Beaconhouse National University (BNU) IFCD UNESCO Project

Welcome to the comprehensive database for the "Improving Data Collection among National and Provincial Statistical Agencies to Enhance Policymaking for the Cultural and Creative Industries" project, a collaborative effort aimed at enhancing the efficacy of policymaking in the cultural and creative industries. Funded by the International Fund for Cultural Diversity (IFCD), UNESCO, this initiative strives to streamline data collection processes among national and provincial statistical agencies, facilitating informed decision-making to foster growth and innovation within these sectors. Our database serves as a centralized platform, consolidating valuable insights and metrics crucial for shaping effective policies and strategies. With a focus on optimizing data collection methodologies and promoting collaboration among stakeholders, this project aims to propel the cultural and creative industries towards sustained prosperity and development.

https://www.abs.gov.au/ausstats/abs@.nsf/Latestproducts/5271.0.55.001Main%20Features42013?opendocument&tabname=Summary&prodno=5271.0.55.001&issue=2013&num=&view=

https://www.abs.gov.au/participate-survey/business-survey/economic-activity-survey-other-services-industries

To enhance the understanding and economic contribution of Cultural and Creative Industries (CCI), this study explores the feasibility of creating Cultural and Creative Activity Satellite Accounts (CCASA) for Australia. It operates under a broad definition of cultural industries, reflecting the symbolic essence of societies through traditions, values, and beliefs, with creativity and intellectual property at its core.

Industry Classification:

The concentric model classifies industries into:

1. Core Creative Industries: Music, Literature, Performing Arts, and Visual Arts.
2. Other Core Cultural Industries: Film, Photography, Museums, Libraries, Archives, and Galleries.
3. Wider Cultural Industries: Zoos, Parks, Television, Radio, Publishing, Video Games, and Sound Recording.
4. Related Industries: Advertising, Architecture, Design, Jewelry and Crafts, Computer Systems, and Fashion.

Purpose of Satellite Accounts:

The concentric model classifies industries into:

1. Core Creative Industries: Music, Literature, Performing Arts, and Visual Arts.
2. Other Core Cultural Industries: Film, Photography, Museums, Libraries, Archives, and Galleries.
3. Wider Cultural Industries: Zoos, Parks, Television, Radio, Publishing, Video Games, and Sound Recording.
4. Related Industries: Advertising, Architecture, Design, Jewelry and Crafts, Computer Systems, and Fashion.

Detailed Components:

• Supply Chains: Utilizing the Australian and New Zealand Standard Industrial Classification (ANZSIC) and the Australian Culture and Leisure Classifications (ACLC), alongside 2011 Census data, 71 industries are identified as part of the creative and cultural supply chain.
• Occupations in Other Industries: Through ANZSCO, 132 occupations are identified, classified by skill level, specialization, and with the aid of ACLC and 2011 Census data.
• Volunteer Services: Recognizing the contribution of volunteers through a replacement cost method, valuing their time as if replaced by paid labor.
• Non-Market Output: Measured as the difference between cost summation and sales value outputs. This accounts for the economic contribution otherwise overlooked in standard national accounts.

Methods Employed:

• Input-Output Method: Used for supply chain industries, adapting for in-scope and out-of-scope activities.
• COE Share Calculation: Estimating cultural and creative occupations' contributions through the proportion of total remuneration.
• Replacement Cost Method: Valuing volunteer services by the cost of replacing them with paid labor.
• Cost Summation vs. Sales Value: Determining non-market output by the discrepancy between these two values.

Economic Indicators:

• GDP, exports, imports, and employment figures are utilized to measure the overall impact and scale of the cultural and creative industries.

Economic Impact of the Victorian Arts and Cultural Sector kpmg.com.au - PDF Free Download (docplayer.net)

Objective:
The study conducted by KPMG aims to measure the economic contribution of the Arts and Culture sector by examining activity and employment levels. It leverages the Australian Culture and Leisure Classification System (ACLC) defined by the Australian Bureau of Statistics (ABS).

