERSHAVEREINFORCEDTHISEMPHASISOFCOLLECTIVECREATIVITYFOREXAMPLE,NEGUSANDPICKERING2000,P271ARGUETHATANINDIVIDUALCANNOMOREREALISETHECREATIONANDEXHIBITIONOFAMOVIETHANBEABLETOMANUFACTUREANDMAKEFUNCTIONAWASHINGMACHINEBOURDIEU1993HASAL
27、SOARGUEDTHATCREATIVITYISNOTDUETONATURALGIFTSBUTISAPRODUCTOFTHESOCIAL,ECONOMICANDEDUCATIONALBACKGROUNDORENVIRONMENTOFTHEINDIVIDUALSIMILARLY,CSIKSZENTMIHALYI1990,P198ARGUESFROMTHEPERSPECTIVEOFAPSYCHOLOGISTTHATCREATIVITYISNOTANATTRIBUTEOFINDIVIDUALSBUTOFSOCIALSYSTEMSMAKINGJUDGEMENTSABOUTTHOSEINDIVIDUAL
28、SAESTHETICCREATIVITYASASPATIALLYCONCENTRATEDPROCESSTHEIDEATHATTHEATTRIBUTESOFLOCALITIESHAVEAPARTTOPLAYINAESTHETICCREATIVITYISECHOEDBYTHOSEWHOHAVEATTEMPTEDTOEXPLAINTHEAPPARENTOUTPOURINGSOFCREATIVITYTHATHAVEOCCURREDINPARTICULARLOCATIONSOVERPARTICULARPERIODSOFTIMESUCHSTUDIESTENDTOFOCUSONSPATIALLYANDTEM
29、PORALLYBOUNDEDPOLITICAL,ECONOMICANDSOCIALENVIRONMENTSANDTHEIRIMPACTONCOLLECTIVEPROCESSESOFCREATIVITYFOREXAMPLE,HALL,1998INTHECONTEXTOFTHECONTEMPORARYCREATIVEINDUSTRIESMOSTOFTHEEXISTINGTHEORYISSIMILARLYCONCERNEDWITHCREATIVITYANDAESTHETICINNOVATIONASACOLLECTIVEPROCESS,ALTHOUGHHERETHEEMPHASISTENDSTOSHI
30、FTTOTHEROLEOFSPATIALLYCONCENTRATEDCLUSTERSOFCREATIVEWORKERSSEEFOREXAMPLE,RANTISI,2002SCOTTSWORK1999,2000ISOFPARTICULARRELEVANCEHEREBECAUSEOFHISFOCUSONTHEWAYINWHICHTHEATTRIBUTESOFPARTICULARPLACESHAVETHEABILITYTOPROMOTEAESTHETICCREATIVITYWITHINCLUSTERSOFCREATIVEECONOMICACTIVITYINMANYRESPECTSSCOTTSCONC
31、EPTUALISATIONSREECTTHEVERYEXTENSIVELITERATUREINECONOMICGEOGRAPHYONLEARNING,CREATIVITYANDINNOVATIONWITHINSPATIALCLUSTERSOFECONOMICACTIVITYHEREFERSTOTHEWAYSINWHICHCREATIVEINDUSTRIESCANBENETFROMALOCALCOMMUNITYSCHARACTERISTICSTYLES,SENSIBILITIESANDTHEMATICASSOCIATIONS2000,P10ECHOINGTHEIDEASOFBOURDIEU199
