Creative Industries Strategy 2013-2016.pdf

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Creative IndustriesStrategy 2013-2016


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Creative Industries Strategy| 2013-2016

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The creative industries make up one of the UKs leading industrialsectors, responsible for 1.4 million jobs and 5.3% of the countrysgross value-added (GVA). The UK has a share of around 5% of theglobal export market for creative goods1. It is a broad and diversesector which ranges from advertising and crafts to performing artsand video games. As well as their direct economic value, theseindustries play an important role in catalysing innovation across the

wider economy, through the products and services they provide, butalso as means of originating and spreading new ideas, knowledgeand ways of working.

Since the publication of our 2009 creative

industries strategy, the major trendshave been the continued digitisation

of the sector, audience fragmentation,

convergence and disintermediation

all of which have led to a landscape of

increased connectivity, complexity and

growth. Our consultation and analysis

has suggested that there are significant

opportunities for businesses able to

capitalise on these trends.

The Technology Strategy Board has a

critical role to play in helping the sector

realise its potential. We are investing in

research and development and support for

creative businesses, particularly start-ups

and small and medium-sized enterprises

(SMEs), encouraging them to experiment,

take risks and establish new markets.

We recognise that innovation in the

creative industries is driven by an intricate

relationship between content and

technology; the collaboration between

artist and scientist. We will furtherdevelop our already good relationships

with partners, such as cultural institutions

and other organisations in the sector, to

explore how we can best work together

through our various remits (in innovation

support, fostering the arts and content

creation, advancing skills development

etc) to further enhance the innovation

climate in the UK.

E X E C U T I V E S U M M A R Y

Creative industries are responsible for

1.4 million UK jobs.


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O U R S T R A T E GY

Opportunities

The sector has continued on the trajectoryforecast in our 2009 Creative industries

strategy2and many of the challenges andopportunities identified then remain valid.The major trends of continued digitisationthroughout the sector, fragmentation ofaudiences, changing user behaviours,convergence and disintermediation or cutting out the middleman have allcontributed to the emergence of a digitallandscape of increased complexity3.

These trends are disrupting establishedvalue chains while at the same time

providing considerable potential forgrowth. Analysts Booz & Company arguethat growth in the creative industries will besignificantly driven by digital technologiesand estimate this will be worth anadditional 5bn to the UK economy4.

We would expect to invest in excess of30m in support of the creative industriesstrategy implementation. Details aboutspecific activities, support and investmentare available in our annual Delivery Plan,published on www.innovateuk.org

We have identified three themes that wesee as offering the main challenges andopportunities for the creative industrieswhere we can provide support:

Convergence

With the continued emergence of newplatforms, products and services,technical and service interoperability willbe increasingly important for businesses.They can then ensure that their servicesand content work across different devicesand environments to suit the demands andexpectations of consumers.

Transaction

New platforms, disintermediation, andfragmentation of markets all present

challenges in building relationships withusers and capturing value, but we believethat there are sizeable opportunities,including digital currency, and easyfriction-free licensing and commerce.

Data

The proliferation of data provides two broadopportunities. The first is to enable easieraccess to creative products, with metadataand open-data standards crucial in finding,retrieving and using content. The second is in

the analysis, interpretation and presentationof data to make it accessible and useable forbusinesses and consumers.

Cross-cutting themes

Alongside these, there are four cross-cutting themes that we believe recognisethe unique opportunities that the creativeindustries have in working together andwith other sectors:

knowledge sharing

cross-sector innovation

design

sustainability.

These will inform where and how wesupport the creative industries. We willfocus our activities where we believeUK businesses stand to gain most successand where our funding will make themost difference. In making investmentchoices we will consider criteria around

market opportunity, technological capabilityand the difference that Technology StrategyBoard can make with limited resources.

We would expect to invest in excess of 30m in

support of the creative industries strategy.