Classification System Components:

1. Industry Classification: Enlists organizations primarily involved in producing and providing culture and leisure goods and services.
2. Production Classification: Catalogues primary culture and leisure products (goods and services) output by the industries.
3. Wider Cultural Industries: Zoos, Parks, Television, Radio, Publishing, Video Games, and Sound Recording.
4. Occupation Classification: Enumerates occupations predominantly engaged in leisure or culture. Industrial Sectors Defined:

The study delineates 10 industrial sectors for measurement:

1. Museums, Antiques, and Collectables
2. Literature and Print Media
3. Design
4. Music Composition and Publishing
5. Performing Arts
6. Broadcasting, Electronic Media, and Films
7. Visual Arts and Crafts
8. Libraries and Archives
9. Environmental Heritage
10. Other Arts

Economic Indicators Used:

Economic Indicators:

• Output: The total value of goods and services produced, combining labor, capital, and intermediate goods and services.
• Value Added: The sector's contribution to gross state product, calculated as output minus goods and services sourced from other suppliers, avoiding double counting and reflecting the sector's real economic contribution.
• Employment: Total Full-Time Equivalent (FTE) jobs within the sector, reflecting the human resource engagement.

Assumptions:

It's assumed that the 10 Victorian ACLC industries maintain the same proportion of total output made up by wages, profit, and taxes/subsidies as their related national cultural industries.

Analysis Methodology:

A Computable General Equilibrium (CGE) model, specifically The Enormous Regional Model (TERM), was employed to analyze the long-term economic flow-through effects of changes in one sector to others, adjusting for labor and capital across the economy.

This study provides an insightful economic analysis of the Arts and Culture sector, contributing valuable data for policy-making and understanding the sector's impact on the broader economy.

https://assets.publishing.service.gov.uk/media/5a8039af40f0b62302692413/CIEE_Methodology.pdf

The Creative Industries Economic Estimates (CIEE) paper outlines the methodology for quantifying the economic contributions of the UK's Creative Industries, focusing on three main indicators: employment, Gross Value Added (GVA), and exports of services. The paper defines the Creative Industries based on individual creativity, skill, talent, and their potential for wealth and job creation through intellectual property exploitation.

Methodology Overview:
Creative Intensity: This concept is crucial for identifying Creative Industries. It represents the proportion of creative jobs within an industry. An industry is classified as 'creative' if it has over 6,000 jobs and a creative intensity over 30%. These industries are identified using Standard Occupational Classification (SOC) data.

Key Components:

Creative Industries - Employment:

• All occupations (first and second) within Creative Industries are counted, regardless of whether they are creative roles.
• Data is refined to employees or self-employed individuals within these industries, then weighted and subjected to confidence intervals for reliability.

Creative Economy:

• It includes all occupations within Creative Industries and creative roles outside these industries. Data is similarly processed and weighted.
• The demographic breakdown (ethnicity, sex, region, etc.) of jobs follows the same methodology.

Creative Industries - GVA:

GVA is calculated using approximate GVA from the Annual Business Survey, representing value directly attributable to Creative Industries.
For the broader Creative Economy, the GVA from non-creative industries is proportionally allocated based on their creative occupations.

Creative Industries - Exports:

• Export values are derived from the International Trade In Services survey data, limited to organizations within Creative Industries SIC codes.
• Export data is detailed by continent and aggregated up to prevent disclosure of sensitive information.

Key Takeaways:

• Statistical Rigor: The methodology is grounded in rigorous statistical processes, including classification systems like SOC and SIC, and extensive data weighting and confidentiality measures.
• Dynamic and Inclusive Definitions: The paper emphasizes a dynamic and inclusive definition of Creative Industries, considering economic, social, and employment facets and adapting to changing industry landscapes.
• Comprehensive Economic View: By covering employment, GVA, and exports, the methodology provides a comprehensive view of the economic impact of the UK's Creative Industries.

This methodology allows for a nuanced understanding and quantification of the Creative Industries' contribution to the UK's economy, aiding policy-making and industry support initiatives.

https://pec.ac.uk/news/national-statistics-on-the-creative-industries

In 2001, the Creative Industries were defined by the Department for Digital, Culture, Media and Sport (DCMS) as those industries ‘which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property’: UK Government 2021.

