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The purpose of this paper is to develop a more comprehensive understanding of why social inequalities and discrimination remain in the creative industries.

The paper synthesizes existing academic and industry research and data, with a particular focus on the creative media industries.

The paper reveals that existing understanding of the lack of diversity in the creative industries’ workforce is conceptually limited. Better understanding is enabled through an approach centred on the creative industries’ model of production. This approach explains why disadvantage and discrimination are systemic, not transitory.

The findings suggest that current policy assumptions about the creative industries are misguided and need to be reconsidered. The findings also indicate how future research of the creative industries ought to be framed.

The paper provides a novel synthesis of existing research and data to explain how the creative industries’ model of production translates into particular features of work and employment, which then translate into social inequalities that entrench discrimination based on sex, race and class.

This paper aims to identify the nature of creative tourism and the roles of interrelated concepts especially those of creative industries in the value creation process, by analyzing the trends in existing practices.

Based on a thorough literature review of the multidisciplinary “creative” related research, this paper provides a conceptual insight of the value creation process in creative tourism.

A conceptual framework is provided to consolidate the value creation process of a creative economy by considering the nature of creative tourism and interrelated concepts.

This study contributes to the literature because it provides a valid research base and insights for future research, based on a clear perspective that amalgamates essential information.

Creative tourism offers immense opportunities in the global context as tourists are constantly looking for new experiences and opportunities. This study provides insights for creative workforces, entrepreneurs and organizations in formulating appropriate management and marketing strategies by considering all relevant components and the roles they can play to capitalize on this opportunity.

Creative industries play a critical role in introducing new strategies in the service sector by enabling an upgrade of value-added activities to those that are currently offered, in a sustainable manner. However, studies so far have not taken into consideration the nature of the sector and have not attempted to clarify its relevance (for example, creativity, creative industries and creative workforces) in the value creation process. The study contributes to filling the gap from a conceptual perspective.

The purpose of this paper is to contribute critically to understanding the structure of creative industries in Isfahan.

The authors first gather needed information about the case study and then analyze the data according to three measures of gross value added, employment and the dynamics of business for each sector of creative industries.

Results indicate that creative industries are medium-sized domestic enterprises which are comparatively weak in productivity in some sectors.

This paper illustrates the model of creative industries assessment for Isfahan city and, finally, provides a good understanding of the concept of the creative industries as a key element of the creative city.

The paper aims to examine the role of creative industries in general and the film industry in particular for place‐making, spatial development, tourism, and the formation of creative cities.

The article reveals the preliminary findings of two case studies from Beyoglu, Istanbul, and Soho, London.

The research found a relation between place and creativity and the positive contribution to creativity of being in a city center. Among the creative industries, the film industry plays an important role in the economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require.

The paper raises interesting questions about the importance of place to creativity, also questioning whether creative industries can be a driver for regeneration.

The purpose of this paper is to investigate whether predicting factors of conventional ventures’ performance are appropriate in interpreting the creative industries context. Moreover, this paper introduces a way to measure venture performance in creative industries.

A structured questionnaire was used to address this research objectives, based mainly on scales tested in previous studies. Data were collected from a sample of 371 female entrepreneurs of creative industries. A hierarchical linear regression analysis was conducted to examine the research hypotheses.

In congruence with the hypotheses, the findings demonstrated that venture performance in creative industries can be predicted by factors that affect conventional venture performance. Creative personality and professional network ties are regarded according to the empirical analysis presented in this paper as the factors with the highest impact.

Data were pulled from female entrepreneurs in Greece, especially from the two biggest cities Athens and Thessaloniki. Consequently, it was precarious to fulfill the condition of generalizability. Additionally, a snowball sampling method was used, because of the absence of creative industries firms’ directory in Greece.

Based on authors’ knowledge and review, no prior study has examined predictors’ effect on creative industries venture performance.

The purpose of this paper is to build up an evaluation framework for selecting creative industries into the new cultural creativity centre in Tainan city, Taiwan.