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O U R S T R A T E GY c o n t i n u e d

Convergence

In convergence we will:

help businesses develop newtechnologies, products and servicesin response to the challenges andopportunities arising from convergence:authoring, producing and distributingmedia across multiple platformsand devices, addressing issues ofinteroperability, and designing forchanging consumer behaviours

work with government departments,research councils, cultural organisations

and other partners to ensuremaximum impact.

Transaction

In transaction we will:

support the development of platformsand technologies, or encouragecollaborations, that facilitate transactionthroughout the value chain, from thevaluation and licensing of digital assetsto the creation, distribution, purchase andconsumption of creative content.

Data

In data we will:

support the development of improveddata and metadata tools andtechnologies to enhance the value ofcreative products and services.


In knowledge sharing we will:

continue to support knowledge sharingthrough our investments in the CreativeIndustries KTN, _connect, the ConnectedDigital Economy Catapult, special interestgroups etc, and collaborations withpartner organisations

continue to contribute to the work of theCreative Industries Council.

In cross-sector innovation we will:

encourage and support innovationbetween the creative industries andother sectors of the UK economy, suchas health, energy and cities, throughprogrammes in design and sustainability.

In design we will:

bring together the technology innovationand design communities to leveragethe power of design earlier in the R&Dprocess and enhance the commercialsuccess of new products and services.

In sustainability we will:

work to promote our Horizons tool

and stimulate creative applications oftechnology for sustainability in order toenhance UK competitiveness.


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W H Y A R E W E SUPPORT INGC R E A T I V E I N DUS T R I E S ?The UKs creative industries have anestablished international reputation for

driving innovation in product, services,

content and experience as well as making

a major contribution to the UK economy.

Nearly 1.5 million jobs

The sector is a vital part of the UK economy.Nesta estimates that the creative industriesemploy around one in 20 of the UKworkforce, arguing labour productivity ison average higher in the creative industriesthan in the rest of the economy. If weinclude the creative economy (both the

creative industries and those with creativeoccupations working in businesses outsidethe sector) the value is substantially higher,with a 2.5 million strong workforce11.

A world-class sector

The creative industries are recognisedglobally as one of the UKs leading sectors.Many creative industries sub-sectorsare world leaders, and having one of theleading creative economies provides UKcompanies with a higher and more positive

profile than many of their competitors. Thismakes the UK a more attractive place tolive, work, visit and in which to invest12.

Growth despite

economic uncertaintyThe prospects for the creative industriesare good and they are considered to beone of the sectors that can help to pushthe UK into a sustained economic recovery PwC has forecast a compound annualgrowth rate of 4.2% for the UKs mediaand entertainment sector to 2016, higherthan Germany or France13. This will buildon impressive performance over the lastdecade, with creative jobs growing by9% between 2004 and 2010, comparedwith 1.6% for all jobs14. Exports have also

flourished; the value of UK TV exportsincreased by 127% between 2006 and2009 putting us second only to the US interms of international sales15.

A sector that remainsunder-capitalised

Despite the strengths of the sector, creativebusinesses have often struggled to secureprivate investment, and access to finance isidentified as a core barrier to growth for manybusinesses and entrepreneurs16. There is a

range of reasons for this, including issuesaround the high risk valuation of intellectualproperty and content assets and perceivedlower than desirable levels of businessand management skills. The sector is oftencharacterised (and caricatured) as being

dominated by start-ups, micro enterprisesand lifestyle businesses that put too muchemphasis on creative rather than commercialobjectives. As Eric Schmidt put it in his 2011MacTaggart lecture: The UK does a great jobat backing small firms and cottage industries.But theres little point getting a thousandseeds to sprout if theyre then left to wither orget transplanted overseas. UK businessesneed championing to help them grow intoglobal powerhouses...17

The Technology Strategy Board has animportant role to play in assisting young andsmall businesses in becoming investmentready, helping to unlock more substantialprivate investment in the sector.

