The specifics of the coverage of the topic of creative industries in federal and district media

Abilkenova Valeriya PhD in Sociology Associate Professor, Higher School of Humanities, Yugra State University 628007, Russia, Chekhov str., 16 Autonomous Okrug, Khanty-Mansiysk, Chekhov str., 16, of. Chekhov str., 16 kab-valeriya@mail.ru

Gal't Lolita Yur'evna Graduate Student of the Higher School of Humanities, Yugra State University 628007, Russia, Khanty-Mansi Autonomous Okrug, Khanty-Mansiysk, ul. Chekhov, 16, office 239 (2) kab-valeriya@mail.ru

Introduction

                   Creative industries, which are the material basis of the creative economy concept, have been a separate area of scientific research since the 1990s. At the same time, the theoretical justification of the concept of "creative industries" and methodological approaches to their classification are controversial issues today.

                   The concept of "creative industries" was introduced into scientific circulation at the end of the XX century (1998) in a document on mapping creative industries of the Department of Culture, Media and Sports of the UK government. Creative industries are defined in this document as "industries that are based on individual creativity, skill and talent, having the potential to realize intellectual property products, create wealth and provide jobs through a generation" ^[17].

                   The United Nations Educational, Scientific and Cultural Organization (UNESCO) defines creative industries as industries "combining the creation, production and commercialization of goods and services of an intangible and cultural nature" ^[17].

                   At the UN Conference on Trade and Development , creative industries received several definitions:

- as cycles of creation, production, exchange and distribution of goods and services based on creative and intellectual capital;

- as a knowledge-based activity focused, but not limited to art, potentially focused on making a profit from trade and intellectual property rights;

- as tangible products and intangible intellectual or artistic services with creative and economical content, and at the same time such products and services that are focused on achieving market goals ^[17].

                   The first model of classification of creative industries was also developed in the UK in 1998, it was associated with the approval of the priority of such factors of socio-economic development as creativity and innovation. This model combines 13 diverse creative industries ^[17].

                   The model of the World Intellectual Property Organization (WIPO) was developed in 2003 and includes industries directly or indirectly involved in the creation, production, exchange and distribution of copyright objects. The main attention in this model is paid to intellectual property, which is based on the creativity of the created goods and services included in the classification. The model includes 3 subgroups of creative industries: industries producing intellectual property (the main branches of copyright); industries necessary for the transfer of goods and services to the consumer (interdependent branches of copyright) and an intermediate group (intermediate branches of copyright), where intellectual property is only a minor part of their activities ^[18].

                   The model of the UNESCO Institute of Statistics (2005) divides creative industries into two subgroups: industries in the main (central) cultural areas and industries with a significant range of impact in the field of culture ^[20].

                   The model of creative industries of the non-profit organization "Americans for Art" was developed in 2005 and is characterized by the most concise representation of creative industries without subgroups, focusing on the creation of added value due to the creative potential of both individuals and organizations as a whole ^[16].

These classifications are presented in table 1.

Table 1. Organizational level of classification of creative industries

                   There are also author's models of creative industries. Thus, the concentric circles model was developed by David Throsby in 2001 and was based on an understanding of the creative value of goods and services, thanks to which industries differ from other sectors of the economy. According to the author of this model, creative ideas can be represented in the form of concentric circles, where the center is the ideas of creative art (considered in the form of sound, text and images) with a high degree of expression of cultural content, and the last circle is ideas with a high level of expression of commercial content. That is, the cultural context of ideas is inferior to the commercial one with each circle and vice versa. The model combines the following 4 subgroups: the main creative industries, other creative industries, creative industries, related industries (Table 2) ^[21].

                   John Hawkins' Creative Industries classification model was developed in 2001. It includes 15 sectors of the creative economy without being divided into subgroups and is based on the statement that creative industries cover the creation and sale of creative ideas and creations, including commercial professional and amateur activities (Table 3) ^{[14, pp. 04-139]}.

                   The symbolic text model was developed by David Hezmondalsh in 2002. The culture of society is formed in this model on symbolic texts or messages transmitted through various media, such as cinema, radio and the press. This model combines 3 creative subgroups of industries (main, peripheral, borderline) (Table 3) ^{[19, p. 97]}.