For the present, DCMS has modified the above definition to include the concept of “creative intensity” which is that an industry is considered creative when more than 30% of its workforce are employed in creative occupations like designers etc. thus, Creative Industries includes:

• Advertising and marketing
• Architecture
• Crafts
• Design and designer fashion
• Film, TV, video, radio and photography
• IT, software and computer services
• Publishing
• Museums, Galleries and Libraries
• Music, performing and visual arts

The rest of the article talks about general statistics of these industries like their economic contribution figure, number of jobs in the industry, location (geography) etc.; the skills of the people employed in these industries; their education; R&D employed for the industry; international trade and export; class, diversity and socio-economic status.

https://uis.unesco.org/sites/default/files/documents/unesco-framework-for-cultural-statistics-2009-en_0.pdf

The UNESCO Framework for Cultural Statistics (FCS) offers a comprehensive approach to understanding and measuring the socio-economic contributions of culture, emphasizing international adaptability and comparability. Below are the key methodological takeaways, reformatted for clarity and with full names of abbreviations:

Definition of Culture: Culture encompasses spiritual, material, intellectual, and emotional features of society or social groups. It includes art, literature, lifestyles, value systems, traditions, and beliefs. The FCS aims to measure cultural activities, goods, and services generated by both industrial and non-industrial processes, considering their artistic, aesthetic, symbolic, and spiritual values.

Cultural Domain Concept: To capture both economic and social aspects of culture, FCS uses the idea of "Cultural Domains". This includes:

• Culture and Natural Heritage: Museums (including virtual), archaeological and historical places, cultural landscapes, and natural heritage.
• Performance and Celebration: Performing arts, music, festivals, fairs, and feasts.
• Visual Arts and Crafts: Fine arts, photography, and crafts.
• Books and Press: Books, newspapers, magazines, other printed matter, libraries (including virtual), and book fairs.
• Audio-Visual and Interactive Media: Film and video, television and radio (including internet live streaming), internet podcasting, and video games (including online).
• Design and Creative Services: Fashion design, graphic design, interior design, landscape design, architectural services, and advertising services.
• Related and Intangible Domains: The framework also encompasses related domains such as tourism (charter travel, tourist services, hospitality, and accommodation) and sports and recreation (sports, physical fitness, amusement parks, and gambling). Intangible cultural heritage includes oral traditions, rituals, languages, social practices, education, training, archiving, and preservation.

International Classification: FCS encourages the use of international classifications for the economic measurement of culture, such as:

• International Standard Industrial Classification (ISIC-4)
• Central Product Classification (CPC-2)
• Harmonized System (HS 2007)
• Extended Balance of Payments Services Classification (EBOPS)
• International Standard Classification of Occupations (ISCO-8)
• Classification of the Functions of Government (COFOG)
• Classification of Individual Consumption According to Purpose (COICOP)
• Classification of the Purposes of Non-Profit Institutions Serving Households (COPNI)

Cultural Participation Measurement: To gauge the social aspect of cultural industries, FCS references the UIS 2006 report and divides cultural participation into three main categories:

• Home Base Activities: Time spent on watching TV, listening to radio, reading, and using computers and the internet.
• Going Out Activities: Visits to cultural venues such as cinemas, theatres, concerts, museums, monuments, and heritage sites.
• Identity Building Activities: Engagement in amateur cultural practices, membership in cultural associations, and participation in popular, ethnic, community, and youth cultures.

For measuring these activities, time use surveys for home-based activities and sample population surveys for "going out" and "identity building" are mostly used. The International Classification of Activities for Time-Use Statistics (ICATUS) is recommended.

In essence, the FCS provides a multifaceted and adaptable framework to understand and measure the impact of culture, focusing on both tangible and intangible, economic and social dimensions. It encourages the use of standardized methods and classifications to ensure consistency and comparability across different cultural contexts.

https://apo.org.au/sites/default/files/resource-files/2010-05/apo-nid184721.pdf

This comprehensive chapter focuses on measuring the economic contribution of cultural industries at national and international levels using Culture Satellite Accounts (CSAs). Here are the main takeaways, formatted for clarity:

Background and Purpose: The chapter underscores the growing importance of cultural industries in the economy, evidenced by their increasing share in GDP. It highlights the need for reliable methods to measure this impact, primarily through Culture Satellite Accounts.

International Efforts and Challenges: Countries like Finland, Canada, and Spain have established CSAs, but differences in defining cultural industries make international comparisons challenging.

Key Topics Addressed:

• Concept of CSAs: Understanding what CSAs are and their role in national accounting systems.
• Feasibility in Sweden: Exploring the possibility of establishing CSAs in Sweden.
• Comparability with Other Countries: Assessing whether Swedish CSAs can be compared internationally.
• Regional CSAs: Considering the potential for regional-level CSAs.
• Accounting Fundamentals: The chapter delves into the National Accounts (NA) system, emphasizing its standardization and use for economic policy and planning. It explains how accounting in cultural industries involves balancing assets (production) and their use (consumption, investment, and export).