Despite its achievements, much more canbe done to ensure that the sector continuesto grow and contribute to the UKs long-term prosperity. This ambition is sharedboth by industry and government, withChancellor George Osborne announcingin his 2011 Budget speech that he wantedthe UKs creative industries to be a world-beating sector.

Economic importance

at a glance the creative industries contribute 5.3%

of UK GVA, and employ 1.4m

the UKs entertainment and mediamarket is the fifth largest in the world5

the UK exports more than 100m indesign services each year6

the UK film industry contributed over4.5bn to UK GDP in 20097

the UK is one of only three countries(along with the US and Sweden) to bea net exporter of music8

the UK has the largest publishingindustry in Europe, exporting more booksthan any other country in the world9

the UK advertising industry is worth16bn a year. Over two-thirds ofglobal advertising agencies have theirEuropean headquarters in London10


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W H A T A R E T H E CHALLENGESA N D O P P O R T U N I T I E S ?

Case study

Collaborative R&D: Tangentix

e e - ase angentx exp o te ts expertse n grap cs compresson

t roug a partners p wt nteca, an n epen ent games stu o

speca sng n we an mo e. e r on t pro ect to eve op t e r

tec no o gy to ena e t e rea - tm e v e w n g o g - e n t on grap cs

on a we rowser receve un ng rom our o a oraton across g tan ustr es ast trac compet t on. n opportun ty to test t e tec no ogy came

t roug t e nvers ty o ra or s arc aeo ogy epartment , w ose arge

co ect on o ancent ones nee e to e scanne , converte nto g -

resouton mo e s an t en e vere across t e we , a owng t to e eas y

accesse an s are . e t ree partners were a e to sove ey tec n ca

c a enges aroun compress on a gort ms an geometry an t e resuts

are now e ng app e n t e g ta enterta nment sector.

Major trends changing the creativeindustries include the continued

digitisation of the sector, audiencefragmentation, convergence and

disintermediation all of which have

contributed to the emergence of a digital

landscape of increased connectivity,

complexity and growth18. However,

digital technologies themselves are

not what make the market. Rather,

it is compelling content that attracts

consumers and audiences, and

which gives creative businesses theopportunity to transact over digital

platforms, using data to maximise value.

Our consultation with businesses hassuggested that there are significantopportunities for businesses able tocapitalise on these trends. AnalystsBooz & Co argue that significant growthin the creative industries is driven bydigital technologies and estimate this willbe worth an additional 5bn to the UKeconomy19. Based on this consultation andour own analysis, we see four main areasof particular relevance to thecreative industries.

Convergence

a defining trendThe migration of content across differentmedia networks and platforms offers creativebusinesses opportunities toextend services, interact more withaudiences, target new demographicsand develop completely new service andexperience formats.

Streaming audio and video now dominatenet traffic, constituting around half of all dataon tablets and smartphones. Advances incompression, the spread of wi-fi, mobileconnectivity, and the proliferation of deviceshave created commercial potential but alsopose threats to some existing businesses.For the music industry in particular, this hasproven to be extremely disruptive, with recordlabels experiencing what the BPI has calledthe perfect storm for music consumption20.

As a result of this, cross-platform productionis becoming increasingly central to contentbusinesses. However, it is still an emergingfield and many businesses, established indistinct sectors, are struggling to respondto the opportunity. This is not just a creativechallenge. Even those such as newspapers,which have succeeded in producingcompelling digital media content andbuilding up large readerships, are still tryingto identify sustainable business models in thecontext of cross-platform production.

Businesses are adapting to convergence inother ways, by providing new experiencesusing pervasive media (delivering mobile

content relevant to what you are doing),or hyper-local media (delivering timely,geographically-based content), adoptionof which has been driven by growingpenetration and use of smartphonesand tablets21. The exploitation of intellectualproperty across multiple platforms is thusbecoming increasingly critical to commercialsuccess. Producers need to develop thetools and work processes that allow themto re-purpose content and assets for use indifferent contexts and across an ever morediverse range of devices.

Opportunities in this area include cross-platform content and special-effectsproduction, pervasive media, and 3Dprinting/additive manufacturing.


