Transylvanian International Conference in Public Administration

Transylvanian International Conference in Public Administration Cluj-Napoca, Romania, 2-4 November 2017 Editors: Cristina M. Hințea Bogdan A. Moldovan Bianca V. Radu Raluca M. Suciu 3 Descrierea CIP a Bibliotecii Naţionale a României TRANSYLVANIAN INTERNATIONAL CONFERENCE IN PUBLIC ADMINISTRATION (2017 ; Cluj-Napoca) Transylvanian International Conference in Public Administration : Cluj-Napoca, Romania, 2-4 November 2017 / ed.: Cristina M. Hinţea, Bogdan A. Moldovan, Bianca V. Radu, Raluca M. Suciu. - Cluj-Napoca : Accent, 2018 Conţine bibliografie ISBN 978-606-561-184-9 I. Hinţea, Cristina (ed.) II. Moldovan, Bogdan Andrei (ed.) III. Radu, Bianca Veronica (ed.) IV. Suciu, Raluca M. (ed.) 35 ISBN 978-606-561-184-9 © Accent, 2018 Cluj-Napoca www.accentpublisher.ro 4 Contents Foreword ......................................................................................................................................9 Local Governments in Turkey in the Context of SDGs and Innovation ...............................13 Fulya AKYILDIZ Informal Payments in Romania: The Medical Personnel Point of View. A Preliminary Study ..................................................33 Ovidiu ANtAL Cătălin BABA Steps in the Development of Creative Industries in Cluj-Napoca. Case Study Transylvania International Film Festival .............................................................45 Delia Cristina BALABAN Codruța BARB Cluj-Napoca Smart City: More than Just Technology ............................................................57 Emil BOC The Regional Development Policy – A Vital Instrument Supporting Sustainable Development in Romania and Throughout the European Union..................... 74 Daniel BUDA Health Literacy in Central and Eastern Europe ......................................................................89 Mădălina Adina COMAN Diana Lenuța HRAB The Sources of Distortion of Local Public Interest ..............................................................100 Valentina CORNEA Towards the Codification of Public Integrity Legal Framework? Some Considerations on Proposals for a New Administrative Code ................................. 115 Cynthia Carmen CURt Cultural Influences on Competitiveness in the European Union. An Exploration of Causality....................................................................................................124 Horațiu DAN The Southern European Variety of City Manager in Catalonia and Romania .................... 135 Eliska DRAPALOVA 5 STEPS IN THE DEVELOPMENT OF CREATIVE INDUSTRIES IN CLUJ-NAPOCA. CASE STUDY TRANSYLVANIA INTERNATIONAL FILM FESTIVAL Delia Cristina BALABAN Codruța BARB Abstract. Cluj-Napoca has become one of the most dynamic cities in Romania in respect to the development of the cultural/ creative industries. Founded in 2002, transylvania Film Festival (tIFF) was one of the first events that put the city on the European cultural map in the last decades. the present paper researched tIFF’s role in the development of cultural industries in Cluj-Napoca. the method consists of content analysis of several public documents related to the research subject: The strategy of development of the city of Cluj-Napoca 2014-2020, The portfolio of priority projects of the city of Cluj-Napoca for the time frame 2014-2023, TIFF anual reports, etc. Additional ten in-depth-interviews with tIFF staff involved in the activity with international guests and also international guests that work in the film industry were conducted during the recent three editions of the film festival 2015, 2016 and 2017. the focus of the research is the relationship between the role of the festival for the development of the local creative communities and the internationalization strategies. Delia Cristina BALABAN (corresponding author) Prof. Ph.D., Communication and Public Relations Department, Faculty of Political, Administrative and Communication Sciences, Babeș-Bolyai University, Cluj-Napoca, Romania Email: balaban@fspac.ro Codruța BARB Ph.D. candidate, Faculty of Political, Administrative and Communication Sciences, Babeș-Bolyai University, Cluj-Napoca, Romania Email: codruta.barb@gmail.com Keywords: culture, film festival, creative industries, city development. 45 Contents 1. The role of culture and creative industries in the nowadays society A discussion about the role of the Transylvania International Film Festival (TIFF) in the cultural landscape of Cluj-Napoca should be integrated in a broader context: the contemporary development of the creative industries. Starting from the 1990 decision makers from around the world from Australia, to United Kingdom at Europe stressed that creativity and independent thinking are increasingly crucial to global economy (Moore, 2014, p. 739). A connection between innovation thought creative and media industries and digital technology can lead to economic grow. Creative industries nowadays are based not only on the creativity but also on the technological progress towards digitalization. According to The strategy of development of the city of Cluj-Napoca 2014-2020, this is a particular feature of the development of the city as an important center of cultural industry in the region. Cultural industries are defined as industries, which