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SUMMARY
The cultural theme is considered to be extremely wide and it does not limit itself with the analysis of philosophical character and definitions. It is closely connected with social and political life of the society. The definitions of culture, creativity, leisure and entertainment industry as well as the consumer culture have existed over 50 years. The differences between cultural and creative industry are still under exploration because these two concepts intertwine by necessity. Creative power does not only definitely belong to the sphere of culture activity, it can be targeted to the informative, technological, science and daily spheres. The definition of cultural industry signifies the reproduction of the cultural phenomenon, its dissemination, the monopolization of artistic activities (in general), creation of competitive and profit relations including the phenomenon of popular and classic culture. The definition of the cultural industry is wider: it is the industry arranging leisure and entertainment of academic, high culture. Notwithstanding, these spheres differ in contents and planning possibilities, under ideal cultural industry activities the terms remain similar.
The cultural industry theme was formed in the first half of the 20-th century as a negative reflection of the capitalistic system. The authors of the early critical theory period M.Horkheimer and Th.W.Adorn formed it. Such an earlier mentioned cultural industry conception had been rejected over time and the relation between art values and worth was limited.
In Lithuania, a deeper exploration of this sphere was noted only at the late nineties. The Soviet regime did not inject any serious social motivation to start with such a type of exploration, thus, the cultural theme was being developed. Gradually, in Russia and Lithuania the studies of culture management have been formed, so they virtually duplicated the culture and the cultural industry studies in the west.
Since the restoration of independence, Lithuania has found itself in the perspective of the mass culture development. New problems of culture studies have emerged; therefore the solutions were possible only having experience in culture, sociology, philosophy and art sphere. Today, many outstanding personalities are exploring culture industry in Lithuania: A. Andrijauskas, A, Sverdiolas, A. Jokubaitis, L. Donskis, B. Melnikas, V. Rubavičius, G. Mažeikis, J. Černevičiūtė, art critics I. Kuiziniene, E. Lubyte and others.
Thus the key objective of this Master Paper is to explore Šiauliai City cultural industry development during the period of 1998-2004. This period was selected considering the important political- economic factors, particularly the Russian economic crisis in 1998, that had an impact on the Lithuanian economy. Despite this impact, since 2000 the Lithuanian economy has rapidly developed.
Accordingly, we can state that the development of the cultural industry during the period 1998-2004 was integral. This period is handy for the exploration having in mind that the planning of Lithuanian and European cultural policies came into being due to emergency of different funding programs (Culture 2000). Since 2001, Lithuania has taken part in the main EU program activities.
Analyzing these fundamental culture policy processes it was important to:
· Describe the cultural industry phenomenon theoretically and in the perspective of historical development.
· Describe the cultural industry phenomenon and present assumptions of differences between cultural and creative industries.
· Describe objectives of the EU funds and their relation with the cultural industry.
· Compare Šiauliai City cultural development with the cultural development of the Baltic cities Pärnu (Estonia), Jelgava (Latvia ).
· Explore the financial factors of the cultural industry development in Šiauliai city.
For this master paper seven Šiauliai city cultural institutions were carefully selected : Šiauliai County Philharmony, Cinema and Culture Center Saulė State Enterprise, Šiauliai Drama Theater, Šiauliai Aušra Museum, Šiauliai City Culture Center, Šiauliai Art Gallery, Šiauliai University Art Gallery State Enterprise. Funding and subordination of the above mentioned institutions on one hand, have experienced transformation and, on the other hand, encompass the main culture life spheres within the city. The entertainment clubs have not been including for the paper studies..
Study results demonstrate that state and municipal funding do not strictly influence the particularities of the work of these institutions. For instance, Šiauliai Philharmony and the Art Gallery are supported from outside, thus, one of the institutions depends on the state subsidy, the other depends on the local authority. Despite differences in funding, each of them tries to enrich supply and to get profit. These factors meet important cultural industry operating principles. Šiauliai Ausra Museum, funded by the state, operates on the bases of support from the funds and receivable profit. The other four institutions greatly differ among themselves: Šiauliai Culture Center, having the greatest amount of funding, does not seek either profit or enrichment of the supply. It does not seek profit and does not arrange alternative traditional culture events, concerts or exhibitions. Šiauliai University Gallery arranges free exhibitions but receives profit from other commercial activities. The Drama Theater is totally different. It was dependent on the state subsidies and operated in accordance with the cultural industry principles. Since 2005, the Drama Theater has been funded and coordinated by the Ministry of Culture
Today Šiauliai city is not yet capable to adopt free cultural life market laws, however, the culture policy planning strategy, chosen by the city culture institutions, is purposeful. The constant review of culture institutions and the processes of actualization, implementation and promotion of culture industry principles are indispensable if there is an aim to avoid stagnation and unproductive activities (for instance that of the Culture Center).
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