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There is now a substantial academic literature that addresses the creative economy. While most of this consists either of advocacy or the application of a set of increasingly orthodox ideas, there is also a growing critical response.2 This literature is now available in several languages – although English dominates overwhelmingly – which testifies to the globalisation of the ideas in question. Flew has identified a number of policy variants in recent discussion of the Creative Industries.3 Alongside what has emerged in the European Union (EU), distinctive approaches have also been taken in East Asia, China and Australasia. As there are comprehensive reviews of this literature, it would be otiose to repeat thorough work already done by others.4 I shall restrict myself to a brief overall comment on the present state of play before considering my case in point, the EU, which illustrates my central contention – that when the creative economy frames the argument this shapes how we might think about the value of culture. A frequent starting-point point for discussion of the Creative Industries has been the position first outlined by the UK Department for Culture, Media and Sport (DCMS 1998). Aside from proposing individual creativity, skill and talent, wealth and job

Whither the creative economy? Some reflections on the European case