combine the creation, production and commercialization of creative content, which are intangible and cultural in nature (Moore, 2014, p. 744). The definition vary from country to country and there are at least three different perspectives on creative industries: the first one focused on certain sectors that are part of creative industries such as literature, multimedia, cinematographic or music productions, design, architecture, visual art, advertising, video-games, crafts, theater, opera, concerts and cultural events, museums, art galleries and IT (O’Connor, 2001; Hesmondhalgh, 2002), the second approach based on the work of Richard Florida (2002, 2017) that speaks about an urbanized knowledge capitalism opposed to knowledge based capitalism based on a creative class and the third focused on the concept of creative city introduced by Charles Landry (2000). The idea of the upraising of the creative class as the engine of a successful city development was emphasized by Florida in 2012 work: The Rise of the creative class. And how it’s transforming work, leisure, community and everyday life was the key idea for Cluj creative millieu. The three Ts: technology, talent and tolerance that Florida previously considered to be the key for the success of the transformation of post-industrial cities nowadays were like a motto written for Cluj-Napoca. As 2017 Florida published The New Urban Crisis: How Our Cities Are Increasing Inequality, Deepening Segregation, and Failing the Middle Class and What We Can Do About It, members of the creative scene identified a potential problematic development for the future of Cluj-Napoca according at least to some of the five dimensions of the new urban crisis: 1) a deep and growing economic gap between a small number of super-star cities, the winner takes it all principle applied to urban development, 2) the plutocratization and gentrification phenomenon due to the dramatically growing housing prices that will end up in keeping the creative away from the center of the cities, 3) the grow of inequalities, segregation in metropolitan area and the fall of the middle class, 4) the poverty of the suburbs and 5) the crisis of the urbaniza46 Contents tion without economic growth in the developing world. Florida comes also with solutions for the new urban crisis that he described: empowering communities, make local leaders to strengthen the economic power, develop cluster, concentrate talented people and nevertheless take care as a city develop housing solutions for them (Florida, 2017). The economic value of creative industries is complex and not easy to be measured. Cultural industries are important for both private and public sector of the economy. They also have a social dimension (Wyszomirski, 2003). Hesmondhaugh (2002) stressed the importance of cultural industries beyond their economic dimension. The products developed by cultural industries play a role in the reality perception, are deep involved in the personal life of their users and are actively involved in the identity building process. Moneta (2000) emphasised that cultural industries are based on multi-media service, influenced systems of values, have a public agenda building function. Cultural industries are important elements in the development strategies of several cities not only in the USA or Australia, but also in members of the European Union. The EU program Creative Europe and the Media program are just one of the instruments developed to support creative industries. The Romanian government is implementing those projects, thus the TIFF received financial support. 2. Film festivals Film festivals have an important role not only for the film industry and its representatives, but also for the communities that host this type of events, for the local business. Festivals are platforms for meetings and discussions for people from different domains of the society that have in common preference for movies. Information exchanges, detecting new art tendencies, reviewing new movies, discussions about film staff, giving a receiving feedback for cinema projects are parts of the film festivals (Hing-Yuk Wong, 2011). Marijke De Valck’s cultural theory of attention, spectacle and experience focuses on the spectacle’s role in maintaining the attention of the audiences on film productions at least during the film festivals when selected movies are introduced to juries and public for the first time. Film festivals began with the presentation of art cinema productions. Even if Hollywood was and still is the movie production center par excellence, film festivals took place for the first time in Europe in Venice (1932). Cannes Film Festival (1946) is an example of a successful cooperation between a typical European orientation towards art and the Hollywood glamour. Karlovy Vary (1946), Locarno (1946), Edinburgh (1946) and Berlin (1951) are among the long lasting events of this kind in Europe. Other continents followed Europe by introducing the festivals in Sydney (1954), San Francisco (1957), Mar del Plata (1959), 47 Contents New York (1963), Toronto (1976), Montreal (1977), Sundance (1978). In the years 1980 new film festivals appeared (De Valck, 2007). During the last decades of film festivals history a differentiation process took place thanked to the introduction of new cinema