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Capturing value and

managing transactionsTraditional creative value chains havebeen fundamentally disrupted, with newopportunities for businesses either tobypass traditional retail or to find newways of mediating it. Some new modelsfor distributing and sharing contenthave blended retail and social models.Businesses sometimes act as onlinemarketplaces (or mixed marketplaces), likeAmazon, Etsy or eBay, where vendors canuse enabling e-commerce systems to selldirect to the consumer.

Artists and publishers can use thesesystems to adopt direct-to-consumerstrategies and capture new digitalaudiences. Innovative business models

focusing on curation, subscription, andoften high-quality content have helped

some creative businesses to developnew income streams; for instance,earnings from digital subscriptions forThe Financial Timeshave now overtakenadvertising revenue22. We have seenthe growth of subscription services likeDeezer and Spotify, which has over sixmillion premium subscribers, all paying amonthly fee to access unlimited content23.The music industry now has more than 70licensed online platforms.

Content producers have never before hadaccess to distribution channels that canreach global audiences so quickly, or had thepotential to understand their consumer baseso thoroughly. Consumers have never beforehad such easy access to such a vast array of

content in all forms. But many establishedcontent businesses are still struggling tocapture sufficient value in markets wherecustomers and audiences are so fragmentedand which are dominated by new (mainlyUS-based) entrants.

For all parties in the content ecosystem

content creators, content owners,distributors, licensees, retailers andconsumers there remain many areas inwhich the process of transaction is difficult,opaque and sometimes even impossible.The barriers to an ecosystem of smooth,effortless transactions between partiesinclude poor data, a lack of interoperability,

poor user experience in existing transactionspaces, and a copyright and intellectualproperty regulatory environment that hasstruggled to keep up with the pace oftechnological change.

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ase stu y

Collaborative R&D: Zoo Digital

oo g ta, a sotware company speca s ng n t e creat ve an me a

n ustres, recognse t e urgent nee among m an v eo pro ucers or

a secure system t at trac e me a es across t e pro uct on process, ut

as a sma us n ess t nee e e p w t resources an s s e ore t cou

un er a e nensve researc an eve opmen . pu oge er a consor um

o aca emc an pro uct on n ustry partners or our eta ata: ncreas ng

t e vaue o g ta contentcompet t on. e pro ect , pers stentcompetition. The project PARTEC persistent

an ro ust trac ng o entertanment content resu te n a teste prototype

now rea y to r ng to mar et.

e un ng as a owe us to turn our ea nto a rea ty n a reat vey s ort t me,u a prototype an now turn t nto a pro uct t at w en ance our porto o

an generate a tona revenue. tuart Green, chief executive, Zoo Digital


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W H A T A R E T H E CHALLENGESA N D O P P O R T U N I T I E S ? c o n t i n u e d

New approaches to data

Across the economy, data has becomerecognised as crucial to business success.With increased connectivity has comean increase in available data, and moreopportunities to manage and capture valuefrom it. When this data is embedded in instantor near real-time decision making, it becomeseven more powerful, with commentatorsforecasting a shift towards embedding data indecision-making and strategic processes24.

Use of metadata, the importance of whichwas identified in our 2009 strategy, hasmushroomed, with metadata solutions

enabling new ways of driving contentdiscovery, licensing, consumption and new,as yet undetermined, business models.Metadata is no longer a niche interest itis now mainstream. Analytics and metricshave become contested areas, with issues

around data ownership, value and validity,and access to data skills, presenting new

commercial and innovation challenges.

For all the opportunities presented bydata, some parts of the creative industriesstill lag behind others25. The recognitionof its value is growing in other sectors,with McKinsey estimating that a retailerusing big data could increase its operatingmargin by more than 60%. Data is similarlytransformative for the creative industries,where it can help to understand audiences,pilot products, and increase the efficiencyof production processes26. However, asargued by Nesta, relatively few creativebusinesses have been willing or able totake full advantage of this despite someexcellent innovations in the sector.