32、3HEADOPTSTHECONCEPTOFTHECREATIVEELDTOREFERTOTHEWAYINWHICHLOCALIZEDAGGLOMERATIONSOFCREATIVEECONOMICACTIVITYBEHAVEASCATALYSTSFORHIGHERRATESOFCREATIVITYANDINNOVATIONSCOTTSUGGESTSTHATONEOFTHEATTRIBUTESOFPLACEWHICHCANBETAPPEDBYINDIVIDUALSFORCREATIVEPROMPTSANDIDEASISTHELOCALINDUSTRIALATMOSPHEREDERIVEDFROM
33、THEINTERPLAYOFPLACEATTRIBUTESANDLOCALCLUSTERSOFCREATIVERMSHEASSERTSTHATTHENECESSARYEMPHASISONTHEECONOMICANDSOCIALSETTINGOFCREATIVITYDOESNOTDIMINISHTHETALENT,IMAGINATION,DISPOSITION,OREVENGENIUSOFTHEINDIVIDUALCULTURALWORKERBUTTHATONTHECONTRARY,THEYAREMOBILISEDANDCHANNELLEDBYTHEBROADFUNCTIONALCHARACTE
34、RISTICSOFTHEMACHINERYOFCOMMODIEDPRODUCTIONTHEINDIVIDUALISAREPOSITORYOFSPECICIMAGINATIVECAPACITIESANDASTHEBEAREROFTHESEENDOWMENTSISINDISPENSABLETOTHEWHOLEPROCESSSCOTT,2000,P32,39SOHERETHEREISABRIDGEBETWEENTHEEMPHASISONCOLLECTIVECREATIVITYANDTHEIDEATHATLOCALITIESMAYHAVEATTRIBUTESWHICHCANACTASACATALYST
35、FORINDIVIDUALCREATIVITYRECENTRESEARCHONTHEROLEOFPLACEBASEDPROJECTTEAMSWITHINTHECREATIVEINDUSTRIESHASDEEPENEDOURUNDERSTANDINGOFTHEROLEOFLOCALITIESASACATALYSTFORCOLLECTIVEAESTHETICCREATIVITY,BUTASWITHSCOTTSTHEORISING,THISRESEARCH,BYIMPLICATION,ALSOSUGGESTSTHATPARTICULARLOCALITIESCANBEARESOURCEOFPROMPT
36、SFORINDIVIDUALCREATIVITYPROJECTTEAMSARETRANSIENTNETWORKSOFINDIVIDUALSFROMDIERENTRMSWHOCOLLABORATETOCOMPLETEAPARTICULARCOMMISSIONORCONTRACTANDTHEY,RATHERTHANRMS,FREQUENTLYFORMTHECENTRALUNITOFECONOMICACTIVITYSUCHNETWORKSAREMORECOMMONINTHOSECREATIVEINDUSTRIESWHEREONEONONBATCHOUTPUTSSUCHASLMS,MEDIACONTE
37、NT,COMPUTERGAMES,ADVERTISINGANDHIGHVALUECOMMISSIONSFORCRAFTPRODUCTSAREIMPORTANTGRABHER2002A,P209,FOREXAMPLE,ARGUESTHATTHEACTORSINTHESENETWORKSANDCLUSTERSOFCREATIVEWORKERSARESURROUNDEDBYACONCOCTIONOFRUMOURS,IMPRESSIONS,RECOMMENDATIONS,TRADEFOLKLOREANDSTRATEGICMISINFORMATIONASWITHSCOTTSTHEORISINGOFCLU
38、STERSOFCREATIVEINDUSTRIESTHEREISANACKNOWLEDGEMENTHERETHATINDIVIDUALCREATIVEWORKERSWILLBEATTRACTEDTOTHESESUCCESSFULLOCALITIESBECAUSETHEYAREPERCEIVEDASACONCENTRATIONOFAPARTICULARFORMOFINSPIRATION,STIMULATIONORCREATIVEBUZZCOMPRISINGDIVERSEANDCOMPLEXPROMPTS,IDEAS,TRENDSANDFASHIONSSEEALSOEKINSMYTH,2002NA