The classification of creative industries by author's approaches is presented in Table 3.

Table 3. Author's approaches to the classification of creative industries

                   As we can see, the model of the Ministry of Culture, Media and Sports of Great Britain; the model of the non-profit organization "Americans for the Arts" and the model of classification of creative industries by John Hawkins do not provide for the classification of creative industries with the allocation of subgroups in contrast to the other four models (the model of concentric circles by David Throsby, the Symbolic text Model by David Hezmondalsh, the WIPO Model, the Model of the UNESCO Institute of Statistics). Such differences are explained by different target orientations and ways of interpreting the structural characteristics of creative industries.

                   In the last decade, creative industries have been actively developing in Russia, although, according to M.A. Zalevskaya and M.A. Mordanov, they face a number of difficulties. "The concept of creative industries is not fully considered by regional and federal authorities as a potential and effective tool for economic development," the researchers note ^[4]. Nevertheless, this problem is gradually being solved, and the role of creative industries in the Russian Federation is already fixed by law. For example, in the Concept of the Development of Creative (creative) Industries and mechanisms for their state support in large and largest urban agglomerations until 2030 (hereinafter referred to as the Concept, this document was approved by the Decree of the Government of the Russian Federation dated September 20, 2021 No. 2613—r), creative industries were defined and the industries that are included in this concept were outlined ^[8]. 

Thus, creative industries are understood as a set of spheres of activity, "in which economic entities produce goods and services with economic value within the framework of the harmonious formation of personality and improving the quality of life of society" ^[8]. The field of creative industries in Russian legislation includes: industries based on the use of historical and cultural heritage, art, modern media and the production of digital content, as well as applied creative industries.

                   Thus, it can be concluded that (1) creative industries, which represent the material basis of the creative economy concept, have been undergoing a stage of methodological identification since the 1990s. (2) A generalizing definition of creative industries, in our opinion, can be their interpretation as a new, dynamic, transformational and cross-border sector of the modern economy based on the realization of creative capital (a synergistic combination of human, cultural, social and institutional capital) at the micro, macro and global levels.

Media as part of the creative industries system

                   Media occupy a special place in the system of creative industries, they are the direct subject of creative industries. Thus, in the national "Concept for the Development of Creative Industries", the creative industries also include modern media and the production of digital content (film, video, audio, animation production, data processing and software development, virtual and augmented reality, computer and video games, blogging, print industry, mass media, advertising, etc.). Media, like other subjects of creative industries, is distinguished by a synthesis of creative activity and commercially oriented.

S. G. Korkonosenko draws attention to the creative process of creating a journalistic work. He notes: "Journalism is permeated with creativity: a media employee has to make decisions in specific conditions, sometimes refuting schemes that previously existed steadily both in social practice and in the public consciousness, which do not fit into the framework of our everyday experience" ^{[9, p. 26]}. Calling journalistic creativity a "spiritualized action", the domestic researcher V. F. Oleshko claims that it "raises the personality to a qualitatively new level", and the subject of creativity (creative personality) is the main element of the creative process ^{[10],[11, p. 16]}. We completely agree with the researcher's opinion that "the modern understanding of creativity as an essential characteristic of a person fully shows the nature of the changes taking place in the social world. Consequently, creativity can be defined as a form of self-development of an individual, the deployment of his essential forces, by the standards of freedom, as a form of involvement in the higher meanings of being" ^{[11, p. 6]}. In our opinion, among the modern scientific studies devoted to the creative personality of a journalist, the doctoral dissertation of the Russian researcher E. S. Doroshchuk deserves special attention, which rightly notes that the creative incompetence of a journalist leads to difficulties in understanding him by the mass audience, to the impossibility of achieving an effective result of professional activity" ^{[3, pp. 82-91]}.

At the same time, it is important not to forget about the highly humane mission of journalistic creativity. The collective monograph "Studies of journalistic creativity: modern approaches" notes: "Since the fate of humanity today is directly related to the increasing role of information systems and journalism, its spiritual and creative potential, it is important that this creativity correlates with high values, essential insight into the phenomena and processes of society, the ability to help it develop dynamically and successfully" ^{[5, p. 53]}.