Knowledge sharing and cross-sectorinnovation

The creative industries are increasinglyrecognised for the wider value they bringto the UK economy as a whole. Whether inthe connections between film and tourism,designer fashion and retail or architectureand construction, the creative industrieshave strong commercial networks andlinks across the economy. Such linkscan be found at the very forefront oftechnological innovation for instance, thenovel application of 3D gaming engines in

medicine and engineering.

The creative industries act as an

innovation catalyst in four main ways:

Helping businesses innovate

Expertise in design, craft and audio-visual production helps other industriesto innovate by providing tools, processes,new ways of thinking or skills that can leadto new products and processes27.

Embedding innovation in other sectors

Those in creative occupations are oftenembedded in businesses in other sectors,particularly design-intensive industriessuch as healthcare or automobilemanufacturing, either working in-houseor as freelancers. Individuals in creativeoccupations have been found to be arobust driver of tangible innovation whenthey work in other sectors28.

Pioneering ways of working

The creative industries have adoptedmodels of business practice that areshared across the economy such as hot-desking and collaborative team working,which originated in advertising agencies.Creative businesses compete through anemphasis on the new and original, which

requires organisational structures, andspecific attitudes and skills, including skillsat interpretation, a willingness to try newthings and tolerance of ambiguity29.

ase stu y

Feasibility funding: Ostmodern

stmo ern s a young usness prov ng pro ucts an strateg es or t e enterta nment an me a sectors, w t a partcu ar ocuson v eo-on- eman content management, nter ace esgn an cross-p atorm e very. stmo ern receve eas ty un ng

t at epe t to s t rom excusvey un erta ng serv ces or c ents to eveopng atc , ts own content pat orm. atc

ena es roa casters an ot er me a pro ucers to creatvey co a orate. t a content rary an espo e we ste u er, t

a ows sparate teams to wor toget er on e tora content rom programme concepton to roa cast.

e un ng rom t e ec noogy trategy oar as e pe us eve op a pro uct out o t e context o our norma c ent servc ng,

somet ng t at was mposs e to ac eve urng usness as usua. Thomas Williams, user experience director, Ostmodern



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ase stu y

IC tomorrow: BioBeats

o eats as expertse n musc, computer scence an me c ne, an

eve ops tec noogy powere y p yso ogca ata or app cat ons n

eat care. t manage to v sua se an son y ranwaves usng a custom-

u t ea set an an one, an progresse to capturng a persons

eart eat us ng an one a one n or er to create exper ent a mus c. y

co ect ng car ovascu ar ata n t s way, t ey rea se t at t ey were a e

to gan ns g ts nto a range o ea t con t ons. success u su m ssonto our tomorrow programme as a owe t em to wor w t n versty

o ege on on an to eg n eve o pment o a mo e an c ou -

ase servce t at o ers ot stress management sout ons to patents anc n ca n ormaton to menta eat care prov ers.

e opportun ty to wor w t a ea ng aca emc me ca centre an nsurerat t s ear y stage o our eve opment a ows us to ocus con ent y on

eat care an to emonstrate to our nvestors an ourse ves t at t e roa

to c n ca va at on an rem ursement mg t not e as ong an ar as t

seems. Dr Kristin Shine, chief medical officer, BioBeats

Creative content drives

technological development

There is a close relationship betweencontent production and technologicalinnovation. This is a result of consumersdemanding new ways of interacting withcontent30, but also comes directly fromcreative professionals. From the Lumierebrothers through to Charlie Chaplin,David Lean and Ridley Scott, film makers

have driven technological development,challenging inventors, scientists andengineers to meet their creative vision.Similarly, advances in sound engineeringand music technology were led by thecreative experiments of such talents asthe BBC Radiophonic Workshop, GeorgeMartin, Trevor Horn and Brian Eno.

