{"id":8154,"date":"2026-01-01T12:59:15","date_gmt":"2026-01-01T10:59:15","guid":{"rendered":"https:\/\/inprojournal.org\/?page_id=8154"},"modified":"2026-02-04T10:36:37","modified_gmt":"2026-02-04T08:36:37","slug":"2024-2-13","status":"publish","type":"page","link":"https:\/\/inprojournal.org\/en\/2024-2-13\/","title":{"rendered":"2024-2-13"},"content":{"rendered":"\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"734\" height=\"1024\" src=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-734x1024.jpg\" alt=\"\" class=\"wp-image-3609\" style=\"width:217px;height:302px\" srcset=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-734x1024.jpg 734w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-215x300.jpg 215w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-768x1071.jpg 768w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-1101x1536.jpg 1101w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-1468x2048.jpg 1468w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-scaled.jpg 1835w\" sizes=\"auto, (max-width: 734px) 100vw, 734px\" \/><\/figure>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\">Theory and practice of intellectual property<br>\u2116 2 \/ 2024<\/p>\n\n\n\n<p class=\"has-small-font-size\">ISSN (Print) 2308-0361<br>ISSN (Online) 2519-2744<\/p>\n\n\n\n<div class=\"wp-block-buttons has-custom-font-size is-content-justification-left is-layout-flex wp-container-core-buttons-is-layout-fdcfc74e wp-block-buttons-is-layout-flex\" style=\"font-size:10px\">\n<div class=\"wp-block-button is-style-outline is-style-outline--1\"><a class=\"wp-block-button__link has-black-color has-text-color has-custom-font-size wp-element-button\" href=\"https:\/\/drive.google.com\/file\/d\/11DZSEx_yhA-XwfPYnIV2VODFQS98ATTT\/view\" style=\"border-radius:10px;font-size:10px\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"14\" height=\"14\" class=\"wp-image-362\" style=\"width: 14px;\" src=\"https:\/\/test.inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153.png\" alt=\"\" srcset=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153.png 512w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-300x300.png 300w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-150x150.png 150w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-450x450.png 450w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-106x106.png 106w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-80x80.png 80w\" sizes=\"auto, (max-width: 14px) 100vw, 14px\" \/> PDF (Ukrainian)<\/a><\/div>\n<\/div>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\">DOI: <a href=\"https:\/\/doi.org\/10.33731\/22024.305608\">https:\/\/doi.org\/10.33731\/22024.305608<\/a><\/p>\n\n\n\n<p class=\"has-small-font-size\">Submitted&nbsp; &nbsp;&nbsp; 2024-04-30<br>Accepted &nbsp;&nbsp; &nbsp; 2024-05-13<br>Published &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2024-06-04<\/p>\n\n\n\n<div style=\"height:8px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" src=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2025\/11\/CC-2.png\" alt=\"\" class=\"wp-image-6960\" style=\"width:131px;height:auto\"\/><\/figure>\n\n\n\n<p class=\"has-small-font-size\"><\/p>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\"><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-medium-font-size\"><strong>Classification of creative industries: approaches of international organizations, Europe, Asia, USA, and Ukraine<\/strong><\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Nadiia Fedorova<\/strong><br>Ph.D (Law), Research of the sector of the Disposal of copyright and related rights of the Copyright and Related Rights Department of the Intellectual Property Scientific Research Institute of the National Academy of