ECONOMY OF CREATIVE INDUSTRIES

Single discipline educational activity

Course Sheet

Course code:

EIC20

Academic Year of enrolment:

2020

Year of supply:

2021/2022

Type of Course:

Characterising

Degree:

Course of 2nd Cycle Degree in MANAGEMENT, FINANCE AND DEVELOPMENT

Disciplinary Sector:

Applied Economics

Location:

Credits:

Programme Year:

Professor and Collaborators:

FABRIZIO DE RITIS RAFFAELE

Cycle:

Second semester

Hours of classroom activity:

Individual study hours:

135

Prerequisites:

None

Objectives

- Develop the historical and social background of the sectors under consideration.
- Indicate the impact of the creative industries on the economy and society.
- Indicate the international and national framework in the main fields of creativity production.
- Provide tools for analysis and evaluation of cultural and creative industry phenomena.

Expected learning outcomes
KNOWLEDGE
At the end of the course, students will have the knowledge tools to:
Knowing how to identify and evaluate the various fields of the creative industry.
Know the mechanisms of production, distribution and cultural consumption.
Have an international global perspective on the creative sectors.

ABILITY TO APPLY KNOWLEDGE AND UNDERSTANDING
At the end of the course students will be able to:
Correctly contextualize the creative industries with respect to their social, economic and environmental characteristics.
Knowing how to identify the critical issues in the sector, potential qualities and limits.
Develop sensitivity towards the transversality and transmediality of the creative sectors.

COMMUNICATION SKILLS
At the end of the course students will have acquired the following skills:
- knowing how to use the specific language in the various fields of creativity and culture;
- present and rigorously discuss the issues relating to the subjects studied.

AUTONOMY OF JUDGMENT
Upon completion of the course, students will be able to possess skills of discernment in relation to cultural, industrial, social and
ethics related to the topics covered.

CAPACITY TO LEARN
Through an integration between texts, multimedia supports, video materials, web techniques, the specific learning skills of the sectors in question will be developed.

Contents

The course deals with the economic and social aspects of the various forms of creative industry: cultural heritage, live entertainment and music industry, art market, cinema, TV and multimedia, fashion, design. The focus will be on both private industry systems and systems linked to public money in the form of subsidies and cultural policies, in perspectives both linked to the Italian context and to international and global models. Beyond the notion of cultural industry as a source of income and jobs, particular attention will be paid to the value of creativity as a factor of social and relational growth, innovation and quality of life. In particular, account will be taken of the vast contemporary industrial declinations of entertainment (multimedia and live), today a paradigm of transversality and innovation, crossing all creative sectors. The course will include historical parts, analysis of data related to current events and case studies.

Extended Syllabus

1- DEFINITION
Definitions of the "creative industries".
Shapes
Sectors
Classification theories and models

2- VALUES OF CREATIVITY
Conditions of creativity
Elements of creativity
Cultural value and functional value
Expressive value
Creativity index
Copyright value

3-CULTURAL CONSUMPTION
Copyright, publishing and entertainment
SIAE, Istat and indicators
Live entertainment and cinema
Types of consumption and offer in entertainment:
differences, similarities, creative crossings

4- CASE STUDY: entertainment consumption in 2019 and 2020 (Covid)
The innovations of streaming consumption in Covid years

5-CASE STUDY: LIVE MUSIC
The Private Music Industry: The Jova Beach model
Public-private: the Verona Arena
The production model of the opera house
Example of foundation: the Teatro alla Scala
Baumol's syndrome

6-PUBLIC FUNDING AND CULTURE
Examples of cultural spending
The notion of added value
The notion of "cultural politics"
Model: the Ministry of Culture
Examples: Ministry of Culture in Italy and France

7- CULTURAL PARTICIPATION
AND CITIZENS' EXPENDITURE
Indicators and sectors of cultural spending
The age ranges
Example: differences 2018 and 2020 (Covid)
The notion of non-participation and its analysis
Analysis criteria: characters and status

8-SOCIETY AND CREATIVITY
Fields of creative production
The social value
Creative atmospheres
Creative cities
Cultural districts
Models and examples of classification

9- THE ART MARKET
Auction houses
Collecting
The value and quotation of the works
The Western and Eastern markets

10- THE MUSEUM
Museum establishment
Functions:
storage
research
collections management
exhibits
business-to-business offer

11 - THE MUSEUM AS AN EXPERIENCE
forms of accessibility
Tools for use
Mediation by the museum
New technologies and mediation
Immersive and virtual forms

12 - MUSEUM AND SOCIETY
Museums and architecture
Museum tourism and major destinations in the world
Italian museums
Archaeological and monumental sites

13 - MUSEUMS AND VALUE
Economic forms of the museum:
public
private
no profit
Museum capital
Museum profits
Forms of financing
Autonomy and privatization
Tangible and intangible value
The cultural heritage
value measurement
Museum issues:
funding
congestion
Art bonus

