The industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual properties are known as culture creative industries. Advertising, public relations, architecture, the art and antiques market, crafts, design, designer fashion, film and video, publishing, software and computer games, television and radio are falls under this category.
State of the sector
All capitalist production involves risk to a greater or lesser degree, but there was a substantial case for believing that the cultural industries were riskier than most. Cultural goods had relatively high production costs, because each recording, each film, each book, is a kind of prototype, involving considerable amounts of investment of time and resources, even at the cheaper, low-budget end. However, reproduction costs are usually very low. Cultural commodities are usually public goods in nature, where the act of consumption by one individual does not reduce the possibility of consumption by others. This tendency creates particular problems for cultural producers concerning how to control the circulation of their goods. Recent furor over digitalization of content, heard most loudly in the debates over the sharing of music files over the internet, is a manifestation of this feature of the cultural industries.
By the mid 1990s in Europe, two related concepts had begun to grow out of cultural quarter policies, each of which was the subject of a great deal of policy interest: creative cities and creative clusters. The creative economy is becoming the dominant economic form in the 21st century. The creative sector will continues to grow, justifying more policy research in this area.
Introduction of the computers in recent years has radically transformed the nature of work in the sector, and give more opportunities for skilled workers. Workers used to act like machines, now they increasingly think like computers. The computer and communication revolution of production has completely changed the working culture of the industry.
Role of Public relations personnel is becoming more and more important. Participation as a value and expectation in journalism was first established through letters to the editor sections in newspapers. In television, news participation gets established through opinion polls, and viewer tip hotlines. Online, media participation can be seen as the defining characteristic of the internet in terms of its hyperlink, interactive and networked infrastructure and digital culture.
In conclusion I would like to say that, the encroachment of the profits motive in our time is not chargeable to moral decay in culture industry. It is a consequence of certain transformations which have occurred in our economic relations. The ability to engage in ethical reasoning in public relations is growing in demand, both in terms of responsibility, and in importance. Maintaining good ethical values is an important factor in future business for any culture industry.