{"id":1719,"date":"2026-09-28T15:43:19","date_gmt":"2026-09-28T14:43:19","guid":{"rendered":"https:\/\/tripleguns.com\/?p=1719"},"modified":"2026-09-28T17:13:37","modified_gmt":"2026-09-28T16:13:37","slug":"from-cultural-support","status":"publish","type":"post","link":"https:\/\/tripleguns.com\/en\/blog\/from-cultural-support\/","title":{"rendered":"From Cultural Support to Cultural Investment: How Creative Industry Policy Is Accelerating Around the World in 2026"},"content":{"rendered":"\n
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South Korea and France are committing a combined \u20ac1 billion over five years<\/strong> to the film and audiovisual industries.<\/p>\n\n\n\n

In the UK, major investment into the creative industries is moving forward, while London\u2019s live entertainment market has recorded one of its biggest summers ever.<\/p>\n\n\n\n

And in Japan, a new programme called IP360<\/strong> has been launched alongside discussions suggesting that more than \u00a5500 billion in public support over five years<\/strong> may be needed to accelerate the growth of the content industry.<\/p>\n\n\n\n

Film, music, animation, games and live entertainment.<\/p>\n\n\n\n

For many years, these sectors were often discussed in the context of \u201csupporting culture\u201d.
But around the world, that language is beginning to change.
Creative industries are increasingly being treated as growth industries, export industries and areas for strategic investment<\/strong>.<\/p>\n\n\n\n

Looking at some of the major developments between January and September 2026, we explore what is changing from the perspective of a company working in international live production and events.<\/p>\n\n\n\n

South Korea and France | \u20ac1 Billion Over Five Years<\/h2>\n\n\n\n

On 7 September 2026, South Korean President Lee Jae-myung and French President Emmanuel Macron announced the Lumi\u00e8re Partnership<\/strong>.<\/p>\n\n\n\n

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Getty Images<\/p>\n<\/div><\/div>\n\n\n\n

https:\/\/variety.com\/2026\/film\/news\/france-korea-billion-screen-industry-partnership-lumiere-summit-1236853711<\/a><\/p>\n\n\n\n

Between 2027 and 2031, the two countries plan to mobilise:<\/strong>

\u20ac500 million from South Korea
\u20ac500 million from France<\/strong>
for a combined total of \u20ac1 billion.<\/strong><\/p>\n\n\n\n

The investment will target film, television, animation and other audiovisual sectors.<\/p>\n\n\n\n

More than simply a grant programme for individual productions, the partnership is expected to cover areas including corporate investment, R&D, loans and guarantees, international expansion and cross-border co-production.<\/p>\n\n\n\n

On the French side alone, Bpifrance is expected to mobilise \u20ac500 million over the five-year period.
South Korea is also increasing its own domestic content investment.<\/p>\n\n\n\n

In January 2026, the country announced a KRW 730 billion content policy fund<\/strong>, around 22% larger than the previous year and the biggest of its kind to date.
The fund supports not only film, but also performing arts, games, webtoons, audiovisual production and international expansion.<\/p>\n\n\n\n

What is particularly interesting is the shift in thinking.<\/p>\n\n\n\n

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From:<\/p>\n\n\n\n

\u201cSupport good creative work.\u201d<\/strong><\/p>\n\n\n\n

To:<\/p>\n\n\n\n

\u201cInvest in content companies, help them grow, and enable them to earn internationally.\u201d<\/strong><\/p>\n<\/blockquote>\n\n\n\n

The global success of K-Culture was never driven by creative talent alone.<\/p>\n\n\n\n

Behind it sits an increasingly sophisticated system of financing, production, distribution and overseas expansion.<\/p>\n\n\n\n

And that system is now moving into its next stage.<\/p>\n\n\n\n

The UK | Large-scale Live Entertainment Is Booming, But the Picture Is More Complicated<\/h2>\n\n\n\n

The UK also clearly identifies the creative industries as a major growth sector.<\/p>\n\n\n\n

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https:\/\/www.gov.uk\/government\/news\/government-launches-bold-plan-to-turn-up-the-music-industry<\/a><\/p>\n\n\n\n

In 2026, UK Research and Innovation launched a strategy to invest \u00a3369 million between 2026 and 2030<\/strong> in the creative industries.<\/p>\n\n\n\n

The investment covers not only research and development, but also creative technology, IP, business growth, skills and regional clusters.<\/p>\n\n\n\n

There are also new developments in music.<\/p>\n\n\n\n

In July, the UK government announced Turn It Up: Our Plan for Music<\/strong>, expanding the Music Growth Package to \u00a345 million over three years<\/strong>.
The package is expected to support more than 2,000 projects and over 40,000 artists and music professionals, including international expansion.<\/p>\n\n\n\n

At the same time, London\u2019s large-scale live entertainment market is extremely strong.
In 2025, 9.1 million people<\/strong> travelled to London for music-related reasons and spent around \u00a33.4 billion<\/strong>, an increase of more than 27% year on year.<\/p>\n\n\n\n

Summer 2026 has also been huge for the market.
Wembley Stadium hosted a record 34 concerts<\/strong>, attracting more than 2.5 million people<\/strong>.<\/p>\n\n\n\n

Harry Styles alone performed 12 shows there, while The O2 also recorded its strongest August to date.<\/p>\n\n\n\n

But look beneath the headline numbers, and the picture changes.
According to Music Venue Trust, 53% of UK grassroots music venues failed to make a profit in 2025<\/strong>, while 30 venues closed permanently.Around 6,000 jobs were also lost.<\/p>\n\n\n\n

Then in September 2026, Gate Theatre<\/strong>, founded in Notting Hill in 1979, announced that it would close in October after almost 50 years of activity.<\/p>\n\n\n\n

https:\/\/www.timeout.com\/london\/news\/one-of-londons-most-beloved-off-west-end-theatres-closed-090926<\/a><\/p>\n\n\n\n

The decision followed the loss of Arts Council England funding, rising production costs and increasingly intense competition for limited resources.<\/p>\n\n\n\n

The UK is therefore facing a striking contrast:<\/p>\n\n\n\n

stadiums are breaking records, while grassroots venues are struggling to survive.<\/strong><\/p>\n\n\n\n

Growth at the top of the market does not automatically flow down to smaller venues, theatres or emerging artists.That is an important point to consider when thinking about the future of cultural policy.<\/p>\n\n\n\n

Europe | Protecting Culture as a Source of Competitiveness<\/h2>\n\n\n\n

The EU\u2019s Creative Europe<\/strong> programme has a budget of around \u20ac380 million for 2026<\/strong>.<\/p>\n\n\n\n

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2026 Work Programme for Creative Europe<\/a><\/blockquote>