Creative industries of a highly urbanized territory in the focus of modern research trends

Smirnov Aleksandr Vladimirovich Postgraduate Student; Department of Public Administration and History; Perm National Research Polytechnic University. 29 Komsomolsky Ave., room 209A, Perm Region, 614000, Russia scharpolov@yandex.ru Dianov Sergei Aleksandrovich Doctor of History Professor; Department of Public Administration and History; Perm National Research Polytechnic University 29 Komsomolsky Prospekt, Perm, Perm Region, 614990, Russia sadianov@gmail.com Other publications by this author

Baharev Daniil Dmitrievich Assistant; Department of Public Administration and History; Perm National Research Polytechnic University Postgraduate student; Department of Public Administration and History; Perm National Research Polytechnic University Komsomolskiy str., 29, office 209A, Perm region, 614000, Russia scharpolov@yandex.ru

Introduction. Many researchers associate the development of creative industries with the pace of formation of creative economy sectors in Russian cities with millions. These highly urbanized territories are strategically interested in increasing the number of representatives of the "creative" class, whose business activity leads to dynamic growth rates of creative products ^[1]. At the same time, as in any practice-oriented activity, standardization is of no small importance. It is well known that in accordance with the instruction of the President of the Russian Federation on the creation of a regulatory framework for the functioning of the creative economy and the development of support measures, the Agency for Strategic Initiatives for the Promotion of New Projects has developed a pilot Standard for the development of creative industries. The main goal is to introduce the most successful regional practices of supporting creative industries at the level of the subjects of the Russian Federation, taking into account local peculiarities ^[2]. The standard includes a set of recommendations, as well as successful examples of adaptation in specific territories ^[3]. In other words, it is a simplified "instruction" designed to help you work with the latest branch of the economy, which does not offer a universal solution and does not aim to develop all possible areas of creative industries, but recommends focusing resources on those that have the best prospects for further growth and development. At the same time, the Concept of the Development of Creative Industries and mechanisms for their state support, approved by the Russian Government in 2021, remains highly relevant ^[4]. Finally, a key stage in the formation of unified foundations in this area is associated with the adoption of Federal Law No. 330-FZ of August 8, 2024."On the development of creative industries in the Russian Federation". The provisions of this document are primarily conceptual in nature and require additional elaboration of clarifying by-laws. At the same time, they increase the importance of regional administrations in providing targeted support to creative industries, as well as in creating a sought-after infrastructure on the territory of the relevant subjects of the Russian Federation.

Materials and methods. The theoretical and methodological part of this work is based on the research results of foreign and domestic scientists. At the beginning of the 21st century, the focus of research by leading experts turned to the problems of the creative economy, the first comprehensive works appeared, in which generalized characteristics of the "creative class" (R. Florida), "creative action" (J. Hawkins), "creative city" (C. Landry) were given. A number of Russian researchers highly appreciated these works, outlining their own vision of the application of creative ideas and solutions in the space of highly urbanized territories ^{[5; 6]}. In order to understand the basic characteristics of creative industries, as well as the prospects for their wide application, this work turned to the latest scientific journalism containing economocentric attitudes ^{[7; 8; 9]}. In the course of the research, in order to systematize information, the method of content analysis of information messages, statistical information and other media resources was used.

The main part. The study found that sustained scientific interest in the creative economy and creative industries is a trend that has been developing dynamically throughout the first quarter of the 21st century. At the same time, in non-CIS countries, the creative industries are already habitually perceived as a priority area of government policy in the field of national economic development (USA, Australia, Great Britain). According to some authors, the experience of Russia in recent decades can rather be described as a period of missed opportunities ^{[10, p. 64]}. Let us consider a number of key theoretical approaches that have become the basis for the conceptual content of the fields of creative economics, the authors of which have greatly contributed to attracting interest in this field from national governments and the scientific community.

One should not lose sight of the well-known position in Russian social studies that general ideas about post-industrial society were formed on the basis of recognition of the increasing intellectualization of labor, which, in turn, significantly influenced the state of the production foundations of society. According to the American sociologist Daniel Bell, this type is characterized by a decrease in material production and an increasing role of the services and information sector ^{[11, p. 7]}. A post-industrial society places higher demands on the quality of life, respect for rights, the environment, education, and cultural life. The role of information is increasing many times, which directly affects the emergence of new technologies, the development of innovations and the growth of the results of intellectual work. Post-industrialism as a whole is characterized not only by visible changes in economic processes, but is also marked by new trends and value orientations in the spiritual and social spheres, and also forms patterns of behavior and thinking that were previously not characteristic of industrial society. Current research generally continues this trend and consists in recognizing creativity as a new driver of the modern economy in the era of post-industrial society. A new trend towards the development of the creative economy and creative industries is beginning to take a firm place in the research and practice of spatial planning in various countries, including Russia.