The UKs creative industries remain worldleaders in innovation today, including theapplication of performance capture andaugmented reality tools in production, thedevelopment of social, second screen andconnected TV, merging the physical anddigital worlds in wearable technologies andthe emerging internet of things.

Design

Design is a particularly important instanceof how the creative industries can catalysewider innovation. Design is more thanjust one sub-sector within the creativeindustries. Rather it is a process, or set ofcreative skills and knowledge, which canbe applied to all sectors, adding valueto almost any business or organisation.Success or failure of a new product or

service, how attractive it is to consumersand how well it meets the demands of

users, will depend on the quality of itsdesign as well as how well the underlyingtechnology works.

The Design Council tracked publiclyquoted firms that emphasised the useof design between 1994 and 2004 andcompared them to those firms whoused design less. The design-intensivebusinesses outperformed their peers by200%31. The Innovation and Research

Strategy for Growthpublished by theDepartment for Business, Innovation and

Skills (BIS) found that the average returnon investment for every 1 invested indesign by business is over 2532.

While the value of design to businessgrowth generally is recognised, greaterappreciation is required of the particularrole of design in innovation.



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As outlined in our corporate strategy,Concept to Commercialisation:

A Strategy for Business Innovation33,our goal is to accelerate economic

growth by stimulating and supporting

business-led innovation.

With limited resources, we need to prioritisethe greatest opportunities for technologyto improve the production, distribution andconsumption of creative content, productsand services, and thereby strengthen theprofitability and competitiveness of the UKscreative sector.

Making choicesWhere we see opportunities we apply fourcriteria to determine whether to supportand invest:

is there a large (global) marketopportunity?

does the UK have the capability?

is the idea ready is the timing right?

can the Technology Strategy Boardmake a difference?

We also view all of our activity throughthe lens of sustainability, having workedwith Forum for the Future to develop asustainability framework to inform our work.This has also led to the development of theHorizons tool which companies can use todevelop sustainable plans to future-prooftheir businesses.

We would expect to invest in excessof 30m in support of the creative

industries strategy implementation.Details about specific activities, supportand investment are available in ourannual Delivery Plan, published onwww.innovateuk.orgFollowingconsiderable development in the creativeindustries over the last five years, wehighlight four areas of strategic importanceto the sector: convergence, transaction,data, and cross-cutting themes.

Convergence

In convergence we will:

use our collaborative R&D, feasibility studyand IC tomorrow programmes to supportbusinesses addressing the challenges inenabling content, narrative and experiencecreation and production across differentmedia environments

invest in R&D to address the challenges ofconsumers use of multiple devices, acrossdifferent networks, and in different contexts

work through the Creative IndustriesKnowledge Transfer Network and the

Connected Digital Economy Catapult tofacilitate development of new productsand services which create value acrosscreative sectors by applying capabilitiesfrom one sector to another

invest in the development oftechnologies to increase different formsof interoperability between networks,applications platforms and devices.

Transaction

In transaction we will:

use our collaborative R&D programmesto support development of platformsand technologies that facilitatetransactions for content creators,content owners, distributors, licensees,retailers and consumers

support new approaches to ascribingvalue in digital assets in order todevelop new transaction platformsand services

encourage innovation in user-interface

design to improve the overall experienceof acquiring, interacting with, licensingand trading digital content

engage with technology companiesand rights owners to collaborate oncreating pre-market, future models fordigital exchanges.

Data

In data we will:

use our collaborative R&D programmesto support the development of robustdata and metadata systems forenriched, more applicable informationabout content and its use

support the development of toolsfor analysing, interpreting andpresenting data that are accessibleand easy-to-use

invest, through the Catapults and otherprogrammes, in projects that integrate

and link different kinds of rich datasets to provide creative innovators withthe capability to develop new ideas,products and services.

OUR CREATIVE INDUSTRIES STRATEGY



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We have also identified four cross-cuttingthemes that we will address across all ourprogrammes and activities.