genre such as short movies, documentaries, experimental movies, avant-garde, unfinished project, etc. The International Federation of Film Producer Associations (FIAPF) was founded 1933, an organization that awards the status of film festival according to several criteria and that is in charge for a world wide film festival agenda. According to FIAPF there are three categories of film festivals: specialized on competition movies, specialized on movies outside the competition and specialized on short movies and documentaries. FIAPF has developed a short list of the so-called ‘A class’ film festivals that are internationally recognized due to film selections that are presented and due to the quality of the organization and of the related events. The 12 festival of the A class list are located in: Cannes, Berlin, Venice, Mar Del Plato, Locarno, Shanghai, Moscow, Karlovy Vary, Montreal, San Sebastian, Tokyo and Cairo. There are still relevant film festivals that are not accredited but are still relevant for the international film industry and for the public. TIFF is currently considered to be a ‘B class’ festival. 3. Transylvania Film Festival The first edition of TIFF took place in Cluj-Napoca on 2002 and was accredited by FIAPF on 2011 as the only competition film festival in Romania. The organizer is the Association for the Promotion of the Romanian Movie, supported by the Media Program – Creative Europe. TIFF is a member of CENTEAST: The Alliance of Central and Eastern European Film Festivals. As the official website of the festival reveals, the origins of the festival go back to 2001 when Tudor Giurgiu and Mihai Chirilov, the two co-founders were working as journalists at the Venice Film Festival and had the idea of bringing to Cluj-Napoca this type of events. Starting with 2007 TIFF, Sibiu was added to Cluj-Napoca as TIFF location. TIFF grows each edition from an event presented in two cinemas in Cluj-Napoca in 2002 to 15 locations on 2017. Elements related to this development will be discussed later in this paper related to our research questions. Scholars did not often analyze TIFF, Negrușa, Toader, Rus and Cosma published one of the few approaches in 2016 under the title: Study of Perceptions of Cultural Events’s Sustainability. The results of the study presented TIFF as a sustainable event in local’s perception, with high economic and socio-cultural benefits not only for the local community and with no negative impact on the environment. TIFF ‘has the capacity to support education and cultural enrichment’, generates additional revenues for the local budget There is an economic impact on the local businesses, 48 Contents by attracting investments, by contributing to the rise of new businesses, for example 2016 TIFF’s budget was 1.5 mil. Euro, the number of directs employees were 190 and additional 400 volunteers were evolved. TIFF is perceived as the most representative cultural event of Cluj-Napoca with contribution on improving education and the local infrastructure. The hospitality sector profited from TIFF not only during the festival, but also on long term, Cluj-Napoca being considered a relevant destination for festivals and cultural events, named on Lonely planet: the film capital of Romania (Negrușa, Toader, Rus, and Cosma, 2016). 4. Methodology The present research focused on the following main research questions: RQ1. What is the role of TIFF in the development of cultural/ creative industries in Cluj-Napoca? RQ1. What is the relationship between internationalization and local impact in the case of TIFF? The research methodology in based on a qualitative content analysis of several public documents related to the research subject: The strategy of development of the city of Cluj-Napoca 2014-2020, (original: Strategia de Dezvoltare a Municipiului Cluj-Napoca 2014-2020), Strategically directions of the cinematographic sector of Cluj-Napoca 2014/2020, (original: Direcții strategice ale sectorului cinematografic al municipiului Cluj-Napoca 2014/2020), The portfolio of priority projects of the city of Cluj-Napoca for the time frame 2014-2023, (original: Portofoliu de proiecte prioritare al municipiului Cluj-Napoca, pentru perioada 2014-2023), TIFF anual reports (available on TIFF oficial web site). Additional 10 in-depth-interviews with TIFF staff involved in the activity with international guests and also international guests were conducted during the 2015, 2016 and 2017 TIFF editions. The people that were interviewed are: – Sandra Spighel (coordinator departament guests, 2015 edition), Crăița Nanu (coordinator departament guests, 2016 edition), – foreign guests that where involved in festivals in Europa.: Bostjan Virc (producer), Edvinas Puksta (Vilnius Film Festival), Alessandro Gropplero (International Relations Representative Friuli Venice), Katarina Kracova (producer), Mira Staleva (European Film Academy), Nerina Kocjancik (European Film Festival), Cosima Finkbeiner (Beta Cinama Munich), Iain Smith (producer). 