This article studies the definition and the delineation of cultural industries and tried to show the structure of cultural industries and their related industries. First of all, creativity is introduced as the key concept of cultural activities. By giving them their positions in the two dimensions of creativity-recreativity axis and sensitivity-intellectuality axis, cultural activities are classified into four groups: A (arts), B (sciences), C (games), D (recreation). Then, as the forward and backward linkages of cultural activities, culture-supporting and culture-utilization industries are identified.

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This is to trace the history of ‘film policy’ in the first half of twentieth-century Britain. We will look at various official interventions to regulate or promote film production, distribution and exhibition. Successive British governments tried to establish British cinema which could compete with Hollywood, in both industrial and cultural terms. This paper suggests that these early policy objectives remain unfulfilled, even after the socalled ‘revival’ of British cinemas in the 1980s and 90s.

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The concept of “public art” in a contemporary sense dates from the the establishment of the Art in the Public Places program at NEA in 1967. Alexander Calder's sculpture “La Grande Vitesse” installed in Grand Rapids by the program in 1969 is considered the very first work of public art. This study examines why and how the first public art has come to be realized, and discusses the original concept of “public art” in the United States.

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We conducted a quantitative evaluation of cultural capital. Considering the World Heritage case of the historic villages of Gokayama, Toyama, we conducted a survey of tourists on the benefits of the heritage using double- bounded dichotomous choice CVM, and analyzed the results by a random utility model. The heritage benefits derived mainly from bequest value. The total WTP of tourists is large enough to justify social investment in the heritage. Also tourists are not only recipients of the benefits but also potential donors and volunteers, and strongly support funding for the maintenance of the villages by the national government.

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The main purpose of this research is to clarify various issues which traditional industries in Gifu “Tono” Area have. Further considerations are given to the relationship between the industrial competitive power and the culture in the area, and to the direction by which a way is shown to revivify the area with a competitive producing power.

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International cultural exchange in Japan began as personal exchanges such as dispatching and invitation of artists. Later exchanges extended to performances of the Orchestra, Kabuki and old Japanese fine arts exhibition. Nowadays it has been developed as a large-scale cultural business. Through the cultural exchange, Japanese culture for years has been recognized not only as Japanese traditional culture represented by “Fujiyama Geisha” but also “widespread” such as Japanese literature or anime.

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