The work in the period covered by the report (month 1-12), consists of seven parts.
First, in WP1 we provided a review of the literature on global production network theory and delineated its relevance to creative and cultural industries. It presented a focused review of the literature on CCIs since the 1990s when the CCI started to become a research theme in its own right. We have also provided a presentation of the main components of the GPN approach and a brief sketch of its development in the literature. Furthermore, we have gives an assessment of how to apply the GPN approach - initially intended to analyse complex value chains in manufacturing industries (e.g. car industry, electronics) – to CCIs.
Second, we have produced CCI overview studies comprising two parts (WP2). The first involved a literature review for each of the selected CCI sectors, for which each team carried out the following tasks: a description of the configuration of the production network (input-output structure); the identification of the governance typologies; an exploration of the key socio-institutional dimensions affecting network configuration/dynamics (e.g. fiscal incentives, property rights, labour legislation, path dependent cultural aspects) at various levels; a discussion about possible changes over time (e.g. digitalisation, technologies) and/or possible firms upgrading processes (value capture strategies); and, lastly, an analysis of the (possible) national variations and specificities. The next part involved a quantitative (secondary) data analysis in order to quantify and (geo)localise the production networks linked to the CCIs in Europe. In order to fulfil this latter task, each sector-team first operationalised, on the basis of NACE codes, the economic activities composing the network. Then, statistical data at the EU level was gathered on the number of firms, employment, VAT, etc.
Third, a review of tariff barriers and trade costs affecting the CCIs across European borders has been produced (WP3). This deliverable, which reviewed the first part of the trade environment for cultural goods and services and outlined the potential barriers to that trade, was led by CITY and involved contributions from partners at SU and KEA. We showed that there is an evolving institutional structure of trade rules and regulations, with an entropic trajectory to no tariff barriers, and reciprocal (preferably no) incentives. Furthermore, it became clear that the cultural sector is potentially vulnerable to comprehensive agreements (such as has been discussed under TRIPS), that may adversely affect culture in particular ways: cultural diversity, or local identities.
Fourth, work has been started on the Cultural Economy Observatory (WP4) by making an assessment of the observatory’s target audiences and a further detailing of its objectives and, hence, core functions.
Fifth, a preliminary stakeholders mapping (WP7) has been undertaken which resulted in a list of different categories of stakeholders and beneficiaries of the project, according to A) geography, such as regional, national and European; B) sector, such as networks and organisations relevant and related to each cultural industry sector; and C) function, in terms of interests in the project. In addition, the consortium initiated numerous outreach activities. Next to publishing press releases and providing lectures, we also held public presentations during a variety of conferences and expert meetings.
Six, a Data Management Plan (WP8) has been created. This provides an overview of the nature of the data that is being collected and outlines how it will be stored, protected and exchanged throughout the project’s life cycle, and how it will be publicly disclosed once the project has come to an end.
Seven, we showed how we will comply with the ethics requirement (WP9).
