Digitalization, connectivity, globalization, the expansion of the knowledge-based economy, the growing demand for the leisure and leisure economy and the expansion of intellectual property sectors have a significant impact on the traditional understanding of art and culture. It is precisely the result of the aforementioned transition movements that has led to the emergence of terms such as ‘creative industries’, ‘cultural industries’ and ‘creative economy’ which are becoming the focus of development policies in the field of culture, economy, technology and generally the society which we live in.
The terms of the cultural and creative industries, which have been the subject of much criticism in the past for the ‘industrialization’ of cultures, are now certainly understood when it comes to the fusion of culture and industry, especially as UNESCO treats them as industries producing tangible and intangible artistic and creative products, and which have the potential to create wealth and generate income through the exploitation of cultural goods and the production of goods and services based on the combination of knowledge, imagination, creation, innovation and other creative abilities of individuals and society. What is common to all cultural industries is the use of creativity, knowledge in the field of cultural and intellectual property to produce goods and services of social and cultural importance.
On the other hand, dilemma for most readers is the essential difference between the terms cultural and creative industries. The term creative industry is often used interchangeably with the term cultural industry, but it actually covers a much broader field than the cultural industry, because it transcends the field of art and includes all products based on creativity. One of the most widespread definitions is that the creative industries are precisely those industries that originate in individual creativity, skills and talent and that have the potential to create wealth and jobs through the generation and exploitation of intellectual property.
The transition from cultural to creative industries has changed the approach in terms of economic orientation, because activities that were, until recently, largely considered non-profit, have been recognized as potentially commercial activities. The latest tendency is for creative industries not to be narrowly limited to cultural activities, but to use the term ‘creative economy’ to emphasize the importance of services based on content diversity, creative thinking and problem solving among all industrial sectors in the economy.
The cultural and creative industries are generally a privilege of developed countries, as they require a high rate of innovation, expertise and use of the latest technologies. Also, the potential for their distribution and development is closely linked to the global power of a particular country. In doing so, they require very innovative approaches in terms of policies and legal incentives, because they go beyond the remit of only one policy – cultural, economic and other. Nevertheless, despite the constraints, a large number of countries and differently developed economies have recognized the potential of this sector and introduced laws and strategies that should primarily result in the rapid growth of creative industries, which are becoming just as important as tourism and the classic industries of a country.
As a result, developed countries have recognized the need to restructure their economies in a way that would allow them not to rely on material resources and traditional industries, which are becoming increasingly unsustainable, but to turn them towards the use of human resources and knowledge and focus on intangible products. This approach led to the recognition of the potentials that culture, creativity, intellectual property and knowledge possess, and to the creation of the creative class concept. It is precisely these development policies that must be a priority in strategic planning of line institutions and companies in Montenegro, as the flourishing of the creative industries is already largely present.
More details about this topic can be found in the literature that was used to prepare this publication.