5. Results and discussion TIFF’’s first edition was not spectacular because of the low number of productions that were presented in the two cinemas. International producers were skep49 Contents tical to send their productions to a new comer from a Romanian city. On TIFF’s impact on the development of cultural events in Cluj-Napoca Mihai Chirilov, one of the founders of the festival said in a press interview for the magazine Decât o revistă: ‘everything that hapend in Cluj on the field of visual arts, step by step on different fields started to be very important in the cultural sphere. And this things atracted more vizibility, an economic impact, the support of the authorities for cultural events and an open community for this type of events. There are concerts, music festivals, film festivals, alternative exhibitions and different types of salons’ (DoR, 2016). On his opinion the turning point regarding the perception of the local community and of the authorities towards TIFF took place back in 2007 when Sibiu was European Culture Capital and the festival took place also in this city. Chirilov was aware of TIFF’s contribution to the development of the cultural scene in Cluj-Napoca and thus to the development of the cultural industries. The document and the interviews that we analyzed pointed out few decisive moments on TIFF timeline. The first turning point was 2007, as Chrilov pointed above, followed by the accreditation by FIAPF, than the increasing attention of the municipality related to the elaboration of the The strategy of development of the city of Cluj-Napoca 2014-2020, by a group of experts the so called Cluj Management and Planning Group (GMPG). Cluj-Napoca applied for becoming European Culture Capital 2021, but unfortunately was not nominated. With the help of several local organizations, the municipality prepared the application. Both in the strategy and in the application the TIFF’s role was emphasised. Cluj-Napoca’s advantage was that it is the host city of the most important film festival in Romania. At the time the straegy was developed the festival was already an established event in the cultural scene beyond the Romanian borders. This is a relevant prove for the idea that the festival developed when streching the efforts in relationship with international events such as: 2007 Sibiu the European Culture Capital and the application Cluj-Napoca culture capital 2021. Strategic planning is a relevant instrument for city development nowadays and an excellent tool that governments can (and should) use in order to deal efficiently with change (Hințea, Profiroiu and Țiclău, 2015). In The strategy of development of the city of Cluj-Napoca 2014-2020, there is a section dedicated to the development of the creative industries: The innovative, creative and competitive city. A working group with this title was enrolled for this. TIFF is a relevant element in this document. The city had at that time the potential to become a cluster of creative industries not only because of the qualified human resource (working for example in finance and IT), but also because of what TIFF represented. Thus, it was mentioned in the document: ‘the Cluj community has a high development potential in developing cultural and creative industries. Cluj-Napoca has a specific cultural vitality and an important cultural diversity, a high cultural consumption and a positive dynamic in taking part in 50 Contents cultural events’ (Strategia de dezvoltare a municipiului Cluj-Napoca, 2014-2020). Beeing aware of the importance of branding nowadays (Corbu, 2009), on 2013 TIFF the authors of the strategy already acknowledged that TIFF’s brand has a positive impact on the Cluj-Napoca’s image. TIFF has become a brand that should be used not only during the festival, but also during the whole year. Aspects of city branding (Popescu, 2017) were taken into consideration. In the paper Strategically directions of the cinematographic sector of Cluj-Napoca 2014/2020, image transfer actions such as founding Casa TIFF and EducaTIFF that are related to the intention to use the brand in a more efficient all year around way were highly encouraged. Due to the use of the name of the region Transylvania by the festival, there is a strong relationship between the two brands: the festival and the city that is the capital of Transylvania. TIFF is considered to be a useful instrument for the image of Cluj-Napoca a relevant instrument for the internationalization, both in the form of bringing foreigners to the city and to increase Romanian cinema’s awareness abroad. The authors of the above-mentioned paper compared TIFF with other European film festivals and they come to the conclusion that TIFF is not in the position to reach the achievements of ‘A class’ festivals such as Cannes but can be compared to festivals from the region such as: Sofia, Sarajevo or Wroclaw. Introducing festivals such as TIFF in the strategic planning of a major Romanian city such as Cluj-Napoca was an outstanding decision, because as Quinn (2010) remarked ‘there is little in the literature to suggest that cities normatively engage in such processes. While there are, undoubtedly, some exceptions where the policy ambitions of individual arts festivals are closely interwoven into the broader policy frameworks operating in a city at large, in general, there is an urgent need to create new policy frameworks to chart an equitable path for the future development of urban arts festivals’ (Quinn, 2010, p. 266). Even if Cluj-Napoca didn’t won the nomination for European Culture Capital 2021, TIFF still remains an important and constant pole for the development