Culture Satellite Accounts:

• Definition: CSAs involve identifying and quantifying the value added from cultural production and its usage.
• Existing Practices: Experiences from Finland, Canada, and Spain show the need for statistical improvements to distinguish cultural industries.
• International Comparisons: Challenges arise due to varying definitions of cultural industries among countries, impacting the ability to make international comparisons.

Swedish Context:

• Cultural Production Measurement: Using a 'trident' approach to measure cultural value, incorporating industries, products, and occupations.
• Challenges in Occupational Statistics: The need for improved statistics, especially for small companies.
• Public Cultural Production: Involves a finer subdivision of public cultural production in the Swedish National Accounts.
• Use of Culture: Divided into private and public consumption, investments, and net exports. The chapter discusses the complexities in measuring cultural consumption and the need for a detailed understanding of private cultural consumption.

Regional Culture Satellite Accounts: While there are good prospects for regional CSAs from the supply side, difficulties exist in estimating regional cultural use.

Concluding Remarks: Establishing CSAs in Sweden is feasible and important for monitoring cultural economy's role in society. Challenges include improving occupational statistics and defining cultural use. International harmonization of cultural statistics is essential for meaningful comparisons.

In summary, the chapter provides an in-depth exploration of the complexities and methodologies involved in measuring the economic impact of cultural industries through Culture Satellite Accounts, highlighting the challenges and potential for implementation at both national and regional levels.

https://storymaps.arcgis.com/stories/eee3b3c15aca435bbcc59906d65c0c18

This report talks about an extension of input-output software model, called IMPLAN. It uses government data about industries and allows an economic impact analysis. Using the model following data was collected for creative industries:

• Employment- industry-specific mix of full-time, part-time, and seasonal employment
• Labor Income (Payroll)- total payroll cost of the employee including wages and salaries, all benefits (e.g., health, retirement), and payroll taxes. Also includes proprietor income
• Value Added- economic output minus intermediate inputs
• Economic Output: total annual production value of each industry or commodity. Output is equal to revenue plus/minus changes in inventory.

The analysis is done through Industry Contribution Analysis which measures the value of an industry at their current production level rather than by economic impact analysis.

The creative industries were defined by using Americans for the Arts creative industry list and IMPLAN industry codes as well as North American Industry Classification System (NAICS).

https://unesdoc.unesco.org/ark:/48223/pf0000154956

The Framework for Cultural Industry Statistics is a meticulous guideline developed to systematically understand, analyze, and integrate cultural industries into national and policy development. It is centered around a widely accepted definition of cultural industries, emphasizing their role in producing artistic and creative outputs, with significant potential for wealth and income generation. The industries covered are extensive, ranging from advertising and crafts to television, music, and publishing.

To effectively gather data on the often nuanced and broad-ranging cultural industries, the Framework outlines a prototype for National Cultural Industries Data Projects with four distinct components:

Diagnostic Sector Survey Model: This foundational model utilizes existing data sets such as national accounts and labor force surveys to compile basic country data across various domains, including policy, legal, and institutional frameworks. It aims to provide a thorough diagnostic of the cultural industry's structure and performance, leading to the creation of comprehensive mapping and baseline data, which serve as a foundation for further stakeholder engagement and analysis.

Statistical Data Collection and Analysis: Comprising four detailed modules, this component focuses on the economic and social metrics of cultural industries. Each module is tailored to different aspects, such as the valuation of core copyright industries, economic impacts of crafts and heritage sectors, employment pattern changes, and social implications marked by cultural participation and consumption. The objective is to foster a systematic approach to data collection and analysis that can be standardized and used for regional comparisons and international benchmarking.

Policy Case Studies: This component involves conducting focused case studies, especially targeting small and medium-sized enterprises in disadvantaged regions. It aims to understand and evaluate the effects of specific policy measures on cultural industries. These studies are crucial for mapping cultural industry clusters, analyzing policy environments, and developing methodologies that contribute to national and international knowledge bases, thereby aiding in policy formulation and adjustment.

Benchmarking Creativity: The final component is dedicated to developing a Creativity Index, which involves defining and measuring creativity within economic and social development contexts. By leveraging the data collected from the second component and other sources, it aims to compile both a national Creativity Index and an Asia-Pacific Regional Creativity Index. These indices are vital tools for understanding, comparing, and promoting creativity as a core aspect of cultural industries within different socio-economic contexts.

