文化与创意产业集群的研究谱系和前沿:走向文化生态隐喻?

文章基于文献研究,梳理文化和创意产业集群的研究谱系,指出该领域学术界:①没有将文化和创意产业本体论知识整合到集群分析框架;②对艺术家和创意阶层及其项目生产方式、知识流的空间过程关注十分薄弱;③忽视文化消费和中介因素对创意集群和文化生产的反身性;④比较偏向生产型创意集群的研究、忽视空间型创意集群和消费型文化产业园区和城市空间的研究;⑤在研究方法上相对单一。作者提出通过运用文化生态系统隐喻,进一步展开综合研究的可能性。     

北京美术产业对地方文化的嵌入性程度分析

北京十一五规划指出北京将大力发展文化产业,尤其是文化创意产业。美术是文化产业中最具有创意色彩的产业部门,北京是中国最重要的美术产业中心,近5年来出现了一批美术创意产业集中区。本文使用近十多年来国外经济地理学家频繁使用的嵌入概念分析北京的美术产业。本文所采用的嵌入概念更强调KarlPolanyi的观点,以北京三个主要美术产业区798艺术区、宋庄画家村、观音堂文化大道为研究地点,通过分析实地访谈资料、艺术家和画廊的网站资料,探讨企业和艺术家在作品风格、市场定位、企业分布、企业制度等方面是如何嵌入北京地方制度文化和意识形态文化的。本文认为在把握嵌入程度,避免过度地方化的程度上有待未来讨论。     

Space of Creative Industries: A Case Study of Spatial Characteristics of Creative Clusters in Shanghai

The rapid rise of creative or cultural industries not only contributes to regional economic growth, but also to a revised spatial model of urban structure, helping in the redevelopment of old town spaces. However, the spatial characteristics of creative clusters, especially at the micro-city level, are not fully understood. This study attempts to characterize the spatiality of creative clusters on the basis of a literature review and empirical study of Shanghai. By using Geographical Information System (GIS) spatial analysis and interviews, this paper examines the spatial features of creative clusters in Shanghai and their connection with urban historical, social, cultural and political aspects. It finds that creative clusters are primarily distributed in particular locations of Shanghai, namely in the inner-city, old industrial districts, places close to universities, Central Business Districts (CBDs), and entertainment and tourist zones. The old colonial zones in Shanghai play an important role in fostering the agglomeration of creative industries because of the special image of these spaces, in particular due to the abundant workshop spaces remaining from the industrial heritage. Great intimacy between creative industries and urban spaces becomes apparent in the case of Shanghai, demonstrating that the creative economy has become an important instrument in regenerating cities. Moreover, a differentiation in space among various categories of creative clusters in Shanghai was also noticed in this study.     

Global Networks of the Motion Picture Industry in Los Angeles/Hollywood using the Example of their Connections to the German Market

The motion picture industry is one pillar of the so-called “cultural industries” which are highly concentrated in large urban agglomerations. Personal connections to the various informal networks found in these locations play an important role in facilitating information flows and reproduces these clusters' competitive advantage. However, the clusters and their markets do not exist in a vacuum: creative content, capital and creative talent are also traded and connected in global networks, bridging the physical gaps between these creative clusters. Against this background, this paper addresses the issue of how network relations beyond cluster boundaries and across large spatial, social and cultural distances are coordinated in a branch of the cultural industry such as motion picture production.     

多元场和集群创新：河南省神垕钧瓷文化创意产业的案例分析

通过考察多元场对钧瓷文化创意产业知识创造、流动及学习创新的影响发现：①场为主体的地理、社会及文化认知等临近等提供了条件,有助于经验意会及符号知识的获得、共享与传播,有利于思想的交流碰撞及创意萌生;②生产现场、地方关系场、地方社会场与临时性场在钧瓷的学习创新中发挥着不同而又相互补充的作用。生产场推动着集群知识积累和增进,地方关系场促进了行业知识、生产经验及家族核心知识的传播传承,地方社会场形成了地方共享知识信息,而临时场建立起外部通道联系,发挥着更新地方知识库的作用;③地方性的历史文化资源与传统以及地理-社会-文化等临近造就了外围地区文化创意经济的动力,但若未来本地知识更新的机制不够强大,则易产生发展锁定,这是需要未来引起关注的问题。     

Museums and cultural sustainability: stakeholders,forces, and cultural policies

This paper explores the relationship between museums, cultural sustainability, and cultural policies. Specifically, it offers a theoretical model for the sustainable development of museums and a process for designing appropriate cultural policies for museums with cultural sustainability in mind. The case of Cyprus is used to demonstrate how strengths and gaps in cultural sustainability can be identified within a broader museum environment. The study examines the main stakeholders (the state, municipalities/ communities, and individuals), types of museums (archaeological, art, ethnographic, etc.) they establish and the forces influencing their decisions (such as politics, a sense of national identity, cultural tourism, economic revitalization, and personal agendas) in order to map the Cypriot museum environment and identify the emphasis placed on different parameters of cultural sustainability. By identifying cultural sustainability strengths and gaps on a national level, it becomes easier for cultural policy-makers to design appropriate cultural policies for museums.     