of creative industries in Cluj-Napoca. TIFF grew each year and additional events took place during the festival. According to TIFF’s offcial website, in the 2017 edition of the festival, the special events that completed the TIFF experience were: InfiniTIFF (an event designed for the tech lovers, where they can observe and experience the newest technologies available, from Virtual Reality to interactive cinema), EducaTIFF (an educational program developed for the benefit of the younger TIFF audience, with the purpose of teaching school kids about the field of cinematography, through movies, workshops, presentations and open talks with various experts in the filmmaking industry), Film Food (a TIFF new event created for the people in the audience who love good food: 3 movies about the art of cooking, followed by a dinner cooked by 3 of the most appreciated Romanian chefs), Weekend at the Castle (the first weekend of the festival, dedicated to fam51 Contents ily activities for the TIFF audience: 2 days at Bonțida Castle, near Cluj-Napoca, full of exhibits, workshops, concerts, children activities, culinary demonstrations, and open-air movie screenings), Let’s Go Digital (a movie workshop designed for kids who have a passion for cinema with ages between 14 and 18 years old, where, under the supervision and teachings from movie experts, they are able to make their own short film, present it in front of a jury and be awarded for their work), 10 for Films (an event designed to give a chance to young debuting actors to learn and improve their talent, in order to be casted in one of the future Romanian or international films or theatre projects), events under the TIFF Industry umbrella: Transilvania Talent Lab (an event dedicated to the industry professionals working in cinema halls in Romania, consisting of workshops focused on teaching the most useful management and marketing skills that can be used when trying to convince a wider audience to come to see good movies in cinema), Transilvania Pitch Stop (for Romanian and other international movie makers that have their first or second movie in different stages of development, this event offers them a chance to present their idea or movie to international film professionals and to get the funding they need in order to be able to complete their work), The Pitch (is an event made specifically for young filmmakers from the Transilvania province, where they can present their short movies in front of a jury, and the best short production will be awarded by Shorts TV – the International channel dedicated to short movies) and Less Is More (TIFF became a partner for this project sponsored by the Creative Europe Media Programme, project that aims to support the screenwriters and directors from Europe who are at their 1st, 2nd or 3rd movie realized with a limited budget) where, for 2 days during the festival, the people involved in this project get to present their ideas and take part in various masterclasses about the possibilities of making, distributing and promoting a movie, while having a limited budget (TIFF, 2018). The following table that presents the evolution of the festival in terms of films, guests, etc., is based on official data from TIFF website: Table 1. tIFF’s movies and participants for the latest editions 2011 2012 2013 2014 Movies that were projected 220 241 190 217 Countries represented 45 46 53 55 2016 248 64 2017 225 53 52 Contents People who attended the festival 60.248 67.000 62.000 63.000 100.000 (79.000 sold tickets) 130.000 (90.000 sold tickets) Guests 1228 1330 1233 Aprox. 1000 1100 1200 TIFF’s relationship to media and advertising was always challenging in a positive sense. The advertising campaigns that were created for every edition mostly by companies from Cluj-Napoca were emblematic through their tone of voice. The accent was always on awareness with a touch of intelligent humor. Besides advertising, public relations services from Cluj-Napoca were involved and by doing this they got the experience of working in an international environment of this scale. TIFF had always-relevant national and regional media coverage, a shift in the direction of social media took place in the last years and the organizers knew how to involve the bloggers’ scene. Innovating ideas were put to work such as implementing a TIFF application, that had 2017, according to the TIFF official report with about 12.000 active users a grow of 180% compared to previous year. One of the most important strategic actions of TIFF was the internationalization; nevertheless the festival is called international starting with the early stage. Inviting international accreditation, international guests and journalists was part of this from the beginning. Each year TIFF has a special guest from abroad that received a prize for the entire activity. The list include outstanding personalities of the movie industry from both Europe and the USA: Vanessa Redgrave, Franco Nero, Catherine Deneuve; Armand Assante, Sophia Loren, Claudia Cardinale, Wim Wenders, Jacqueline Bisset, Geraldine Chaplin, Alain Delon, are only some of the names. Branding is important for business nowadays, film festival make no exception: ‘The brand of the festival – it’s tough making a film festival, there has to be a particular kind of or type of interest, you