This study applies the Analytic Hierarchy Process (AHP) method to evaluate the creative industries for the introduction and development in the new cultural creativity centre in Taiwan. Then, a sensitivity analysis is carried out to determine the critical factors that affected the priority of the alternatives.

In the seven evaluation criteria, “market potential” has the highest weight, followed by “regional development” and “culture improvement”. In the six industries, creative lifestyle, crafts, and creative design are the three most favourable industries chosen for the introduction and development in the new centre.

One possible limitation is the selection of experts in the research design. Although the participants selected in our study are experienced in the development of the cultural creativity centre and are across several disciplines, the representative of group members is still a critical issue.

The application of the model provides an avenue for government policy makers and researchers to deal effectively with the industry selection issue.

The model developed in this paper is a useful decision‐making tool for solving the selection problem of creative industries.

Although there is increasing evidence that the creative industries are essential to national economic growth as well as social and cultural well‐being, creative graduates often find it difficult to become established professionally. This study aims to investigate the value of career management competence and intrinsic career motivations (as elements of “protean career orientation”) in predicting positive graduate outcomes.

Self‐report surveys were administered to 208 creative industries graduates from two Australian universities at two points in time: at course completion, and one year later.

The paper finds that individual career management competence and intrinsic work motivations, measured at course completion, were significant predictors of early career success, using both subjective and objective measures, measured one year later.

This study suggests that an emphasis on student development beyond the traditional “key” employability skills may well be worthwhile. The paper also suggests a broad learning and teaching approach by which universities can encourage the development of student career identity, and thus engender student intrinsic career motivations and career self management skills and behaviours.

This is one of the first studies to demonstrate empirically a link between a particular set of skills and graduate outcomes. In addition, it provides insights into the role of student career motivations in positive transitions to the world of work in the creative industries.

Th purpose of this paper is to represent the role of social capital for the knowledge management system (KMS) in the kind of literature which is related to the topics in the creative industry.

This paper uses conceptual and literature study with empirical quantitative and qualitative investigation to validate. As some literature states that KMS is an organizational process and tool for acquisition, conversion, application and protection of existing knowledge as a way to use, develop and manage it which comes from internal and external organizations.

Literature shows that for some organizations, knowledge is gained through research and development (R&D) of the internal organization. In contrast, the creative industry requires knowledge that is derived from social capital such as social environment and community. The social environment and community (social capital) will provide knowledge that is required for the existence of the creative industry in producing the creative product that may represent the social context in which the creative industry exists. This study uses a meta-analysis as a tool of analysis to classify previous research and studies regarding the roles of social capital for KMS in the creative industry that were used as the cornerstone of the research.

Studies in the creative industry previously show that knowledge is a collaboration of tacit knowledge and explicit knowledge which is gained from various the creative classes within the industry. As a renewable resource-based industry, creativity, skill and talent are resources that are used to be commercialized to gain wealth for not only big industries but also for micro, small and medium economies (UMKM) that mostly done by communities, to create employment through the exploitation of intellectual property. Therefore, the creative industry can be meant as a knowledge-based industry that requires the application of KMS in its operation.

The purpose of this paper is to examine the relationship between entrepreneurial orientation, innovation capacity, and firm performance in the creative industries context.

The paper uses a survey‐based empirical analysis.

Innovation capacity mediates the relationship between entrepreneurial orientation and two different measures of firm performance in the creative industries.

These results suggest that success in the creative industries requires significant alignment between the entrepreneurial management and creative capabilities of the firm. Firms must identify unique opportunities to exploit that will foster and best leverage their creative competencies.

In addition to providing initial insight on the relationship between entrepreneurial action, innovative capacity, and performance with the creative industries, the paper also is one of the first on the creative industries to focus on firm‐level strategy.

States that the idea of grouping a number of cultural, commercial and industrial activities together under the banner of the “creative industries” is relatively new but it has already been the focus of considerable interest, discussion and policy making within the UK. Acknowledges that the government has been keen to promote the creative industries as a major success story and a key element in the knowledge economy. Looks at what is seen to constitute the creative industries, reviews some of the evidence about their contribution to the economy and outlines some of the management challenges and the support and promotion initiatives associated with these industries.