Legal Sciences of Ukraine<br>Ukraine<br><a href=\"https:\/\/orcid.org\/0000-0001-5490-1259\">https:\/\/orcid.org\/0000-0001-5490-1259<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Abstract<br><\/strong>The article examines the concepts of &#8220;cultural industries&#8221; and &#8220;creative industries&#8221;. The dynamics of their use in different regions and the differences between these concepts are analyzed. It is noted that, along with the commonly used term &#8220;creative industries&#8221;, there are other variations of it. However, it is concluded that the concept of &#8220;cultural industries&#8221; is narrower than the concept of &#8220;creative industries&#8221;. <\/p>\n\n\n\n<p>The article analyzes various models of classification of creative industries based on the research of international organizations: the model of the United Nations Convention on Trade and Development (UNCTAD); the model of the UNESCO Creative Industries Classification, and the model of the World Intellectual Property Organization. The author also analyzes the models of classification of creative industries formed on the basis of studies of countries that determine the structure of creative industries: The Singapore Creative Industries Classification Model; The Japanese Creative Industries Classification Model; The US Creative Industries Classification Model; The British Creative Industries Classification Model, which is used by most of the European Union member states, as it is quite simple, clear, and easy to use, which has made it the basic model.<\/p>\n\n\n\n<p>The article also considers the classification of creative industries in Ukraine. The author emphasizes that the national approach to the classification of creative industries differs from foreign models, and emphasizes the common features for all the models considered that determine the structure of creative industries. <\/p>\n\n\n\n<p>The author substantiates the expediency of supplementing the definition of the term &#8220;creative industries&#8221;, since the definition of the term &#8220;creative industries&#8221; in the legal acts of Ukraine had exclusively economic characteristics and does not cover the results of creative activity and intellectual property. Our legislation focuses on the economic result. The proposed definition will cover the results of creative activity, as well as intellectual property, and not just the economic result.<\/p>\n\n\n\n<p><strong>Keywords: <\/strong>creative industries structure, innovations, intellectual property, creative products<\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>References<\/strong><\/p>\n\n\n\n<p>\u0412\u0435\u043b\u0438\u043a\u0438\u0439 \u0442\u043b\u0443\u043c\u0430\u0447\u043d\u0438\u0439 \u0441\u043b\u043e\u0432\u043d\u0438\u043a \u0441\u0443\u0447\u0430\u0441\u043d\u043e\u0457 \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0457 \u043c\u043e\u0432\u0438\/ \u0437\u0430 \u043d\u0430\u0443\u043a. \u0440\u0435\u0434. \u0412. \u0413. \u0411\u0443\u0441\u0435\u043b. \u041a\u0438\u0457\u0432: \u041f\u0435\u0440\u0443\u043d, 2005. 1728 \u0441.<\/p>\n\n\n\n<p>Anderson N., Poto\u010dnik K. Innovation and Creativity in Organizations: A State-of-the-Science Review, Prospective Commentary, and Guiding Framework.&nbsp;Journal of Management.&nbsp;2014. \u2116 40. \u0420. 297-304.<br><a href=\"https:\/\/doi.org\/10.1177\/0149206314527128\">https:\/\/doi.org\/10.1177\/0149206314527128<\/a><\/p>\n\n\n\n<p>Australia. Creative nation: Commonwealth cultural policy (Canberra: Department of Communications and the Arts of 1994).<br><a href=\"https:\/\/catalogue.nla.gov.au\/catalog\/1948332\">https:\/\/catalogue.nla.gov.au\/catalog\/1948332<\/a><\/p>\n\n\n\n<p>Creative Industries Mapping (2001).