39、CHUMANDKEEBLE,1999CONCLUSIONEXISTINGTHEORYONTHECREATIVEINDUSTRIESEMPHASIZESCREATIVITYASACOLLECTIVEPROCESS,ALTHOUGHTHEREISSOMEACKNOWLEDGEMENTTHATTHECREATIVITYOFINDIVIDUALSPLAYSAVITALROLEWITHINTHISCOLLECTIVEPROCESSWHERETHISEMERGINGTHEORYISCONCERNEDWITHSPATIALPROCESSESITEMPHASISESTHEROLEOFPLACEBASEDCLU
40、STERSOFCREATIVEENTERPRISESANDTEMPORARYPROJECTTEAMSINCREATINGALOCALCREATIVEATMOSPHEREANDHIGHLEVELSOFINTERACTIONCONDUCIVETOCREATIVITYCERTAINLY,ANUMBEROFTHEINTERVIEWEESREFERTOTHEIMPORTANCEOFLOCALITYSPECICCOMMUNITIESOFCREATIVEWORKERS,ANDTHISISUSEFULEMPIRICALEVIDENCESUPPORTINGTHETHEORISINGOFSCOTT1999,200
41、0,2001,GRABHER2001,2002A,BANDOTHERSHOWEVER,THEANALYSISOFTHEEMPIRICALDATAALSOSUGGESTSTHATEXISTINGSPATIALTHEORYONTHECREATIVEINDUSTRIESCOULDUSEFULLYBEEXTENDEDTOACKNOWLEDGEHOWLOCALITIESMAYHAVEOTHERATTRIBUTESWHICHACTASACATALYSTTOINDIVIDUALCREATIVITYANUMBEROFTHEINTERVIEWEESCLEARLYSEEINDIVIDUALCREATIVITYAS
42、IMPORTANT,PARTICULARLYTHOSEWORKINGINMICROENTERPRISES,ANDTHEYPOINTTOTHREEOTHERWAYSINWHICHTHEATTRIBUTESOFLOCALITYCANBEACATALYSTFORTHEIROWNCREATIVITY译文这个地方给我空间在创意工业的位置和创造力正在发展中的创意产业的主体已经承认了地点和审美性创造力之间的一种关系，但是其重心大部分放在把创意看成是共同的或是社会的过程，而且多数集中在把创造力看成是以地点为集合的创造方根的相互作用的产品。这篇文章的论点就是在新兴的空间理论所关心的创造产业中，强调了搜集创意和创
43、意企业的群集，这是非常有用和值得赞赏的。但这也趋向于模糊化地点和个性化的创造之间的联系。本论文认为把一体化个性创造的重要性放到这个新兴的理论是必须的。一、创意产业任何关于创意产业的调查的一个难题是这个课题本身是不确定的。在学术界和政策对于文化产业和创意产业的定义上有一些共识，在这两个平台上这个术语都广泛地被用来建议这些经济活动在某些方面是与众不同的。然而，现在也没有一项公认的界线来区别文化产业，创意产业和其他的经济活动。同样的，现在也缺少明晰的规定来确定创意产业和文化产业是否可以互换，抑或是它们是否从属于不同的领域。但是详细讨论这个问题已经超出了这篇文章的范围，现在的当务之急是尝试一些龙骨结构
44、，把它们当成经济活动中独树一帜的形式是不是有争议的。英国文化传媒和体育部把创意产业当成是“有着个人原创的想法，技巧，才能的活动”的组合，并且通过几代人用智慧开发之后，有着创造财富和工作的潜力。这些被包括在以下一些部门之中广告，建筑，艺术和古玩市场，手工艺品，设计，时装，休闲娱乐软件，音乐，表演艺术，出版业，软件，电视和收音机。（文化传媒和体育部，1998，第十页）。然而这个相关部门的列表正好提供了一个有用的指示来说明可以归类为创意产业的经济活动类别（这在本篇文章中可注意到齿系属于个人创造）文化传媒和体育部缺少可供研究目的的明确界限。大部分经济的分支可以巧妙的根据个人创造力，技能，和知识产权的开