14 - THE WIDESPREAD MUSEUM
The Naples Metro
the "mandatory" museum
The economic value of beauty
The murals of Naples
Urban regeneration

15 - THE EXHIBITIONS
Definition of exhibition
The most visited exhibitions in the world: not just art
The charm of exhibitions: ancient art, contemporary art, archeology, spectacularity

16 - FESTIVALS
Definition
Festival as format
The arts festivals: music, theatre, performing arts, cinema
Festivals in Italy
Cultural festivals: literature philosophy, science, economy, etc.
Elements and contents of the cultural festival
Economy and expenditure items of cultural festivals
Economic impact
Social return

17 - FILM INDUSTRY
Definition of the cinema product
Elements of the film industry:
production
distribution
exercise
Historical arc of cinema
the evolution of hollywood
the elements of the studio-system (1920-1950): the majors and "vertical integration"
the dissolution of the studio system
New Hollywood and independent production
the concept of blockbusters
the "post-Hollywood" and the mergers (mergers) after 2000

18 - M & E CINEMA AND MEDIA AFTER 2000
The integration of production and distribution
The new blockbusters
The new studios
M&E media+entertainment
M & A mergers + acquisitions
Major Acquisitions:
Disney+Fox
Amazon+Mgm
Comcast+sky
AT&T+Warner

19 - THE DISNEY MODEL
The diversification strategy
Disney profits
The technology+imagination recipe
The historic-economic arc of Disney

20 - THE PIXAR
The innovative model
Corporate and creative evolution
The Disney-Pixar relationship
Disney's acquisitions of creative industries: Pixar, Marvel, Lucasfilm, Fox
The evolution towards Disney+ and the new distribution channels

21 - CREATIVE INDUSTRY AND WEB
Evolution of the web: .1, .2, .3
The subjects of the web: structures, contents, services
Over the top OTTP media and platforms
Hybridization of subjects (production, distribution, technology)
Creative products online
The evolution of the music industry
The evolution of the publishing industry
The user as a creative subject
UGC user generated content
Sharing between users as a creative practice
The role of influencers

22-23 STREAMING AND VIDEOS
Video streaming and Netflix
Evolution of the television industry
The new video on demand distribution: VOD and its variations
From Blockbusters to Netflix
VOD distribution in Italy
The "streaming wars" (Netflix, Prime, Disney)
Creative contents and the phenomenon of costs, supply and demand

24 - TRANSMEDIA
From schedule to algorithm
Transmedia storytelling
The franchise
The "creative destruction" in the web and in entertainment
The metaverse and virtual reality

25 - LIVE ENTERTAINMENT
Definitions, genres and trends (live concerts, theme parks, resorts and restaurants, sports industry, cruises, casinos).
Case study: Live Nation and live concerts.

26 - THE PERFORMING ARTS
The theatre: myth and catharsis to nourish the vision of the product.
The theatrical ecosystem of supporting industrial and creative figures.
The permanent show industry
Case study: a transversal model of the creative economy. TAM Arcimboldi of Milan
Case study: "high art" and commercial spectacularity. The National Theater in London
The Broadway industry and the commercial theater system.
Elite target and audience development: production and communication in subsidized theatre.

Recommended Bibliography

Françoise Benhamou, "L' economia della cultura"; Il Mulino, 2020.
Walter Santagata "Il governo della cultura"; Il Mulino, 2014.

Teaching Methods

The course is divided into 72 hours of frontal teaching. The lessons are
carried out by the teacher and include a strong interactive component with the students.
Attendance is optional, but recommended.

Evaluation methods

Verification of learning:

The oral interview will focus on the contents of the texts indicated and, for the attending students, on the topics covered in the course.
Non-attending students will be eventually have the choice to integrate an in-depth study of one or more topics indicated in the course description, on their own initiative.
The verification will take into account the appropriate presentation skills related to the language and contexts of reference.
Expository originality and critical ability will be taken into account beyond mere rote learning.
The evaluation criteria are the following:
From 18 to 21: just enough preparation. Summary, and not complete, knowledge of the topics of reference in the texts indicated.
From 22 to 24: ability to articulate at least three specific topics with reference to the study of the indicated texts.
From 25 to 26: satisfactory knowledge of the reference texts, demonstrating full understanding of them and critical ability. In addition, summary knowledge of at least one of the topics detailed in the course beyond the sources in the texts.
From 27 to 29: Exhaustive knowledge of the reference texts, with the ability to articulate, deepen and integrate other sources and references. Thorough knowledge of the topics covered in the course.
From 30 to 30 cum laude: full possession of the topics covered in the texts and in the way in which they have been articulated and explored in the course. Ability to enrich knowledge with original sources and own-initiative references. Ability to propose an original research or case study to integrate the above.

Contacts/More Information

Contacto mail: rderitis@hotmail.com

Università degli Studi
"G. d'Annunzio"

Chieti - Pescara

Aree