<br><a href=\"https:\/\/assets.publishing.service.gov.uk\/government\/uploads\/system\/uploads\/attachment_data\/file\/183544\/2001part1-foreword2001.pdf.\">https:\/\/assets.publishing.service.gov.uk\/government\/uploads\/system\/uploads\/attachment_data\/file\/183544\/2001part1-foreword2001.pdf.<\/a><\/p>\n\n\n\n<p>U.K. Minister John Whittingdale Sets Out 63 Billion Vision for Creative Industry Crown: \u00abYou Don\u2019t Have to Leave Where You Live to Get the Job You Want\u00bb (2023).<br><a href=\"https:\/\/variety.com\/2023\/film\/global\/john-whittingdale-uk-creative-industry-growth-plans-1235642572\/\">https:\/\/variety.com\/2023\/film\/global\/john-whittingdale-uk-creative-industry-growth-plans-1235642572\/<\/a><\/p>\n\n\n\n<p>Daubarait\u0117 U., Startiene G. The Role of Creative Industries in Economic Development of Lithuania and Latvia. Eurasian Studies in Business and Economics, 2016. \u0420. 91\u2013103.<br><a href=\"https:\/\/doi.org\/10.1007\/978-3-319-46319-3_5\">https:\/\/doi.org\/10.1007\/978-3-319-46319-3_5<\/a><\/p>\n\n\n\n<p>Howkins J. The Creative Economy: How People Make Money from Ideas. London: Penguin Books, 2001. 288 p.<\/p>\n\n\n\n<p>UK Department for Culture, Media and Sport (DCMS). Creative Industries Mapping Document (1998).<br><a href=\"http:\/\/www.creativitycultureeducation.org\/creative-industries-mapping-document-1998\">http:\/\/www.creativitycultureeducation.org\/creative-industries-mapping-document-1998<\/a><\/p>\n\n\n\n<p>United Kingdom: Department for Digital, Culture, Media and Sport (DCMS Sector Economic Estimates Methodology of September 15, 2019).<br><a href=\"https:\/\/assets.publishing.service.gov.uk\/government\/uploads\/system\/uploads\/attachment_data\/file\/829114\/DCMS_Sectors_Economic_Estimates_-_Methodology.pdf\">https:\/\/assets.publishing.service.gov.uk\/government\/uploads\/system\/uploads\/attachment_data\/file\/829114\/DCMS_Sectors_Economic_Estimates_-_Methodology.pdf<\/a><\/p>\n\n\n\n<p>\u0411\u0443\u0442\u043d\u0456\u043a-\u0421\u0456\u0432\u0435\u0440\u0441\u044c\u043a\u0438\u0439 \u041e. \u0411. \u0421\u0442\u0430\u043d\u043e\u0432\u043b\u0435\u043d\u043d\u044f \u0446\u0438\u0444\u0440\u043e\u0432\u043e\u0457 \u0435\u043a\u043e\u043d\u043e\u043c\u0456\u043a\u0438 \u0443 \u0441\u0444\u0435\u0440\u0456 \u0456\u043d\u0434\u0443\u0441\u0442\u0440\u0456\u0457 \u043a\u0440\u0435\u0430\u0442\u0438\u0432\u043d\u043e\u0457 \u0435\u043a\u043e\u043d\u043e\u043c\u0456\u043a\u0438 \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0437 \u043f\u043e\u0437\u0438\u0446\u0456\u0457 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456: \u043c\u0430\u0442\u0435\u0440\u0456\u0430\u043b\u0438 V \u0412\u0441\u0435\u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0457 \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u043e\u0457 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u0457 (\u043c. \u041a\u0438\u0457\u0432, 19.05.2023 \u0440.) \u0435\u043b. \u0437\u0431\u0456\u0440\u043d\u0438\u043a\/ \u041a\u041d\u0423 \u0456\u043c\u0435\u043d\u0456 \u0422. \u0428\u0435\u0432\u0447\u0435\u043d\u043a\u0430, \u041d\u0414\u0406 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456 \u041d\u0410\u041f\u0440\u041d \u0423\u043a\u0440\u0430\u0457\u043d\u0438. \u041a\u0438\u0457\u0432 : \u0406\u043d\u0442\u0435\u0440\u0441\u0435\u0440\u0432\u0456\u0441, 2023. \u0421. 23-27.<\/p>\n\n\n\n<p>Cunningham S. D.&nbsp; Trojan Horse or Rorschach Blot? Creative industries discourse around the world. International Journal of Cultural Policy. 2009. \u2116 15(4). \u0420. 375-386.<br><a href=\"https:\/\/doi.org\/10.1080\/10286630902977501\">https:\/\/doi.org\/10.1080\/10286630902977501<\/a><\/p>\n\n\n\n<p>Masalin H. Mapping of Nordic Creative and Cultural Industries: Financial Environment. Nordic Council of Ministers. Sweden. 