L. A. Fominova and A. G. Shkurat note the following features of modern media as a component of creative industries: media products "increasingly regulate and organize people's free time. At the same time, media content created by both journalists and representatives of other creative professions is becoming a part of the creative landscape that increasingly fills the lifestyle of modern people. The involvement of creative people in today's urban environment has also had an impact on the media. The media and entertainment industry has become one component of the urban lifestyle, and cities have become centers of concentration of production and distribution of media content" ^{[13, p. 41]}.

However, modern professional media as subjects of creative industries face a number of difficulties. G. Goldenzweig, an expert in the field of creative industries, notes that the biggest difficulty for journalists is high competition with new players in the information market. "Journalism, unlike, for example, music and fashion, has to fight for the position of the main source of information, to prove the advantages of professionalism. A hierarchy of information sources also exists in music – a video clip where a voiceless boy sings at a school graduation on YouTube is able to crowd out the "deeds" of some professional musicians. But it is unlikely that the music consumer will switch to such video cases as the main "foot food". But to live, relying only on the blogosphere, unprofessional journalism plus exclusively reference resources (schedules, stock prices, weather forecasts and traffic jams), is increasingly realistic," the researcher states. He sees a way out in a competent combination of professionalism of a journalist and a creative approach to the material, the form of information presentation. "In order to claim more, it is necessary to be able to give the reader/viewer/listener more than any blogger can give," he concludes ^{[2, p. 2]}.

An interesting look at the problem of reducing the quality of journalistic texts is given by E. A. Tsukanov, who connects it with the lack of a journalist's keen interest in what is to be written about: "it is not written most often because there is nothing to write about, and not because certain algorithms and procedural subtleties of professional craft are not observed. In turn, there is nothing to write about precisely because someone does not have a genuine cognitive interest in the object" ^{[15, p. 164]}.

At the same time, it is important for the media to defend not only their own identification as a sub-subject of creative industries, but also to promote the development and promotion of creative industries in general.

The role of the media in promoting creative industries

"The media play an important role in the development of creative industries," journalist John Tus is sure. Moreover, calling culture and creativity a "monument" to the national identity of the people, journalists specializing in such topics fulfill an important mission, Tus believes. "For media editors, creative industries are an inexhaustible source of interesting materials. People working in the creative industries sector can tell a lot of things that could interest the masses, besides writing about themselves is no less fascinating. Their stories are always full of positivity, sincerity, individuality. Often, these are stories about success, but not only about it. The main thing is that they are interesting to the reader," John Tus is sure ^[12].

Discussing the role of media in the development of creative industries, K. S. Komarova draws attention to three aspects. The first is an opportunity to be heard for the creator. Publications in the media can instantly turn a creative person into a celebrity, make his project popular, discussed. The second is a tool for attracting investment in creative projects. One of the main difficulties is that the authors of creative projects do not understand how to make their idea commercially attractive. Units manage to work for a limited segment of consumers, and there are very few projects that can attract large investments and mass consumers. In recent years, in Russia, the media have been acting as a link between creators and big business from the "traditional" sectors of the economy, which can invest in the development of a creative project. The third aspect that the researcher focuses on is the high efficiency of new media, which allows for the rapid dissemination of information to a virtually unlimited audience. Bloggers and influencers who act as opinion leaders are also able to effectively promote a creative project ^{[7, pp. 46-48]}.

K. D. Kiuru and S. V. Linkov pay attention to the tools that media workers use in promoting creative industries. According to researchers, it is necessary to select those means that affect the emotional sphere of the audience, and the means of dramatic composition and, first of all, storytelling cope with this task perfectly ^[6]. It is necessary to use the full genre and stylistic potential of new media, means of convergence - this allows you to effectively present creative products.

It can be concluded that the interaction of media and creative industries is also changing the modern journalistic discourse. The coverage of cultural events and creative projects imposes new requirements on the journalist: he must act as an active participant in the event and, to a certain extent, as a creator.