In knowledge sharing we will:

continue to support the CreativeIndustries KTN, _connect, and theCatapults to promote networking,collaboration and cross-disciplinarylinks between businesses and individualentrepreneurs in different creativeindustries sectors and outside thecreative industries

work through _connect, specialinterest groups, trade associationsand professional bodies to bridgethe cultural and commercial divisionsbetween artists, content creators,producers, engineers, scientistsand technologists

collaborate with the Department forBusiness, Innovation and Skills (BIS),Department for Culture, Media andSport (DCMS), Creative Skillset, theBFI, the Arts Council, Creative England,Nesta, the Arts and Humanities

Research Council (AHRC) and the otherresearch councils and other agenciesto achieve integrated support forinnovation in the creative industries

contribute to the work of the CreativeIndustries Council.

In cross-sector innovation we will:

encourage creative businesses totransfer skills, expertise and tools theyhave developed to other industrial andeconomic sectors through the CreativeIndustries KTN, IC tomorrow, the designand digital healthcare special interestgroups, and other programmes.

In design we will:

continue to encourage the use ofdesign earlier in the R&D process,including through the Design Optionpilots and the Design Special InterestGroup, so that firms save time andmoney, and have a better chance ofcommercial success

build up a body of evidence andsuccess stories in collaboration with theresearch councils and other bodies todemonstrate the value of the early useof design in the innovation process

support UK business innovation bybuilding a community of designers andtechnology innovators to engage withour design in innovation activities.

In sustainability we will:

work to promote our Horizons tooland stimulate creative applications oftechnology for sustainability in order toenhance UK competitiveness.

Delivering through partnership

Innovation in the creative industries isoften driven by the impulse to createnew intellectual property (storytelling,experiences, formats, and other content or

services), which drives the development ofnew tools and technologies, which in turncreates a requirement for new skills.

The Technology Strategy Board addressesthe all-important technology element ofthis. We will continue to seek opportunities

for partnership with bodies supportingother aspects of innovation including theresearch councils, the BFI, Nesta, CreativeSkillset, Creative and Cultural Skills, theArts Council, Creative England, localenterprise partnerships and others.

We will develop relationships with culturalinstitutions, and other organisations in thesector, to explore their role in fosteringcontent creation, skills development andother activities subsequently relevant toinnovation in the commercial sector.


12/12Creative Industries Strategy | 2013-2016

The Technology Strategy Board is a business-led executive non-departmental public body, established by the Government. Its role is to promote and support research into, and development and exploitation of, technology and innovation for the benefit

of UK business, in order to increase economic growth and improve the quality of life. It is sponsored by the Department for Business, Innovation and Skills (BIS). T: 01793 442700www.innovateuk.org T13/067 September 2013

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Consultation

The development of this strategy has beeninformed by a consultation process includinground tables and one-to-one consultationwith creative businesses and sector bodiesfrom January to March 2013. An onlinesurvey was also circulated to CreativeIndustries Knowledge Transfer Networkmembers to gain a wider industry view.

1UNCTAD (2010) Creative Economy Reportwww.unctad.org

2Technology Strategy Board (2009) Creative

Industries Technology Strategy 2009-2012

www.innovateuk.org3PwC (2012) refer to this as the

The Digital New Normal... a wider shift to acollaborative ecosystem-based economy

www.pwc.co.uk

4Booz & Company for Creative England and

Google (2013) The Digital Future of CreativeU.K: The Economic Impact of Digitization and

the Internet on the Creative Sector in the U.K.and Europe www.creativeengland.co.uk

5PwC (2012) Global Media Outlookwww.pwc.co.uk

6UKTI (2013) Boost for UK cr eative industries

[collated statistics] www.ukti.gov.uk7Oxford Economics (2010) The Economic

Impact of the UK Film Industry

www.oxfordeconomics.com

8http://www.prsformusic.com/

creators/news/research/Documents/

AddingUpTheUKMusicIndustry2010.pdf pg. 5

9BIS (2012) UK trade performance across

markets and sectors www.bis.gov.uk

10UKTI (2013) Boost for UK c reative industries

[collated statistics] www.ukti.gov.uk

11Nesta (2013) A Manifesto for theCreative Economy www.nesta.org.uk

12All data BIS (2012) UK trade performanceacross markets and sectors www.bis.gov.uk