2015.<br><a href=\"https:\/\/norden.diva-portal.org\/smash\/get\/diva2:843187\/FULLTEXT01.pdf\">https:\/\/norden.diva-portal.org\/smash\/get\/diva2:843187\/FULLTEXT01.pdf<\/a><\/p>\n\n\n\n<p>Andrews G. The creative sector in New Zealand: mapping and economic role: report to New Zealand Trade and Enterprise.&nbsp;New Zealand Institute of Economic Research. New Zealand. 2021.<br><a href=\"https:\/\/eprints.qut.edu.au\/216074\/1\/31133.pdf\">https:\/\/eprints.qut.edu.au\/216074\/1\/31133.pdf<\/a><\/p>\n\n\n\n<p>\u041d\u0435\u0431\u0430\u0432\u0430 \u041c., \u042f\u043d\u0430\u043d\u044c \u041b\u0456. \u041f\u043e\u0440\u0456\u0432\u043d\u044f\u043b\u044c\u043d\u0438\u0439 \u0430\u043d\u0430\u043b\u0456\u0437 \u0440\u043e\u0437\u0432\u0438\u0442\u043a\u0443 \u0442\u0430 \u0444\u0443\u043d\u043a\u0446\u0456\u043e\u043d\u0443\u0432\u0430\u043d\u043d\u044f \u043a\u0440\u0435\u0430\u0442\u0438\u0432\u043d\u0438\u0445 \u0456\u043d\u0434\u0443\u0441\u0442\u0440\u0456\u0439 \u0432 \u0423\u043a\u0440\u0430\u0457\u043d\u0456 \u0442\u0430 \u041a\u0438\u0442\u0430\u0457. \u0415\u043a\u043e\u043d\u043e\u043c\u0456\u043a\u0430 \u0442\u0430 \u0441\u0443\u0441\u043f\u0456\u043b\u044c\u0441\u0442\u0432\u043e. 2022. \u2116 42. \u0421. 75-81.<br><a href=\"https:\/\/doi.org\/10.32782\/2524-0072\/2022-42-60\">https:\/\/doi.org\/10.32782\/2524-0072\/2022-42-60<\/a><\/p>\n\n\n\n<p>Dronyuk I., Moiseienko I., Gregus J. Analysis of Creative Industries Activities in Europ\u0435an Union Countries. Procedia Computer Science. 2019. \u2116 16. \u0420. 479-484.<br><a href=\"https:\/\/doi.org\/10.1016\/j.procs.2019.11.061\">https:\/\/doi.org\/10.1016\/j.procs.2019.11.061<\/a><\/p>\n\n\n\n<p>\u041f\u0435\u0442\u0440\u043e\u0432\u0430 \u0406. \u0412. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0456 \u0442\u0430 \u043a\u0440\u0435\u0430\u0442\u0438\u0432\u043d\u0456 \u0456\u043d\u0434\u0443\u0441\u0442\u0440\u0456\u0457: \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430 \u0432\u0438\u0437\u043d\u0430\u0447\u0435\u043d\u044c. \u041f\u0438\u0442\u0430\u043d\u043d\u044f \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0456\u0457. 2022. \u2116 39. \u0421. 63-77.<br><a href=\"https:\/\/doi.org\/10.31866\/2410-1311.39.2022.256902\">https:\/\/doi.org\/10.31866\/2410-1311.39.2022.256902<\/a><\/p>\n\n\n\n<p>The EU Industrial Strategy. Cultural and Creative Industries (2021).<br><a href=\"https:\/\/single-market-economy.ec.europa.eu\/sectors\/cultural-and-creative-industries_en\">https:\/\/single-market-economy.ec.europa.eu\/sectors\/cultural-and-creative-industries_en<\/a><\/p>\n\n\n\n<p>Impulse paper on the role of cultural and creative sectors in innovating European industry. Directorate-General for Internal Market, Industry, Entepreneurship and SMEs (European Commission), KEA European Affairs (2018).<br><a href=\"https:\/\/op.europa.eu\/en\/publication-detail\/-\/publication\/cd264783-3977-11e9-8d04-01aa75ed71a1\/language-en\/format-PDF\/source-119795248\">https:\/\/op.europa.eu\/en\/publication-detail\/-\/publication\/cd264783-3977-11e9-8d04-01aa75ed71a1\/language-en\/format-PDF\/source-119795248<\/a><\/p>\n\n\n\n<p>United Nations UNCTAD. Creative Economy: A Feasible Development Option (2010).