Research methodology

To confirm this thesis, we decided to conduct a study of the specifics of the coverage of the topic of creative industries in the federal and district media (Khanty-Mansiysk Autonomous Okrug — Yugra), as well as to identify current trends in the coverage of this topic. Using the method of content analysis and the comparative method, we reviewed and analyzed the materials of the publications "Evening Moscow" and "Arguments and Facts" (15 materials) for 2022-2023 and "News of Ugra" and "Arguments and Facts - Ugra" (17 materials) for 2022-2023.

In our research, we relied on the provisions set forth by S. V. Belkovsky and O. N. Savinova in the work "Content analysis in journalism studies": "The essence of the method is the selection of some key concepts or other semantic units in the text, followed by the calculation of the frequency of use of these units, the ratio of various elements of the text with each other" ^{[1, p. 10]}.  Based on a detailed theoretical analysis of the phenomenon of creative industries and the place of the media in their promotion, we have identified criteria, compliance with which can affect the effectiveness of coverage of creative products in the media:

- highlighting the advantages that creative industries give to the consumer – this is the criterion that is responsible for the demand for products, services;

- highlighting the opportunities that a creative project provides to a potential investor;

- indicating the social burden that the creative project carries;

- indicating the participation/non–participation of the project in state programs - in the course of the study, we proceeded from the fact that indicating the participation of the project in the program is a kind of signal for other creators who could also benefit from support from the state;

- use of multimedia materials;

- complete information about the project for both the consumer and the investor.

In addition, the directions of creative industries that receive media coverage, as well as genres of materials, were studied.

Comparative analysis of creative industries lighting

in federal and regional media

After conducting a content analysis of the materials, we came to the conclusion that:

1. In the federal media, creative industries are most often covered in the format of a review article, the genre of news is in second place in popularity, longrid, reportage and interviews are relatively rarely used. At the same time, the topic of publications is not the creative industries themselves, but the level of their support by local authorities. This indicates a somewhat formal approach to the issue of covering creative products, a journalist's misunderstanding of the importance of the creative industries industry in the modern economy and his mission as a participant in their promotion.

2. Applied creative industries are most often covered in the federal media (construction of transport ("Two-wheeled revolution: modern bicycle models can replace cars" // vm.ru [Electronic resource]. URL: https://vm.ru/technology/1042823-dvuhkolesnaya-revolyuciya-sovremennye-modeli-velosipedov-mogut-zamenit-avtomobili (Date of application: 03.03.2023)); production of toys and souvenirs ("Life with toys is red: how the Moscow authorities support small and medium-sized businesses" // vm.ru [Electronic resource]. URL: https://vm.ru/economy/1029356-zhizn-igrushkami-krasna-kak-vlasti-moskvy-podderzhivayut-malyj-i-srednij-biznes (Date of application: 03.03.2023)); inventions useful in everyday life ("What interesting developments are presented at the Congress of Young Scientists?" // aif.ru [Electronic resource]. URL: https://aif.ru/society/science/kakie_interesnye_razrabotki_predstavleny_na_kongresse_molodyh_uchyonyh (Date of application: 03/10/2023)); cosmetics made of natural materials ("Cream of sea urchin caviar and amber. How will Russia respond to foreign cosmetics" // aif.ru [Electronic resource]. URL: https://aif.ru/health/secrets/krem_iz_ikry_morskih_ezhey_i_yantarya_chem_rossiya_otvetit_zarubezhnoy_kosmetike (Date of appeal: 03/10/2023)); fashion ("And knits, and won't say a word. How small business lives now" // aif.ru [Electronic resource]. URL: https://astrakhan.aif.ru/society/people/i_vyazhet_i_slova_ne_skazhet_chem_seychas_zhivyom_malyy_biznes (Accessed: 03/10/2023)). In second place in popularity are modern media and the production of digital content.

The consumer approach to the idea of the attractiveness of creative industries prevails. There is a preponderance in the field of applied creative industries. All the analyzed materials emphasize such advantages as ease of use, the possibility of integration with digital services, and health benefits. Satisfaction of spiritual needs by means of creative industries is practically not stipulated, a promising creative product is positioned as physically tangible and convenient to use.

3. The attractiveness for the investor was indicated in 12 publications out of 15. Journalists strive to emphasize the economic prospects of the creative project, contribute to the fact that the object of creative industries received additional funding. At the same time, the authors appeal both to the current and prospective financial indicators of the project, and to its capabilities on a global scale, the trend is indicated, it is perceived as a certain guarantee of success. 