Further, in 1998, the Department of Culture, Media and Sport of Great Britain introduced the concept of "creative industries" into political terminology and the media environment. Moreover, they were presented as a strategic area of the economy, as part of the new rhetoric of Tony Blair's government, which set a course for the modernization of the country. In the context of the crisis that affected the industry of a number of European countries, including the United Kingdom, this concept began to symbolize the course of economic reforms, in which creative industries, instead of peripheral ones, began to play the role of the mainstream. The UK Government has developed a "Creative Industries Mapping Documents", which has identified a number of economically significant sub–sectors. In particular, they included: advertising, architecture, crafts, design, fashion, cinema, software, music, art. In addition, the definition of creative industries was formulated, which later became "canonical" for many experts. Creative industries have come to be understood as industries that originate in individual creativity, skill and talent, which have the potential to create added value and new jobs through the production and exploitation of intellectual property ^[12].

It should be recognized that the formulated definition is still not universal or generally accepted and continues to evolve: national legislation and international organizations define the creative economy and creative industries in different ways. There is still no unified approach to classifying the types of creative industries and which industries belong to them ^{[13, pp. 49-50]}. As John Hawkins rightly points out, although the concepts of "economics" and "creativity" are not new, the nature of their relationship is qualitatively new ^{[14, p. 34]}. In the context of the ongoing discussion of the nature of the creative sectors of the economy, it can be assumed that there is an established consensus that it is in these industries that the main or significant part of the added value is generated through the creative process and intellectual property management. In light of the need to effectively address global problems and overcome international challenges, the UN General Assembly declared 2021 the International Year of the Creative Economy, emphasizing its key role in these processes ^[15]. In other words, the latest trend is gaining worldwide recognition and gaining global significance. The undeniable growth in the economic contribution of creative industries is also accompanied by non-monetary value. It manifests itself in the potential for the disclosure of individual creativity and talent, improving the quality of life of the population. It has already been noted above that the works of foreign authors played a significant role in identifying and analyzing these relationships in the early 2000s.

Thus, the concept of Charles Landry, a leading British expert and consultant in the field of urban research, who proposed the use of intellectual capital, cultural diversity and social activism in order to increase the economic well-being of cities, became widely known. In his work "Creative City," Landry explores one of the key categories – "Creative Places," considering them to be the driving force behind urban development. He noted the importance of creating spaces (locations) that stimulate creativity, entrepreneurship, cultural diversity and the free exchange of ideas. According to Landry, all this ultimately contributes to the creation of innovation, economic and creative activity of the local urban community. Creative cities are places where culture and creativity become the driving force of development, attracting and providing talented people with the conditions to realize their ideas. The key elements of creative cities are the concentration of creative industries, support for entrepreneurship, the creation of innovative infrastructure and a specialized educational sector. The ultimate goal is to promote economic development, attract investment, and improve the quality of life. It is creative cities that become attractive places to live, work and relax. Human capital, in turn, is the most important resource and a prerequisite for the success of the city - people act as an inexhaustible source of creativity, capable of turning cities into developing centers on a global scale. To summarize the concept of a "creative city", it is based on the use of intellectual capital and creativity to stimulate economic development and innovation, where creative industries are in the zone of special attention and favor from public authorities ^{[16, p. 13]}.

Richard Florida, who developed the theory of a new social class that occupies a dominant position in the economy of a modern city, is a recognized specialist whose work in this field deserves special attention. In the book "Creative class. People who create the future" R. Florida defines the social stratum he studies as a creative class, which consists of people whose creative activity becomes the driving force of the economy and is able to create "significant new forms." In this model, the researcher finds a direct relationship between the concentration of human capital, especially talented people, and the economic success of the region. We recognize his original conclusion about the role of universities, whose presence, although it contributes to the temporary concentration of highly educated people, does not guarantee economic prosperity in itself, which is understandable: migration processes can offset the effect if efforts are not made to retain talented people through the quality of the place – a rich and unique cultural environment, opportunities and comfortable conditions. conditions for the creative class. R. Florida assigns a significant place to the presence of the entertainment industry and, in particular, defines the "bohemian index" as a quantitative indicator of people involved in the urban creative infrastructure. One of the determining incentives for creative people to choose a place of residence is the expectation of a tolerant and open attitude towards a freedom-loving lifestyle on the part of the authorities and the public. In other words, a tolerant attitude and respect for various forms of human freedom becomes an indicator of the emotional comfort of staying for the creative class and determines the choice of a particular city as a place of life, work and recreation. The concentration of the creative class brings cities and territories to the leaders of high-tech and highly intelligent industries, which, according to the definition of R. Florida, become creative centers. The author puts forward the key concept of the "three T's" ‒ a set of elements necessary to create a creative urban community and its geographical concentration.: these are technologies, tolerance and talents ^[17]. In other words, scientists have proposed and described one of the possible approaches to understanding the underlying factors and mechanisms that influence the development of the creative economy and ultimately contribute to the attractiveness of the territory for representatives of the creative class.