<br><a href=\"https:\/\/unctad.org\/system\/files\/official-document\/ditctab20103_en.pdf\">https:\/\/unctad.org\/system\/files\/official-document\/ditctab20103_en.pdf<\/a><\/p>\n\n\n\n<p>\u041f\u0430\u0440\u0445\u043e\u043c\u0435\u043d\u043a\u043e \u0406. \u041f\u043e\u043d\u044f\u0442\u0442\u044f \u00ab\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0456\u00bb \u0442\u0430 \u00ab\u043a\u0440\u0435\u0430\u0442\u0438\u0432\u043d\u0456 \u0456\u043d\u0434\u0443\u0441\u0442\u0440\u0456\u0457\u00bb \u0432 \u0437\u0430\u0445\u0456\u0434\u043d\u043e\u0454\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u044c\u043a\u043e\u043c\u0443 \u043d\u0430\u0443\u043a\u043e\u0432\u043e\u043c\u0443 \u0434\u0438\u0441\u043a\u0443\u0440\u0441\u0456 \u0442\u0430 \u0443\u0440\u044f\u0434\u043e\u0432\u043e-\u0456\u043d\u0441\u0442\u0438\u0442\u0443\u0446\u0456\u0439\u043d\u0438\u0445 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0430\u0445 \u0412\u0435\u043b\u0438\u043a\u043e\u0431\u0440\u0438\u0442\u0430\u043d\u0456\u0457 \u0442\u0430 \u0404\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u044c\u043a\u043e\u0433\u043e \u0421\u043e\u044e\u0437\u0443.&nbsp; \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0456 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0456\u0447\u043d\u0456 \u0441\u0442\u0443\u0434\u0456\u0457. 2017. \u2116 1. \u0421. 74-78.<br><a href=\"https:\/\/doi.org\/10.17721\/UCS.2017.1.16\">https:\/\/doi.org\/10.17721\/UCS.2017.1.16<\/a><\/p>\n\n\n\n<p>Creative industry 4.0: Towards a new globalized creative economy. UNCTAD (2018).<br><a href=\"https:\/\/unctad.org\/system\/files\/official-document\/ditctncd2021d3_en.pdf\">https:\/\/unctad.org\/system\/files\/official-document\/ditctncd2021d3_en.pdf<\/a><\/p>\n\n\n\n<p>Creative Economy Report 2008. UNCTAD.<br><a href=\"https:\/\/unctad.org\/system\/files\/officialdocument\/ditc20082cer_en.pdf\">https:\/\/unctad.org\/system\/files\/officialdocument\/ditc20082cer_en.pdf<\/a><\/p>\n\n\n\n<p>Bokova I. G. Creative economy report, 2013, special edition: widening local development pathways. France. Published by the United Nations Development Programme (UNDP), 2013. 190 p.<\/p>\n\n\n\n<p>Throsby D. The Concentric circles model of the cultural industries. Cultural Trends. 2008. \u2116 17(3). \u0420. 147-164.<br><a href=\"https:\/\/doi.org\/10.1080\/09548960802361951\">https:\/\/doi.org\/10.1080\/09548960802361951<\/a><\/p>\n\n\n\n<p>\u0422\u0443\u0440\u0441\u044c\u043a\u0438\u0439 \u0406. \u0412. \u0421\u043e\u0446\u0456\u0430\u043b\u044c\u043d\u043e-\u0433\u0443\u043c\u0430\u043d\u0456\u0442\u0430\u0440\u043d\u0438\u0439 \u0440\u043e\u0437\u0432\u0438\u0442\u043e\u043a \u043f\u0456\u0434\u043f\u0440\u0438\u0454\u043c\u043d\u0438\u0446\u0442\u0432\u0430 \u0440\u0435\u0433\u0456\u043e\u043d\u0456\u0432 \u0423\u043a\u0440\u0430\u0457\u043d\u0438: \u0434\u0438\u0441\u2026\u0434-\u0440\u0430 \u0435\u043a.\u043d\u0430\u0443\u043a: 08.00.05. \u0422\u0435\u0440\u043d\u043e\u043f\u0456\u043b\u044c, 2018. 484 \u0441.<\/p>\n\n\n\n<p>Can-Seng O. Credibility of a Creative Image: The Singaporean Approach. Journal of Social Issues in Southeast Asia. 2015. \u2116 2. \u0420. 7-22.<\/p>\n\n\n\n<p>Li J. Analysis of Management in Japan&#8217;s Cultural and Creative Industry Based on Case Study Method. Journal of Education, Humanities and Social Sciences. 2023. \u2116 23. \u0420. 323-328.<br><a href=\"https:\/\/doi.org\/10.54097\/ehss.v23i.12914\">https:\/\/doi.org\/10.54097\/ehss.v23i.12914<\/a><\/p>\n\n\n\n<p>Kalvi A. The Impact of Copyright Industries on Copyright Law. Juridica International. 2015. \u2116 5. \u0420. 95-104.<br><a href=\"https:\/\/doi.org.\/10.12697\/issn1406-1082\">https:\/\/doi.org.\/10.12697\/issn1406-1082<\/a><\/p>\n\n\n\n<p>Official website of the European Commission as of&nbsp; 28 March 2024.<br><a href=\"https:\/\/single-market-economy.ec.europa.eu\/sectors\/cultural-and-creative-industries_en#:~:text=This%20includes%20architecture%2C%20archives%2C%20libraries,theatre%20and%20dance)%2C%20books%20and\">https:\/\/single-market-economy.ec.europa.eu\/sectors\/cultural-and-creative-industries_en#:~:text=This%20includes%20architecture%2C%20archives%2C%20libraries,theatre%20and%20dance)%2C%20books%20and<\/a><\/p>\n\n\n\n<p>Official website of the Federal Ministry for Economic Affairs and Climate Action Germany as of&nbsp;28 March 2024.