                   4. The coverage of the topic of creative industries in the district media of the Khanty-Mansi Autonomous Okrug is quite detailed: most of the publications are made in the genre of reportage, which allows the reader to "dive" into the topic, feel the effect of the presence in the workshops of the authors of creative projects, get acquainted not only with the formal advantages of their products, but also to find out how they are created, what emotions they give.

                   5. Not all publications about creative industries provide the necessary information about the product to the consumer and investor. This suggests that in the district editorial offices, journalists are not always aware of their role in communication between the authors of creative projects, buyers and investors.

                   6. Industries based on the use of historical and cultural heritage are popular in the district media. The journalists of the district media willingly and in detail talk about their native land, its unique cultural projects: festivals, museums, eco-routes. At the same time, it emphasizes not only the convenience of products for the buyer, their quality, but also uniqueness, originality.

                   7. There is a tendency in the district media to increase interest in local projects that are based on historical and cultural heritage and art. The authors tell in detail and interestingly (using the genre of reportage, a large number of photographs) about unique ethnic festivals, tourist sites, museums. This approach arouses a natural interest in the reader, in the potential consumer of cultural services. At the same time, regional journalists do not pay attention to the commercial component of creative projects, thereby limiting the range of potential investors.

Conclusion

                   In the context of the development of the information society, the possibilities of mass media are significantly increasing – it is not only a channel of information, but also a tool for influencing the mass audience. Creative industries today are the material basis of the creative economy concept, based on the realization of creative capital (a synergistic combination of human, cultural, social and institutional capital) at the micro, macro and global levels. Russian legislation refers to creative industries industries based on the use of historical and cultural heritage, art, modern media and the production of digital content, as well as applied creative industries.

                   Mass media and media are not only a subject of creative industries, but also a tool for popularization and promotion of other branches of creative industries. Talking about creative projects, journalists participate in the process of co-creation. KhMAO – Yugra is a region that was one of the first in the territory of the Russian Federation to start regulatory regulation of the development of creative industries. The specifics of the development of creative projects on the territory of the Khanty–Mansi Autonomous Okrug - Yugra is the active use of the ethno-cultural potential, natural features of the region.

                   The conducted content analysis allows us to conclude that creative industries are a popular topic of publications in federal and district media, but the approach to their coverage varies.

                   In the federal media, when choosing a genre, preference is given to news. The purpose of the journalist is not to tell in detail about an unusual product, but to entertain the reader, to demonstrate the level of support for local initiatives by the authorities.  In some materials (made in the genre of longrid), creative industries find a detailed description: through personal stories, through the experience of the characters, the product itself is described, its advantages for the consumer.

                   In the district media, on the contrary, creative industries are often covered in the genre of reportage. Such a choice allows journalists to immerse the reader in a creative atmosphere, to acquaint not only with the product, but also with the process of its creation, with the emotions that interaction with the product gives.

                   In the federal media, there is a tendency to focus on the consumer properties of the creative product, the profitability indicators of the project, the possibilities of using the product in a new area, compliance with trends. In our opinion, such information acts as a trigger that stimulates the interest of the investor and the mass consumer. 

                   There is a tendency in the district media to increase interest in local projects that are based on historical and cultural heritage and art. The authors tell in detail and interestingly (using the genre of reportage, a large number of photographs) about unique ethnic festivals, tourist sites, museums. This approach arouses a natural interest in the reader, in the potential consumer of cultural services. At the same time, regional journalists do not pay attention to the commercial component of creative projects, thereby limiting the range of potential investors.

                   It can be concluded that, in general, the federal media is characterized by a tendency to display a utilitarian and pragmatic approach in covering the topic of creative industries. In regional media, this trend does not have a mass character: local journalists use the strategy of emotional involvement of the reader to a greater extent.

                   Thus, creative industries seem to be an important sector of the modern economy, the success of the development of which largely depends on positioning in the media. A positive trend is the growing interest in this topic from federal and district publications. To make the coverage of this topic more effective, it is necessary to overcome the formal approach, use convergence tools, promote greater emotional involvement of the reader along with maintaining the content of publications,

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