In sum, the Framework is a comprehensive attempt to standardize the understanding and reporting of cultural industry statistics. It emphasizes the multifaceted nature of cultural industries and the need for detailed, varied methodologies to capture their economic and social dimensions. This approach not only facilitates national capacity building and policy formulation but also enhances the comparability and utility of cultural industry data across different countries and regions.

https://unesdoc.unesco.org/ark:/48223/pf0000371562

The "Thematic Indicators for Culture in the 2030 Agenda" is a sophisticated framework and methodological tool designed to assist countries in assessing the contribution of culture to the Sustainable Development Goals (SDGs) within the 2030 Agenda. It emphasizes culture's integral role across various SDGs and policy areas. The framework's objectives are multifaceted:

• Highlighting culture's impact on sustainable development.
• Providing a thematic and transversal overview of culture's role across the SDGs.
• Strengthening advocacy for culture.
• Offering evidence-based results to inform policies and actions.
• Building a knowledge base for action.
• Monitoring the progress of culture's contribution to the 2030 Agenda.

The framework encompasses 22 indicators under three main pillars of the SDGs—economic, social, and environmental—along with a fourth dimension focusing on education, knowledge, and skills in cultural fields. Its guiding principles include using existing data sources, employing both qualitative and quantitative data, integrating data from UNESCO Culture Conventions & programs, measuring culture at national and urban levels, prioritizing capacity building, fostering institutional cooperation, adapting the framework to various statistical capacities, providing an aspirational tool, and aligning with the Results-Based Management conceptual framework.

Data sources for the framework are diverse, ranging from UIS and National Statistics Institutions to NGOs, universities, specific surveys, and public agencies.

The framework is structured into four thematic dimensions:

• Environment & Resilience: Focuses on countries' efforts to protect and sustainably manage their cultural and natural heritage. Indicators include heritage expenditure, sustainable management, climate adaptation, cultural facilities, and open spaces for culture.
• Prosperity & Livelihoods: Assesses culture's role in vibrant, sustainable economies through indicators like culture's contribution to GDP, trade in cultural goods and services, cultural employment, public finance for culture, and governance of culture.
• Knowledge & Skills: Evaluates culture's influence in imparting cultural knowledge, skills, and values, especially through education and vocational training. Indicators cover areas like education for sustainable development, cultural knowledge, multilingual education, cultural/artistic education, and cultural training.
• Inclusion & Participation: Examines culture's role in enhancing access to culture, participation rights, freedom of cultural expression, social inclusion, and local community participation. Indicators include culture for social cohesion, artistic freedom, access to culture, cultural participation, and participatory processes.

Each dimension and its respective indicators are described in detail, including their purpose, data sources, methodology, and relevant comments. This comprehensive approach ensures a thorough understanding of culture's multifaceted role in achieving sustainable development, thereby aiding countries in effectively aligning their cultural policies with the 2030 Agenda.

https://uis.unesco.org/sites/default/files/documents/measuring-cultural-participation-2009-unesco-framework-for-cultural-statistics-handbook-2-2012-en.pdf

The document on cultural participation surveys is a detailed guide designed to assist countries in understanding and measuring public engagement in cultural activities. This is crucial for addressing social policy aspects and is tailored to provide a framework adaptable to specific national contexts while drawing insights from international practices. Here's a more detailed summary with added information:

Purpose of Cultural Participation Survey:
Understanding Engagement: To gauge the extent of public involvement in cultural activities, addressing both the social policy aspects and cultural engagement levels. International Framework: Compiling and analyzing surveys from various countries to help nations develop their own customized surveys.

Survey Content and Structure:

• Questions on Cultural Participation: Including frequency, rate, and patterns of participation in different countries.
• Technology and Media: Examining participation through new technologies, the internet, and other media platforms.
• Amateur and Home-Based Activities: Including questions about amateur activities, home-based cultural activities, and self-care activities.
• Artistic Ownership and Socializing: Questions about purchasing or owning artworks, and participation in socializing activities or community events.
• Arts Education and Perception: Inquiries on arts education, public perception of the arts, and enjoyment of artistic and cultural activities.
• Reasons for Non-Participation: Understanding the barriers and reasons for not participating in cultural activities.

