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The under‐representation of entrepreneurial women, or women leaders, in the higher levels of organisations is an increasingly debated issue. Comments in the media regarding the lack of women in senior management positions in the creative industries have attracted much attention, both for and against. Despite opposing viewpoints there is little doubt that this is an issue that requires investigation. However, understanding the under‐representation of women in senior management, leadership and ownership roles has been problematic due to a lack of “hard data”. The purpose of this paper is to provide a quantitative understanding of the under‐representation of female leaders in the UK's creative and cultural industries. Based on a study completed by TBR for the Cultural Leadership Programme (CLP) it presents baseline data and groundbreaking analysis to understand gendered leadership in organisations.

The study for CLP established a quantitative evidence base to benchmark the number of women in leadership in the creative and cultural industries. This was possible by utilising a unique data resource, TCR, which enabled detailed analysis of gendered management structures in creative and cultural organisations. We use this evidence base to further understand gender diversity in organisational leadership positions and the characteristics of different leadership styles.

The study generated unique understanding regarding gendered leadership within the creative and cultural industries. It identified that there are 32,800 female and 82,450 male leaders in the creative and cultural industries and despite there being a comparatively high proportion of all‐female managed organisations, there are half the number of female executives per organisation compared to the UK average.

A trend of polarisation of all female and all male led organisations was identified over the last 25 years, which was reflected in recognition of distinct female and male leadership styles. The study proves some assumptions about the leadership approach of men and women and identifies characteristics similar to the transactional and transformational styles described in Women at the Top by Holden and McCarthy. Unless this trend is reversed, it is likely to become increasingly important for women and men to develop skills in both transactional and transformational leadership styles.

The paper provides a new examination of the balance of male and female leadership in organisations and significantly furthers debate about the under‐representation of women in leadership. It provides “hard‐data” to inform future dialogue regarding entrepreneurial women and further investigates the lack of women in leadership.

The purpose of this paper is to investigate the role of intersectoriality within the cultural, creative and tourism industries in Italian local development.

The research design builds on the literature on culture-led development and adapts the established body of empirical research on industrial districts to tourism and cultural development. The quantitative analysis of intersectoral specialization and the clustering of cultural, creative and tourism industries in Italian local labour systems (LLSs) combines specialization indexes with principal component analysis and cluster analysis.

About 50 per cent of Italian LLSs specialize in the economy of culture and tourism, mostly in material culture, although tourism has the highest level of specialization. There are three main patterns of agglomeration and clustering. The largest cluster is that of the cultural heritage and content and information industries, which coincides with the systems of medium-sized and large cities, followed by systems of tourism monoculture. The smallest is made up of material culture, typically made-in-Italy sectors. The tourism and material culture industries are monocultures – where tourism agglomerates, but material culture does not.

The analytical approach is quantitative and based on Istat’s Industry and Trade (2012) data set. Further studies are needed on the interaction between agglomerated specialized industries.

This paper contributes to the theoretical and political debate on the value generation and innovation potential of culture and creativity, and bridges the knowledge domains of local development and managerial studies. Novel statistical evidence on intersectoral specialization and the clustering of the cultural, creative and tourism sectors in Italy at the inter-municipal level is provided. This study helps to identify an Italian model of the economy of culture and tourism.

This paper develops a new model of policy development for the creative industries in a transitional economy setting. These sectors could potentially make a significant contribution to the continuing growth of the Vietnamese economy; however, they are currently held back by a lack of policies designed to support them

The paper uses data collected from a mixed-methods study of the creative and cultural sectors in Vietnam. The paper combines quantitative results from a mapping project with ethnographic observations and several qualitative interviews to identify the policy needs of the sector.

The paper develops the INCITE model of policy development composed of four parts: education and human resources, infrastructure, intellectual property rights and freedom of speech.

The paper contributes to our understanding of the kinds of policies needed to support the creative industries by exploring their development in an economy transitioning from a state planned economy to a market-driven one.

This paper aims to investigate the European and Latin America urban cultural policies that could enhance cultural and creative sustainable tourism products development.

The methodological framework is based on a comparative case study regarding the importance, dynamics and policies associated to cultural and creative tourism in four Ibero-American cities, namely, Brasilia, Buenos Aires, Lisbon and Madrid.

This exploratory analysis underlines the growing importance of cultural and creative tourism in the four capital cities. On one hand, cities reveal different tourism impacts and, on the other hand, they are associated to different cultural and creative sector structures. Cities cultural and creative performance put in evidence that sustainable cities index, global talent competitiveness index and cultural and creative cities monitor, tend to position Madrid in the first place followed by, Lisbon, Buenos Aires and Brasilia.

In general, and despite the importance of space in the creative process, there is little research on the geography of the creative industries and there is a lack of cross-country comparative studies so that it is difficult to assess the particularities of each model of creativity.

Cities could enhance more efforts in investing, not only in the traditional cultural infrastructures but also on the new forms of culture, new technologies, new makers, new audiences based on their attributes, activities and labels, in a framework of urban sustainable policies based on “innovation,” “inclusiveness” and “interconnectivity.”

The originality of the paper lies in the comparative analysis of four cities based on cultural and creative sector and tourism interconnections. Simultaneously, it lies in an exploratory model application.

In-person film festival experiences have faced uncertain futures since the spread of COVID-19. Snap-lockdowns, unclear and rapidly changing rules to public density allowances in theatres, distribution and challenges of “working-from-home” have become prominent issues to creative and cultural workers employed within the film festival ecosystem. The purpose of this paper, drawing from a series of interviews with film festival directors, organisers and workers within Australia, offers insight into the working lives of those employed within the film festival sector during 2020.

