Global Journal of Human Social Science, E: Economics, Volume 21 Issue 5

Later, cultural economics researches have been conducted, with expanding theoretical and applied literature framework in both cultural industries and their economic impacts (as we will discuss in part III). These researches traced the modern origins of Galbraith’s first writings of economics and art in 1960, also Baumol and Bowen's work in 1966 16 . In this tradition, cultural industries were interpreted using traditional tools of economic analysis, with some adaptations for the features of cultural demand and supply 17 The researchers also revealed two types of the culture industries' impacts; The non- economic and economic impacts. The non-economic that cultural industries have on social development can be realized in the social solidity and integration of marginalized groups (Council of Europe, 1998; Matarasso, 1997); building of a social values systems (Ingelhart, 2000); creativity, talents emphasis (Throsby, 2001; UN,2010); development of . According to this approach, cultural industries could be integrated into wider economic models, such as an input-output models, with taking into account relationships between culture and related industries and sectors. The main idea of these thoughts was that commodification of culture does not crowd out other activities of cultural production and industries. So, the economic view of culture and cultural industries is simply accepted as producing and consuming cultural goods and services within an economic system that is involved in economic transactions, and hence cultural industries could be economically measured and analyzed (Throsby, 2001). Many types of research have been conducted to make a significant contributions for modeling cultural industries to measure their economic contribution. The baseline of these researches was related to the traditional structure of art, based on criteria of aesthetics theory (Adorno, 1998). A broader perspective added some criteria from the industrial field such as cultural levels and economic value (Throsby, 2008), interactions of the creative workforce (Higgs et al., 2008; Florida, 2004), industrialization level of production (Hesmondhalgh, 2002), and effects of technical progress (Boix et al ., 2010). 16 The first prominence of cultural economics as a discipline of economics was in 1960, with Galbraith's book entitled: “The Liberal Hour,” and also the work of Baumol and Bowen in 1966, entitled: “Performing Arts: The Economic Dilemma.” Since then, several well specialized researches have appeared in this field, and there was an expanding theoretical and applied literature in cultural economics in academic journals (Throsby, 2001). 17 Artists' work is considered as an incident in the labor market, and so, these activities could be analyzed using economic concepts such as labor supply and profit functions. Yet, the predictions of behavior differ from the expected because of the special nature of artists (Throsby, 2001). cultural diversity, national identity (UNESCO, 2005; Herrera, 2002; Throsby, 2001), facilitating creativity and innovation (ABS, 2001; Cox, 2005; Potts and Cunningham, 2008; Bakhshi et al ., 2008). The economic impact could be evident in the increasingly important components of cultural industries to modern economies and knowledge-based society, due to their impacts on the economic development (UNESCO, 2012). By the end of the 1990s, researches conducted in developed countries revealed that cultural industries stimulate Gross Domestic Product (GDP) or Gross Value Added (GVA) and employment; and also have main characteristics as a leading sector, that can stimulate economic growth 18 18 The researchers in this field suggested that some cultural sectors (e.g., designs) can provide spillover economic impacts; and also could achieve a high-quality workforce, business, and investment, and stimulate creativity and innovation across all sectors of the economy, which may led to reinvestigate the role of cultural industries' in the and changes of the economies (UNESCO, 2012). . The growing interest in cultural economies give a key component for cultural industries in formulation of economic policy development. In this regard, there is a growing tendency in several countries; particularly in developed countries, to include different cultural industries aspects (production capacity, creative classification, cultural facilities, etc.) in measuring economic development and economic growth. In recent decades, there was a greater understanding and measuring of the economic importance of cultural industries. It has become clear that these industries impact GDP, GVA, employment, and economic growth rates. Moreover, they can enhance a country’s foreign trade account and competitiveness, contribute to the regeneration of creative cities and attract investments. That was evident in researches that revealed the significant impact of cultural industries on the economy by enhancing economic growth and economic development (Lash and Urry, 1994; Jensen, 1999; Pine and Gilmore, 1999). These trends in economics are represented new terms; “culturalisation,” (Ellmeier, 2003) or “creativisation” (Rikalovic and Mikic, 2011). Moreover, researchers shedding light on the central role of the cultural sector as a base of creative economy (UNDP, 2010; Howkins, 2001; Florida, 2002; Conference Board of Canada, 2008). So, by the first decade of the 21 st century, cultural industries became one of the most dynamic sectors of the global economy, with their expected enhancing for GDP growth. Later, the “cultural industries” term was converted to “creative industries” Volume XXI Issue V Version I 24 ( E ) Global Journal of Human Social Science - Year 2021 © 2021 Global Journals Economic Contribution of Cultural Industries: Evidence from Some Selected Countries