The aim of this contribution is to define the essence and specifics of innovations in the creative industry entities, to summarize and compare the results of two surveys carried out so far in this area and to outline the direction of further research carried out under the conditions of Slovak creative businesses. In the EU Member States, there are huge expectations associated with the creative industry. It is assumed that the CI will contribute to the recovery of the European economy and to the growth of its competitiveness. Based on the following findings, we can conclude that innovations in the creative industry is relatively little explored. Integrating creative industry into a broad sector of traditional industries can increase the competitiveness of enterprises to innovate and increase the economic value of their products and services.
Research background: The COVID-19 pandemic is far more than a health crisis. The mentioned pandemic is changing communities and economies at their core. While the impact of the pandemic will differ from country to country, it will most likely rise poverty and inequalities at a global scale. Estimating the impacts of the COVID-19 crisis on societies, economies and vulnerable groups is necessary to inform and tailor the responses of governments and partners to recover from the crisis and ensure that no one is left behind in this effort. Without urgent socio-economic responses, global suffering will escalate, jeopardizing lives and livelihoods for years to come. Purpose of the article: The aim of this contribution is to measure the influence of Coronavirus on the Creative industries entities in Slovakia, which are the most globalized (they have the international partners, cooperation or owners), to provide the various scenarios of the economic development in this field and to propose the recommendations about the development of international cooperation. Methods: The influence of COVID-19 pandemic on media companies, broadcasting channels, software companies, was determined by filings for bankruptcy or restructuring and on the basis of the number of laid off employees. Findings & Value added: Based on the reached results, we conclude that the Creative Industries entities such as media companies, broadcasting channels, software companies, which produce the digital content, were not so negatively affected. Many of the changes due to digitization have been positive, however, again in unexpected ways.
The aim of this paper is to assess the reliability of alternative default prediction models in local conditions, with subsequent comparison with other generally known and globally disseminated default prediction models, such as Altman’s Z-score, Quick Test, Creditworthiness Index, and Taffler’s Model. The comparison was carried out on a sample of 90 companies operating in the Slovak Republic over a period of 3 years (2016, 2017, and 2018) with a narrower focus on three sectors: construction, retail, and tourism, using alternative default prediction models, such as CH-index, G-index, Binkert’s Model, HGN2 Model, M-model, Gulka’s Model, Hurtošová’s Model, Model of Delina and Packová, and Binkert’s Model. To verify the reliability of these models, tests of the significance of statistical hypotheses were used, such as type I and type II error. According to research results, the highest reliability and accuracy was achieved by an alternative local Model of Delina and Packová. The least reliable results within the list of models were reported by the most globally disseminated model, Altman’s Z-score. Significant differences between sectors were identified.
Research background: The restrictions pose a threat to the creative industries, as some companies and self-employed persons suffer major losses. Many freelancers and micro-enterprises work in the creative industries. They depend more than others on events and markets for earning money. The 33 288 employees that comprise the CIs are therefore hit particularly hard by COVID-19. Purpose of the article: The aim of the paper is to measure the Covid-19 impacts on the Creative industries in Slovakia and evaluate the economic compensation suffered from Ministry of Culture of the Slovak Republic. The compensation payments consist of a certain percentage of the income from the year 2019 and encompass business expenses such as rent and other fixed costs. Methods: Our calculations on the extent to which the creative industries (CIs) and its sub-markets are affected by the COVID-19 pandemic are based on data from Ministry of Culture of the Slovak Republic, the Statistical Office of the Slovak Republic and the FINSTAT database for the year 2019 and 2020. Findings & Value added: The effects of the ordered closures and the associated effects in the individual sub-sectors and occupational fields are estimated. For this reason, economic effects are calculated and recorded based on a scenario analysis. In a second step, the international perspective on the COVID-19 pandemic will be considered. Overall, the analysis of the consequences of the pandemic for the creative industries is intended to provide an overview of the possible consequences in the creative industries and, together with the knowledge about the procedures in other countries, to make political action needs more clearly recognisable.
The aim of this paper is to identify specific problems of intellectual property rights protection in creative industries and to identify the current state of this protection in the Slovak and Czech Republic. The results presented in this paper are based on the official statistics of the Czech and Slovak Statistical Offices, which conduct two-year cycles of surveys of innovative activities of companies. In June 2020 data for 2016-2018 were published. A harmonized Eurostat model questionnaire was used for data collection by all EU countries, thus ensuring comparability of the data gathered. These results are interpreted with the ambition to suggest appropriate solutions. The proposed paper is also reflecting the current state of digitalization and digital transformation currently identified in creative industries and is raising relevant questions, such as: How can intellectual property rights be enforced in the digital environment to prevent infringements of intellectual property rights and to limit the legitimate use of copyright exceptions? How to find a balance between strong IPR protection and the ability of businesses to exploit the creative potential of the knowledge economy? How can consumer and competitor rights be transferred from analogue to digital context? Do we need new categories of intellectual property rights? Can we create a system of rights that ensures that the scope and duration of rights do not create obstacles to the expansion of creativity?
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