<br><a href=\"https:\/\/www.bmwk.de\/Redaktion\/EN\/Dossier\/cultural-and-creative-industries.html\">https:\/\/www.bmwk.de\/Redaktion\/EN\/Dossier\/cultural-and-creative-industries.html<\/a><\/p>\n\n\n\n<p>Creative Industries Strategy for Austria 2018 of the Federal Ministry of Science, Research and Economy.Vienna, Stubenring.<br><a href=\"https:\/\/www.bmaw.gv.at\/en\/Topics\/Business-Location\/Creative-Industries.html\">https:\/\/www.bmaw.gv.at\/en\/Topics\/Business-Location\/Creative-Industries.html<\/a><\/p>\n\n\n\n<p>\u041f\u0440\u043e \u0437\u0430\u0442\u0432\u0435\u0440\u0434\u0436\u0435\u043d\u043d\u044f \u0432\u0438\u0434\u0456\u0432 \u0435\u043a\u043e\u043d\u043e\u043c\u0456\u0447\u043d\u043e\u0457 \u0434\u0456\u044f\u043b\u044c\u043d\u043e\u0441\u0442\u0456, \u044f\u043a\u0456 \u043d\u0430\u043b\u0435\u0436\u0430\u0442\u044c \u0434\u043e \u043a\u0440\u0435\u0430\u0442\u0438\u0432\u043d\u0438\u0445 \u0456\u043d\u0434\u0443\u0441\u0442\u0440\u0456\u0439: \u0420\u043e\u0437\u043f\u043e\u0440\u044f\u0434\u0436\u0435\u043d\u043d\u044f \u041a\u0430\u0431\u0456\u043d\u0435\u0442\u0443 \u041c\u0456\u043d\u0456\u0441\u0442\u0440\u0456\u0432 \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0432\u0456\u0434 24 \u043a\u0432\u0456\u0442\u043d\u044f 2019 \u0440\u043e\u043a\u0443 \u2116 265.<br><a href=\"https:\/\/zakon.rada.gov.ua\/laws\/show\/265-2019-%D1%80#Text\">https:\/\/zakon.rada.gov.ua\/laws\/show\/265-2019-%D1%80#Text<\/a><\/p>\n\n\n\n<p>\u0404\u0434\u0438\u043d\u0438\u0439 \u0432\u0435\u0431-\u043f\u043e\u0440\u0442\u0430\u043b \u043e\u0440\u0433\u0430\u043d\u0456\u0432 \u0432\u0438\u043a\u043e\u043d\u0430\u0432\u0447\u043e\u0457 \u0432\u043b\u0430\u0434\u0438 \u0423\u043a\u0440\u0430\u0457\u043d\u0438: \u0423\u0440\u044f\u0434\u043e\u0432\u0438\u0439 \u043f\u043e\u0440\u0442\u0430\u043b.<br><a href=\"https:\/\/www.kmu.gov.ua\/npas\/pro-zatverdzchnoyi-diyalnosti-yaki-nalezhat-do-kreativnih-industrij\">https:\/\/www.kmu.gov.ua\/npas\/pro-zatverdzchnoyi-diyalnosti-yaki-nalezhat-do-kreativnih-industrij<\/a><\/p>\n\n\n\n<p>\u041f\u0440\u043e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0443: \u0417\u0430\u043a\u043e\u043d \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0432\u0456\u0434 21 \u0432\u0435\u0440\u0435\u0441\u043d\u044f 2023 \u0440. \u21163120-IX.<br><a href=\"https:\/\/zakon.rada.gov.ua\/laws\/show\/2778-17#Text\">https:\/\/zakon.rada.gov.ua\/laws\/show\/2778-17#Text<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Theory and practice of intellectual property\u2116 2 \/ 2024 ISSN (Print) 2308-0361ISSN (Online) 2519-2744 DOI: https:\/\/doi.org\/10.33731\/22024.305608 Submitted&nbsp; &nbsp;&nbsp; 2024-04-30Accepted &nbsp;&nbsp; &nbsp; 2024-05-13Published &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2024-06-04 Classification of creative industries: approaches of international organizations, Europe, Asia, USA, and Ukraine Nadiia FedorovaPh.D (Law), Research of the sector of the Disposal of copyright and related rights of the Copyright and [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-8154","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/8154","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/comments?post=8154"}],"version-history":[{"count":5,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/8154\/revisions"}],"predecessor-version":[{"id":8169,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/8154\/revisions\/8169"}],"wp:attachment":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/media?parent=8154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}