13PwC (2012) Global Media Outlookwww.pwc.co.uk

14Nesta (2013) A Manifesto for the CreativeEconomy www.nesta.org.uk

15Communication Chambers for PACT (2011)Creative UK: The Audiovisual Sector &

Economic Success www.pact.co.uk16See for instance, European Commission (2012)

Unlocking the potential of cultural and creativeindustries ec.europa.euor Demos (2011) Risky

Business www.demos.co.uk

17Google executive chairman Eric Schmidt,

McTaggart Lecture 2011 http://www.youtube.com watch?v=hSzEFsfc9Ao

18PwC (2012) refer to this as the The DigitalNew Normal... a wider shift to a collaborative

ecosystem-based economy.

19Booz & Company for Creative England and

Google (2013) The Digital Future of Creative

U.K: The Economic Impact of Digitization andthe Internet on the Creative Sector in the U.K.and Europe www.creativeengland.co.uk

20BPI (2012) Digital Music Nation: The UKsdigital music landscape www.bpi.co.uk

21Kantar Media for Nesta (2013) UK Demand forHyperlocal Media www.nesta.org.uk

22Media Week (2012) FT digital subs overtake

print circulation (Online at:http://www.

mediaweek.co.uk/news/1143173/)23Data provided by Spotify (2013).Available online at http://press.spotify.com/uk/

information/

24For instance, Gartner (2012) Top 10 Strategic

Technology Trends for 2013 www.gartner.com

25For instance, the McKinsey Global I nstitute(2011, Big data: The next frontier for innovation,

competition, and productivity) argue that arts,

entertainment, and recreation sector is amongstthe hardest to capture the value in big data

within. Nesta (2013, Counting what counts)argue: The current approach to the use of

data in the cultural sector is out-of-date andinadequate. (p3). www.mckinsey.com

26Adapted from McKinsey Global Institute(2011) Big data: The next frontier for innovation,

competition, and productivity

www.mckinsey.com

27Work Foundation (2011) The Contribution ofAdvertising to the UK Economy

www.theworkfoundation.com

28Neil Lee & Emma Drever (2012) The creative

industries, Creative Occupations and Innovation

in London, in European Planning Studies.Published online: 25 Sep 2012.

29Kate Oakley for Nesta (2008) The art of

innovation: How fine arts graduates contribute to

innovation www.nesta.org.uk

30European Commission (2012) Unlocking thepotential of cultural and creative industries

ec.europa.eu

31Design Council (2005) Design Index: The

Impact of Design on Stock Market Performance

www.designcouncil.org.uk32BIS (2011) Innovation and Research Strategyfor Growth www.bis.gov.uk

33Technology Strategy Board (2011) Concept

to Commercialisation. A strategy for business

innovation, 2011-2015 www.innovateuk.org

Images:

Thank you to our partners for the use images toillustrate this strategy.

Page 2 (left) Usher Looking 4 Myself. Courtesy

of Samsung, Framestore. Page 2 (right)Courtesy of Moving Picture Company. 2013

Warner Bros Entertainment Inc and LegendaryPictures Funding. Page 4 (left) Courtesy of

Ncam Technologies and Nvizible. Page 7

Vicon Blade software. Courtesy of Vicon/TheImaginarium. Page 9 Courtesy of Moving Picture

Company. 2013 Disney Enterprises Inc.

Technology Strategy Board

North Star House

North Star AvenueSwindon

SN2 1UE

Tel: 01793 442700

Email: suppor [email protected]

www.innovateuk.org

REFERENCES & SOURCES

Creative Industries Strategy 2013-2016.pdf

Documents

Transcript of Creative Industries Strategy 2013-2016.pdf