know, and I think that helps the festival to become in some way, a bit unique. So you need to have a unique selling point. And that is one of the problems now – there is too much content now, there’s so much stuff and another stuff isn’t going to do anything, you have to somehow make yourself distinctive and stick to that’ (Iain Smith). Branding is not only related to visual appearances but to its total impression. TIFF is considered by the guests and by the staff to have a emerging international identity: ‘I think that TIFF will grow and will have a strong position among the most important film festivals in Europe. TIFF is still a young festival after 16 years of existence. I saw its development: Caravana TIFF, this is an excellent initiative, similar initiatives are also in other European countries’ (Sandra Spiegel). The international accreditation is a relevant element for international identity. Mira Saleva brings TIFF relevant attributes for the foreign guests to the point: ‘audience friendly and full with events.’ An informal, friendly atmosphere, even if there is a red carpet, this is the spirit of TIFF: ‘for atmosphere, for friendliness, I came here immediately after Cannes and for me it’s two different festivals, completely different film festivals, here you can relax’ (Edvinas Puksta). Romanian films are associated with TIFF and due to the recent success of some Romanian productions that were awarded In Cannes and Berlin, the reputation of the festival grew: ‘If I would need to prioritize, I would put Cluj above Sarajevo. But Cluj 53 Contents attracts because of the Romanian films. Sarajevo cannot offer so many Bosnian films, and many other films are seen somewhere else’ (Edvinas Puksta). The organizers goals to push TIFF in the ‘A class’ list are legitimate, but there are advantages to be part of the ‘B class’ list: ‘So these are the differences – B festivals are probably not so important for the business… So A festivals, even if you would pay for everything from your own pocket, even if you would be treated there like just one of the crowd, it’s still important to be there; B festivals are the nicest for filmmakers, all is nice, because you get paid all these basic stuff like flights, airport transfer, hotel, you live like a guest, usually these B festivals are, well, not usually, all of them are like really professional, they are not A but still, they put in more effort for some things, and from the filmmakers experience, I can just talk for me, but it’s, all this a better experience’(Edvinas Puksta). Other guests are even more radical in differentiating the advantages of being a ‘B class’ l festival: ‘ don’t think what Cluj needs is A class festival. I know better festivals, for instance, better than the A class. Without class, but everyone wants to show their films there… As it’s a place made especially for the producers, sales agents, directors; most important is the audience and international guests, programmers, local audience’ (Bostjan Virc). Having TIFF is the ‘B class’ list can be an advantage also for the local creative industries by building a platform for dialogue, creativity and innovation. 6. Conclusions and the limits of the research TIFF has proved to pay an important role in the development of the creative industries in Cluj-Napoca. Back in 2002 the location Cluj-Napoca, as an important university and culture city had the potential to become what is nowadays. Festivals are the type of events that developed the most in the last 20 years worldwide (Pejovic, 2009) and TIFF followed this trend over the 16 editions. The tendency towards internationalization consisting in international accreditations, inviting relevant international guest, etc. had an impact also on local communities. The differentiating attribute of a ‘B class’ festival like TIFF, the friendly atmosphere, the diversification of events and the promotion of the Romanian movies contribute to the development of creative industries in the city. TIFF was the first relevant festival in Cluj-Napoca and it is still the most important film festival in Romania. It was an excellent preparation in terms of audiences for festivals like Untold, which developed the perception of Cluj-Napoca as the city in Romania, the place to be for young people. Iain Smith emphasized in his interview that in the future due to the digitalization, more festivals will appear and this is why TIFF’s strategy of diversification is relevant for the future. Project such as Caravana TIFF, the fact that TIFF is active in several locations in and out of Cluj-Napoca have positive consequences over the creative industries. This can be a local, a small-scale answer to Florida new urban crisis theory that was developed by analyzing world’s largest cities. The role of the municipality of 54 Contents Cluj-Napoca in supporting the festival and integrating it in city’s strategic planning is a positive one, an it is an excellent example how strategic planning can play a role in developing creative communities and contribute to the development of related businesses in Florida’s words urbanized knowledge capitalism. TIFF’s role in the development of the creative industries is complex, the authors are aware that not all the aspects were covered above. 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