Operational Definition of Cultural Participation:
Defined as measuring and understanding the quantitative and qualitative aspects of participation in any activity that enhances individuals' cultural and informational capacity and capital, contributing to identity formation and personal expression.

Considerations in Data Analysis:
Independent Variables: Including gender, age, geographical area, urban/rural location, education level, household structure, economic activity, income level, race/ethnicity, class/caste, religious affiliation, arts knowledge/competence, and language.
Cross-National Variations: Recognizing that these variables may have different meanings or measurement methods in different countries.

Key Statistical Indicators:
Participation Rate: Percentage of the population engaging in cultural activities within a specific period.
Frequency Rate: Average attendance per person during a given period.
Time Allocation: Time spent on leisure and cultural activities, reported as daily/weekly rates.
Cultural Expenditure: Measured as household expenditure devoted to cultural activities, adjusted for purchasing power standards (PPS) to account for price differentials.

Data Sources:
Administrative Data: Includes metrics like the number of visits to cultural facilities, type of institutions visited, book/newspaper purchases, library usage, digital engagement, and cultural association memberships.
Survey Data: Comprising audience/visitor surveys, general population surveys, time use surveys, and household expenditure surveys.

Data Collection Methods:
Qualitative Methods: Methods such as expert interviews, focus groups, observation, and case studies.

Methodological Considerations: Addressing issues like survey definitions, population definition, survey duration, sampling methods, and data collection techniques.

Additional Survey Topics:
Social Capital: Integration of social capital modules, acknowledging the lack of universally agreed measures.
Education and Literacy: Exploring the link between education levels and cultural participation.
Tourism: Studying patterns of tourists, particularly cultural tourists.
Media Use: Assessing the presence and use of various media in households, following international standards.

Annexures:
The document includes detailed summaries of various surveys and a link to comprehensive questionnaires (not accessible in the summary).

In summary, the document is an extensive resource for understanding and measuring cultural participation, offering a range of methodologies, detailed survey structures, data sources, and key indicators. It's designed to aid countries in developing culturally sensitive and context-specific participation surveys, considering various societal and cultural factors.

https://unesdoc.unesco.org/ark:/48223/pf0000122897

https://www.abs.gov.au/participate-survey/business-survey/film-television-and-digital-games-survey-film-and-television-production-post-production-and-broadcasting#employment

The survey targeting the film world within the cultural industries aimed to capture a comprehensive picture of national production capacities and international trade in the sector. Conducted in 1999, it reached out to 185 UNESCO member states through their National Commissions, alongside 40 national filmmaker associations, making it a broad and inclusive inquiry.

The survey was structured with questions covering a wide array of areas:

• International Issues: Focused on understanding how countries follow international treaties related to copyright protection and cultural trade. It aimed to gauge the global interconnectedness and compliance of the film industry with international standards.
• National Issues: Delved into national legislation and organizational structures. It sought to understand the legal framework each country operates within, including any support or regulations specific to the film industry.
• State vs. Commercial Film Financing: Explored the dichotomy between public and private funding sources for films. The survey looked into the balance and interaction between state funding and commercial investments in national film production.
• Professional Issues: Investigated the size and organizational degree of national cinematography sectors. This included understanding the professional landscape, from the number of working professionals to the organizational structures within the film industry.
• Ranking of Countries by Production Volume: Attempted to classify countries based on the volume of film production, providing a comparative look at the output levels across nations.
• Size of National Film Market: Questioned the scope and scale of each country's film market, looking at both the production and consumption sides.
• Types of Media Technologies: Explored the technological aspects of the film industry, including the types of media technologies used in production, distribution, and exhibition.
• Role of Film Festivals: Looked into how film festivals contribute to the national and international film industry, from cultural exchange to market opportunities.
• Training: Focused on the educational and training aspects of the film industry, understanding the availability and type of training for professionals in the sector.

The survey not only collected data but also summarized the responses received, providing a comprehensive overview of the state of the film industry in various countries. Additionally, the study presented the full questionnaire used for the survey, offering transparency and insight into the methodology and areas of inquiry. This survey was a significant effort to understand the complex and varied landscape of the global film industry, with implications for policy, trade, and cultural exchange.

https://www.statcan.gc.ca/en/concepts/ues/2018

The survey included questions for collecting the survey participants information.

UIS_CLT_CE_2016 (1) - Google Sheets

Questionnaire

https://www.statcan.gc.ca/en/concepts/ues/2018

Contains surveys.