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The purpose of the article is to carry out a comparative analysis of methodological approaches to the concepts of “cultural and creative industries”. The implementation of cultural and creative industries in the policy of many countries and the use of culture as a “soft power” that forms and preserves cultural identity and protects state interests, makes it necessary to specify the relevant conceptual apparatus. Research methodology. The use of the comparative, system, and analytical methods allowed us to identify common and divergent in different methodological approaches (DCMS model; symbolic-text model; concentric-circular model; copyright-legal model; trade-oriented model), which are used to identify cultural and creative sectors in different countries. The scientific novelty consists in the systematisation of existing theoretical developments on the concept of “cultural and creative industries” in modern cultural studies; the transformation processes that affected the content of the concept are analysed and characterised. Conclusions. The features of various methodological approaches used by the governments in the management of cultural and creative industries are revealed; the perception of cultural and creative industries by culturologists and economists is formulated; trends of cultural and creative industries in the modern world are characterised. It is emphasised that the development of cultural and creative industries is due to the collaboration of art, culture, business, and technology. It is proved that the fundamental values of cultural and creative industries are the talent and artistic abilities of a person, innovative idea, creativity, and uniqueness. The article demonstrates that due to the creation of competitive market products, the contribution of cultural and creative industries to the economy of states is quite noticeable and is constantly growing. The concretisation of creative activity in the corresponding results (first of all, the creation of a cultural product) determines, firstly, the formation and development of diverse cultural institutions; secondly, the implementation of activities by cultural managers and artists (within which the cultural product is produced); thirdly, it forms cultural values, meanings, and symbols. |
