In the modern information and knowledge society, there is a strong affirmation of cultural phenomena, and the creative industries that have very great significance for the economic, social, political and general development of society. The term creative industries can be understood as a kind of antinomy, the unity of the opposing concepts – creatively as a reflection of authentic, individual, unique, creative act and industry that involves a unified, mass, schematic and continuous expansion of cultural, artistic, media content. Deregulation as a phenomenon of the nineties, brought to European media space clear delineation of public and commercial media. The differences are related: the question of the extent to which the creative and commercial activity in the media are in harmony or conflict, or whether a priori public broadcasters fulfill their program requirements as increasingly creative and that this component is expected to be completely ignored by commercial broadcasters. The current European and Serbian practices show that this conclusion is not always accurate, consistently and effectively implemented because the going to commercial broadcasters operates as appropriate to public service, that public media forget that their primary goal is quality and satisfaction of all public needs, and not the commercial success parameters. Open question is will the creative industries be influential enough to modify the financial aspects of the business media as well as the expectations in terms of aesthetic and ethical aspects of their program development.


Due to a long-term neglect of the regional development in Serbia the transition process emphasized the development discrepancies in the territory of the Republic.

Regionalization is an effective instrument of managing a state, a method of a faster development of the region and a powerful control instrument striking a balance among regional development disparities. In addition, regionalization is the EU method to strengthen the integration process and the creation of “new Europe“. In the developed countries much more importance is given to development incentives coming from the social infrastructure, and for the past two decades, a special attention is given to the creative sector. Therefore, we feel justified to point to the existing territorial arrangement of the whole social infrastructure and the lack of adequate statistical material as critical for further analysis of this aspect in Serbia. We commented on the recent statistical regionalization of the country and pointed out the implications the current solution will have in Serbia as a small country, indicating that we are committed to national statistics which adequately covers the territorial distribution of social infrastructure, and especially its creative sector in order to adequately engage it in a strategy of regional and local development.


The paper deals with the genesis of researches of creative sector, especially in the Anglo-Saxon countries. In the first part of paper, the author analyzed the chronology of the creative sector as an economic phenomenon in the U.S., including the socio-political context in which specific researches appeared, and the impact these studies had on the development of scientific disciplines and reflection on the creative sector. In the second part of the paper, the genesis of the creative sector in the UK, socio-economic context of researches as well as its effects on changing the role, importance and sense of creative sector in science are discussed. The aim of this paper is to present the basics of economic research sector, critical debates and phenomena associated with the area.