Engaging with and influencing policy in the Creative Industries: Post-event write-up

Rosario Neyra, PhD student in the Department of Language and Linguistic science at the University of York writes about the creative industries policy research event held at The Guildhall, York on 19 May 2025. 

Hosted by XR Stories, in partnership with The York Policy Engine (TYPE), the event was designed to bring together colleagues from across the University of York who have an interest in policy engagement within the Creative Industries through their relevant research activities.

Following introductions from the organisers, the session began with a presentation from Kate O’Connor, a Senior Consultant in the Creative Industries and Executive Chair of Animation UK. Kate outlined the current landscape of the creative industries in York and North Yorkshire, as well as the wider UK. She presented data highlighting the significant and growing contribution of the creative sector to the economy, while also acknowledging complexities in accurately capturing economic data due to the difficulty of defining clear sector boundaries. Kate emphasised the sector’s role as a significant area of employment and economic growth.

Additionally, Kate introduced attendees to the UK Government’s sector strategy for creative industries, outlining key priority areas identified for development. She drew attention to the upcoming York and North Yorkshire Combined Authority strategy document, encouraging researchers to recognise this as a clear opportunity to engage in policy through their evidence-based research.

Following Kate’s presentation, Iqra Choudhry, Policy Engagement Manager at the Creative Industries Policy and Evidence Centre (PEC) provided insights into ongoing national policy engagement efforts. The Creative PEC is supported by the Arts and Humanities Research Council and led by the University of Newcastle and the Royal Society of Arts and Iqra discussed the PEC’s mission to develop evidence-based policy recommendations. Iqra stressed the value of academic research in shaping national conversations. She detailed specific avenues for researcher involvement, such as participating in policy consultations and publishing policy briefs.

The final keynote was delivered by Paul Moore, Professor of Creative Technologies at Ulster University and Director of Future Screens Northern Ireland (the Northern Ireland equivalent to XR Stories). Paul provided an inspiring account of his extensive experience leading the development of creative industry policies in Northern Ireland. Central to his presentation was the powerful idea that creative industries can act as a force for social good, driving meaningful social change alongside economic growth. 

Drawing on examples from his work, Paul described how targeted policy engagement had significantly shifted perceptions around the previously undervalued creative industries in Northern Ireland. By highlighting innovative projects that combined technology and community engagement, Paul illustrated the potential for policy-driven initiatives to revitalise regions and stimulate economic regeneration. His talk underscored the potential academics have in reshaping narratives and leveraging creative innovation to address wider societal challenges.

After a short break, attendees reconvened to hear presentations from researchers across the University of York. These presentations highlighted the diversity of research taking place within the institution and its potential relevance to creative industries policy. For instance, one insightful presentation by Hyojung Sun discussed musicians’ earnings in the digital age, particularly in the context of streaming platforms and the impacts of the COVID-19 pandemic. This research had notably led Hyojung to provide evidence at a Parliamentary committee, demonstrating how academic findings could effectively inform policy, even if that was not their initial aim. 

Beatrice D’Ippolito talked about the generative potential of digital technologies, on how technology can be used not just for boosting financial performance, but for developing the company’s strategic objectives. She discussed a project with the BBC to  examine potential opportunities from digital development of existing BBC offerings as an example. Another presentation by Mark Love-Smith, Tom Cantrell, Katherine Graham and Karen Quigley showcased research initiatives exploring the importance of research and development in theatre. The speakers emphasised the necessity of integrating funding mechanisms with policy frameworks designed to promote artistic risk-taking and development. 

To conclude the event, participants engaged in table discussions designed to reflect on how they, as academics and researchers, could contribute to policy development in the creative industries. From these discussions, diversity emerged as a recurrent theme. Participants also recognised recent regional successes, notably citing Adolescence as a clear example of creative industry excellence with a regional story to tell given that it was shot at Production Park, near Wakefield, and a University of York partner through the CoSTAR Network, and Warp Films in Sheffield were one of the leading production companies.. These successes were framed as potential leverage points for future policy interventions aimed at capitalising on existing strengths while identifying and addressing key gaps. 

Overall, the event highlighted the connections between research, creativity, and policy at the University of York and encouraged ongoing dialogue about how research can effectively influence policy, contributing to sustained growth and development of the creative industries regionally and nationally.

Following the event, XR Stories awarded Creative Industries policy research funding to four University of York projects focused on engaging with policy in the sector:

• AI and Authorship: Mapping the Future of Music Regulation (School of Physics Engineering and Technology): Funding for an intern to carry out a structured scoping review of AI-generated music. The project will assess the potential of technical tools to support regulation, rights enforcement, and transparency, providing foundational evidence for an interdisciplinary response to regulatory challenges in the UK’s creative industries.

• Screenwriters’ Earnings in the Streaming Age (School of Arts and Creative Technologies): Support to finalise and disseminate a report on how streaming platforms are reshaping screenwriters’ earnings. This includes a peer review and professional design of the report, distribution at the All-Party Writers Group meeting, and a stakeholder workshop involving screenwriters, agents, and industry bodies.

• Images of Industry (School of Arts and Creative Technologies): A project using metaphor-based research with early-career musicians to inform new industry practices. Funding will support workshops with non-academic partners running development schemes for young musicians, and the creation of a digital resource pack based on research findings and workshop outcomes.

• Participatory Practices in UK and Norwegian Museums (Department of Archaeology): Support for the wider dissemination of research on museum staff wellbeing and participatory practice. Funding will enable the printing of additional copies of a sector-facing report, timed with the GLAM Cares conference, to maximise its reach across the museum sector.