Modelling the cultural industries

Alternative definitions of the cultural industries lead to the construction of different models of the cultural production sector of the economy and hence to a different array of specific industries which are contained within the sector. In turn this implies not just differing estimates of the contribution of the cultural industries to output and employment in the economy but also significant differences in the way economic analysis can be applied to the cultural sector as a whole. This paper begins by discussing the way in which an economic approach to interpreting the scope of the creative and cultural industries can lead to a reasonable basis for defining them. It then goes on to examine the content of six distinct models of these industries, asking the question: is it possible to find a common core group of industries on which all of the models agree? The paper then considers the implications of the models for economic analysis of the cultural sector, and finishes with some conclusions for cultural policy.     

台湾地区博物馆发展文化创意产业的理念与实践

文化创意为近年来发达国家地区竞相发展的经济力,我国台湾在地方政府的鼓励扶持下,利用文化创造活力强、文物资源丰富等优势,积极发展文化创意产业,成果突出,其中台北"故宫博物院"具有台湾地区博物馆发展文创产业指标的地位。台北"故宫博物院"通过精心设计展览内涵、向社会开放文物数字资源、培养民众美学素养等方式,吸引并固定了一大批观众;同时还积极开拓商机,征求厂商合作开发文物衍生商品,并结合典藏文物特色设计餐饮空间,文化创意产业获得了可观的产值和显著的社会效应。     

Cluster evolution and the change of knowledge bases: the development of a design cluster

Most studies portray cluster knowledge bases as a given resource, tied to specific industries and locations. However, this paper challenges that view and uncovers their dynamic nature by identifying endogenous and exogenous triggering events that influence and change the cluster knowledge base mix over time. This is done by building on the theoretical concepts of pre-existing conditions, triggering events and knowledge bases and by drawing on a case study of the design cluster located in the Triangle Area of Denmark. The paper concludes that the design cluster has changed its mix of knowledge bases several times during its evolution. Starting out as a firm-driven cluster with a dominant synthetic knowledge base, it then evolved into an artistic and creative cluster with a prevailing symbolic knowledge base. In the last few years, the cluster has increasingly adopted an analytical knowledge base at the expense of other knowledge bases. These developments have caused numerous changes in both knowledge building and the sources of knowledge in and around the cluster. These findings have implications for the framing of cluster knowledge bases, considering how they emerge, change and combine, as well as how that affects clusters’ composition of actors, activities and resources.     

The UNESCO Convention on the Diversity of Cultural Expressions as a coordination framework to promote regulatory coherence in the creative economy

The present article aims to inquire about business convergence in creative industries from the perspective of cultural diversity. It is based on the premise that the recognition of the creative and innovative component of the so-called ‘creative industries’ or the ‘creative economy’ confirms the need for non-economic factors and particularly cultural concerns to be taken into account in regulatory efforts addressing those industries. It examines the way new technologies and business convergence may affect the ‘trade and culture debate’ vis-à-vis the World Trade Organization (WTO), and how the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) may respond in a relevant manner to challenges brought therefrom. Despite its weakly binding language, the CDCE contains principles, objectives and rules that set a comprehensive framework for policy ‘related to the protection and promotion of the diversity of cultural expressions’ at the national, regional and international levels. A fundamental piece in such an approach is the explicit integration of cultural concerns into the concept of sustainable development. This article argues that the material and economic perspective adopted in the CDCE, based on the production and consumption of cultural goods and services, remains relevant and pertinent in the creative economy, despite business convergence. By prioritizing policy and regulatory coordination, it maintains that the main elements enshrined in the CDCE should be employed to contribute to greater coherence in view of the objective of promoting cultural diversity, including vis-à-vis the WTO and other international organizations, and puts forward potential paths for such coordination.     