Using the research team's existing professional networks and a targeted approach of participant recruitment, this paper draws upon interview data from 5 semi-structured interviews with participants located in various Australian capital cities, who were working in the film festival sector during 2020. Participants were all mid-career, having at least 5 years of employment experience within the film festival ecosystem (directors, programmers and content creators) as well as having experience in other adjacent cultural and creative work.

The results in this study highlight common concerns of the legacy precarity has on professional and creative practice for those engaged in creative and cultural work, but also of unusual and unexpected opportunities for creativity and new film festival delivery beyond the dominant mode of in-theatre only experience pre-COVID-19.

The originality of this study lies in its qualitative exploration of the various employment experiences of Australian film festival workers during COVID-19.

Kenya leads East Africa in creative goods export and enjoys high internet penetration. Therefore, identifying pathways, missed opportunities for accelerating job creation and development in the sector and strategies for mitigating youth-related challenges are essential. This paper therefore aims to examine the effects of digital media and the cultural and creative industry (CCI) on youth employment and economic development.

The document review and analysis data came from 45 scientific and 23 grey literature articles. While the lack of primary data is a study limitation, secondary data were drawn from the United Nations Conference on Trade and Development Statistics and the 2016–2022 entertainment and media outlook analysis. Microsoft Excel 2021 for Windows was used to analyze quantitative data and generate results.

Since the CCI sector is characterized by limited financial opportunities, low youth participation in the labor force and weak policy frameworks, success in the industry requires key pathways. These include investment in digital-led innovations, developing innovative models, building partnerships with the private sector, strategic investment by government in the potential creative industry sub-sectors and identifying successful scaling-up models.

Information gathered through this study is crucial to counter the youth unemployment challenge and strategy identification, which could be used in skills and capabilities development in the potential creative economy. Future researchers must explore how to apply the proposed creative capacity theoretical lens to inform research in the sector.

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.

This paper aims to identify firm and entrepreneurial team characteristics that may contribute to resilience in the creative industries (CI) under adverse economic conditions.

It provides case study evidence based on 19 in-depth interviews with small and young creative enterprises in Greece in 2014 that is at the peak of the Greek economic crisis. New information was collected from two follow-up waves conducted in 2017 and during the recent coronavirus disease 2019 (COVID-19) pandemic crisis.

The results suggest that highly internationalized entrepreneurial teams with extensive working and studying experience abroad, which also combine creative expertise with managerial and marketing expertise, are key resilience drivers during economic downturns. Moreover, being export-oriented, serving a diverse customer base and investing in digital technologies seem to allow CI firms to effectively adapt to challenging conditions.

This study adds to the firm-level research on the resilience drivers of small and young enterprises in the CI context. It proposes and empirically tests a conceptual framework to advance the limited knowledge on entrepreneurship and resilience patterns in the CI during crisis periods, emphasizing specific entrepreneurial team and firm characteristics.

The purpose of this paper is to describe the influence of the creative industries on design education in New Zealand.

A range of contemporary literature is presented to help define the term “creative industries”, and to locate this new “culture of creativity” within a wider global trend of creative cultural theory.

Cultural policy initiatives from Britain, Canada and New Zealand are reviewed and used to demonstrate how creative industries theory has sought to combine social, cultural and economic development.

This paper is primarily concerned with recent changes to design education and the ways in which universities and polytechnics are attempting to meet the challenges of this new holistic approach to creativity and innovation.

In the final section the concept of interdisciplinary study of design is explored. This new model is developed through the example of a new interdisciplinary programme structure developed by the Wellington Institute of Technology in New Zealand.

In conclusion the concept of a “virtuous cycle” is used to describe the relationship between design education and the creative industries. This paper argues that, if this cycle continues, the creative industries will expand to become the model for a new economy based on social, cultural and economic entrepreneurship and change.

This paper concerns the pivotal role that entrepreneurial universities can play in developing knowledge transfer and translation processes tailored to the cultural ecosystem.

The paper examines IncubiAmo Cultura, an innovative project that aims to mentor potential entrepreneurs and offer incubation and acceleration for cultural start-ups. The research methodology is based on action research and theory building from cases. An interventionist approach has been adopted, as one of the authors is also the founder of the ongoing project.

The in-depth collection of first-hand information on this pilot project has allowed the authors to formulate an analytical reflection and generate the design of a knowledge translation model driven by an entrepreneurial university that manifests itself through the creation of cultural and creative start-ups.

This article offers an original contribution to scholarship by offering a conceptual model for knowledge translation in cultural ecosystems. Common values (i.e. social, cultural, ethical and aesthetic ones) emerge as the basis on which to build open innovation and knowledge circulation.

For local policymakers, this study provides a clue to understand the need for both an integrated vision of knowledge translation and policies that aim to make an impact at the cultural ecosystem level. For entrepreneurial university governance, our investigation offers suggestions on the design and implementation of knowledge translation processes that fit with the specificity of the cultural ecosystem. For practitioners in the cultural field, a change of mindset is required to combine resources, energies and knowledge.

This work fills several gaps in the literature, as research generally concerns knowledge transfer from entrepreneurial universities to the market with regard to high-tech sectors. In contrast, the cultural sector is often neglected, despite its importance in the renewal and development of a territory.