Another example of research is John Hawkins' most famous work among Russian experts, The Creative Economy. The author notes a new quality in the nature of the relationship between economics and creativity, which results in an increase in well-being. At the same time, traditional ideas about the economy cannot be transferred by analogy to the creative economy – a new look is required. The key figure in the newest system of economic relations is a creative personality. However, creativity itself is not a commodity, but it can be commercialized into a product that requires specific legislation, to which the author pays considerable attention, which is understandable – the reliability of investment protection in the creation of creative products, the success of which is not predetermined, depends on this. He also notes an important factor in the attractiveness of developed Western countries, which allows for the dynamic development of creative sectors, attracting talented people from other countries ^[14].

Discussion. As already noted, a number of ideas of foreign thinkers were supported by representatives of Russian social science. At the same time, it should be noted that original research trends have emerged among domestic researchers, which should be borne in mind when further studying the sphere of creative industries in the Russian Federation. One of these trends is based entirely on economocentric attitudes and is addressed primarily to "millionaire" cities with a multicultural and design-educational environment. In fact, for the first time its pilot testing took place within the framework of the "Perm cultural project" ("cultural revolution" in Perm) in the 2010s ^{[13, pp. 73-74]}. It has been established that the concept of cultural policy for the development of creative industries in Perm and other cities of the Perm Region was developed by the Creative Industries creative Agency in 2010 in line with the theory of R. Florida ^[18]. The central idea is that the "creative class" is capable of making a technological breakthrough, and the first impressive results of scaling the processes of industrialization of creativity should be expected in the service sector, in particular, in the tourism and hospitality sector. A large number of scientific and popular scientific works have been written about the stages of the implementation of this cultural project. For example, we can cite a case indicating the presence of serious contradictions between the management team, which formulates the main tracks for the priority development of the creative environment in the territory, and cultural groups representing the "hotbeds" of the creative environment. Thus, employees of the Perm State Art Gallery raised questions with the administration of the Governor of the region, O.A. Chirkunov, about the need to promote unique exhibitions reflecting the beauty of the cultural heritage of the Perm region. According to N.V. Belyaeva, the gallery's director, it was then that the prospects of attracting cultural workers to participate in the implementation of creative concepts were discussed, including the discussion of the architectural appearance for the new art gallery building. The governor's responses were more than restrained. The gallery's staff was not heard, and most importantly, creative people were not invited to implement most of the creative projects that received financial support from the Perm authorities ^[19]. Another research trend was a kind of separation of the conceptual views of R. Florida and C. Landry on the localization of the use of creative industries. It is assumed that the "model" of R. Florida is acceptable for practical implementation only in megalopolises and large industrial centers of the Russian Federation (i.e. highly urbanized territories), and the model of Charles Landry is more suitable for cities of historical "provincial" significance, as well as small historical cities ^[20]. There is a point of view that the use of the "Dymkovsky style" in the urban design of Kirov is a creative action in line with the concept of the English scientist ^[21]. One should not lose sight of the research trend, the methodological core of which is the idea attributed to R. Florida about creative clusters as a priority area for the development of creative industries. A number of researchers believe that the current realities in the Russian Federation are such that only highly urbanized territories can be places of concentration of creative clusters. The data shows that the most creative clusters were created in Moscow and St. Petersburg - 19 (22.4%) and 18 (21.2%). The lowest number is in the Southern, Far Eastern and North Caucasian Federal Districts. More than 65% of the clusters created are in cities with a population of one million, and only 5 clusters are formed in settlements located at a distance of no more than 150 km from urban agglomerations ^[22]. Nevertheless, it must be admitted that despite a number of the above-mentioned decisions on the legal regulation of creative clusters, including the description of its characteristics in the federal law, the issue of priority development of creative industries in this aspect is by no means unambiguously resolved. It is logical to recognize the lack of regulatory mechanisms in the subjects of the Russian Federation and in local governments as a serious problem ^[23].

Conclusion. Thus, it should be noted that the creative industries have gained recognition in Russian social science as a leading sector of the creative economy. Today, the involvement of a wide range of participants in the field of creative industries has become a priority, and with the entry into force of the federal law"On the development of creative industries in the Russian Federation" the process of institutionalization of the basic tools of the creative economy into the current legislation of the Russian Federation has been launched. At the same time, the effectiveness of unlocking the potential of this area will largely be determined by law enforcement practice in those areas that will be selected by regional administrations as priorities. These examples of scientific research are the result of the development of the cultural and economic situation not only in Western countries, but also in the Greater East. Recognition of the high potential of creative industries occurs everywhere, not only in the field of economic development and diversification, but also in launching the processes of transformation of the socio-cultural environment of Russian cities, providing scenarios for cultural branding of territories, including depressive ones. The study showed that legislative initiative continues to develop dynamically in Russia today, which allows for a flexible approach to the development of the creative economy and creative industries, taking into account existing regional peculiarities. Ultimately, the appeal of Russian researchers to the analysis of conceptual ideas of foreign colleagues, as well as taking into account the practical experience of foreign countries in implementing strategies for the development of the creative economy, is aimed at creating scenarios to stimulate the growth of the number of subjects of creative industries and, consequently, creative products, to scale entrepreneurial activity in the field of creative (creative) industries.