45、发来定义。一个更有说服力的机构银行和美国联盟认为创意产业所成产的产品和服务的最初价值是和他们的美学作用分开的。这个和拉斯和尤里在1994年提出的论点相呼应，他们提出相对于物质产品来说，越来越多的标示被提出。产品和服务的价值也正在伴随着它们的附加值的增长而不断增长着。克斯特也有类似的定论，他把创意产业所产出的产品定义为“具有美学的想象力符号的制造品，被现代资本主义制造出来并且迎合消费者对于娱乐，装饰，自我消遣，和社会展示等的需要。”这些产品有着很高的无形价值，而这些价值和实用价值有密切的联系。（斯科特，1999）有别于文化媒体和体育部经常企图把用这些定义来强调在创意产业的产品中占重要地位的象征性
46、价值，标志价值或者变现价值。斯科特的定义在提议一些重要的理论的时候是非常有用的。第一，不像是文化媒体和体育部的定义，相比起直接把创造性定义为含糊地投入，它强调的是产品要有美学和符号的内涵的要求。在这篇文章中提到的这个内容是非常有意义的，因为她的焦点是怎么样根据地域属性来形成这个美学和审美的内容。第二，因为强调了人工制品，似乎把图书馆和美术馆这些第三产业排除在外了，这些在某些定义中是属于创造性产业的，但是它们是否有人工制造品的直接特性又是有争议的，无论这些产品是有形的（例如珠宝），还是无形的（例如电脑软件）。第三，在第二部分是强调了市场这方面的需求。换句话说，有人尝试着根据消费者所需要的种类来敌
47、营创意产业。这里特别强调了消费者的创造性，个性和身份。然而，这个定义就完全避免了所有的不确定性。举个例子来说，很多牌子的汽车所拥有的标志性的高价值在很大程度上归功于制造商和广告商，但很少有人认为汽车产业可以被归类到创意产业这一块。事实上，对于能否提议一个明确的定义也是有争议的。不同的定义可以被用到不同的领域（普拉特，1997）。把创意产业看成是一个把很多经济产业组合在一起，特别是一些边缘种类的连续体更加有帮助。当然无论怎么样定义创意性产业，都包括了很大一部分经济活动，对于一些实验性的研究来说可能太广泛了。就是因为这个原因，在这篇文章后面所提到的研究把焦点放在了创意性产业的两个分支上，但也用到了
48、两个相对的分支把不同的分支看成是一个整体。最后讨论的是定义一些创意产业和文化产业之间的关系。然而，阿多诺和霍克海默（1977/1944）可能是第一个把文化产业用在评论大量生产艺术的文章里。海森戴格（2002）认为是一群法国社会学家（例如，米格，1979）后来把采用多元化文化产业来强调这个部分的复杂性。这个术语在20世纪80年代被伦敦的政策界大量使用。（康奈，未发表的论文）使用创造性产业这个术语似乎暴露出了地方和国家政府在他们发展中的方向，康奈指出这可能成为广为接受的术语，因为相对于更加易懂和那些更加有争议的文化概念，它强调了产品的经济价值。在这篇文章中，创意产业这个术语帮助文化产业不必盖过另外
49、一个术语，它只是达到了一致性。二、创意性产业里的创造环境创造力是一个饱受争议的话题，尼格斯和皮克林（2000,259页）指出创造力“是一个在当代词典里最广泛地被用，被滥用的术语”。它包含了太多的意义，内涵和应用点，经常被用到很多的演讲，机构和体系当中。即使忽略定义这个难题，对于创造力的水平的定义上，这么多变量只有一个有局限性的一致意见。心理学家，社会学家和历史学家尝试者去研究这个变量，看来个人创造力的定义将继续成为一个被热烈讨论的议题。越来越多的研究把焦点放在把创造力看成是一个集合或者是社会进程，而不是看成是个人想法产生的进程。很多文献也着重在技术和组织创新上而不是像本文把重点放在审美创造上。阿多诺和霍克海默是把焦点放在创意产业中的审美创造中的一员。他们认为创意产业的出现对于个人创造和“艺术工作的自治”是有负面影响的。有或者没有这种意识，都是被文化产业排除。（阿多诺，1991,86页）。从那时起研究者们就开始采用一个更加积极的观点，但是又一次焦点从把创造力看成是集合或者是社会进程转到了创造者们所操纵的特殊的经济，社会和政治环境。举个例子，贝克尔（1982），即使把重点放在创造力中的可视艺术上，也认为即使是可视艺术，也经常被认为是主要的一个人化的进程，在事实上，就是一个创造过程的集合。其他