Innovations in cultural policy and development in Latin America

ABSTRACT

This essay looks at two major tendencies in cultural policy recommendations in Latin America: (1) the economic contribution of arts, heritage and especially the cultural and creative industries; and (2) cultural rights, with a focus on inclusion, access, empowerment, and the integral development/well-being of citizens. The two tendencies, which are part of cultural development policies, are not easily integrated into an all-encompassing policy because they follow different logics and management strategies. Nevertheless, both of these tendencies, which emerged in the heyday of neoliberalism (the 1990s), continue to provide the major justifications for cultural funding, although the current economic crisis has led to budget cuts. After a review of cultural development policies, this essay examines innovative strategies to compensate for scarce funding, including those that seek to bridge both tendencies. The cases examined below correspond to discussions of cultural policies in Latin American forums with hundreds of policy-makers and analysts over the past 20-plus years.

Abbreviations: BBC: British Broadcasting Corporation; CadenAgro: Centro de Apoyo para el Desarrollo de Denominaciones de Origen y Sellos de Calidad de Productos Agroalimentarios; CCI: Cultural and Creative Industries; CEDE: Centro de Estudios de Desarrollo Económico; CMD: Centro de Diseño Metropolitano; CVC: Cultura Viva Comunitaria; ECLAC: Economic Commission for Latin America; ILO: International Labor Organization; IMF: International Monetary Fund; MDG: Millennium Development Goals; MDG-F: Millennium Development Goals Fund; MICA: Mercado de Industrias Creativas de Argentina; MICSUR: Mercado de Industrias Culturales del Sur; MSME: Micro, Small and Medium Enterprises; SEGIB: Secretaría General Iberoamericana; SELA: Latin American Economic System; UCLG: United Cities and Local Governments; UNCTAD: United Nations Conference on Trade and Development; UNDP: United Nations Development Programl; UNESCO: United Nations Educational, Scientific and Cultural Organization; US: United States of America     

A centralised market orientation: the implicit determinants of Finnish cultural policy in 1990–2010

This article examines the reactions of Finnish cultural policy to the neoliberal turn in its societal environment. The analysis of cultural policy documents in 1990–2010 concentrates on three particular elements of societal change: the reforms in public management, the reorientations in international relations and the paradigm of immaterial production. It is argued here that besides the mythical democratic pluralism of the Nordic welfare states, cultural policy treats newcomers to the political arena selectively. Consequently, the system, constructed originally for protecting free artistic expression and equal distribution of cultural possibilities, has been in the front line of political market orientation in Finland. The orientation is modelled rhetorically after the ideas of cultural pluralism and economic efficiency; in practice, the fight has been a technocratic one between different notions of governmental responsibilities. This mechanism stresses formal procedures at the expense of ad hoc negotiations, leading to a centralised market orientation.     

Valuing the Arts: Theorising and Realising Cultural Capital in an Australian City

For those who make and admire artistic works, there is no question of their value. However, for others interested in economic development, the value of the arts is often more tangential, contested and questionable. While the post‐modern world of consumption and spectacle suggests to some academics and governments that the arts and cultural industries are the way of the future, others remain sceptical about their social and economic value. This is a theoretical as well as a practical issue this paper explores by offering a reconceptualisation of Pierre Bourdieu's concept of cultural capital as a way of re‐assessing the value of the arts. The paper then applies this framework to quantify and qualify the value of the arts in one regional city in Australia – Geelong in Victoria – focusing on the work of two artists. The aim is to describe the interconnected processes by which the arts generate cultural capital in the form of confidence, image, individual well‐being, social cohesion and economic viability. The analysis also highlights the ongoing power relations which prescribe artistic production, circulation and valuation. The implications of such a rethinking and application go well beyond one city and region to other places grappling with the relationship between artistic production and urban well being. By focusing on the broad‐ranging process by which artistic value is created for individuals, groups, professionals, communities and governments, a model becomes available for other places to use in realising their cultural capital.     

Coping with Economic Crises—The Role of Clusters

The paper analyses the role clusters can play in coping with the impacts of economic crises, specifically by addressing how cluster organizations have acted to meet the challenges following the economic crises in Norway in the period 2008–2010. The paper investigates whether cluster maturity influences how the cluster acts in response to a crisis. To shed light on these questions, survey data from Norwegian cluster organizations were collected in two waves (spring 2009 and autumn 2010), and case studies of four cluster organizations provide further detail. The data indicate that clusters play a role in reducing uncertainty and improving access to necessary resources in crises periods. The data indicate that these advantages are not only due to increased collaboration between firms within the cluster, but that cluster organizations engage in considerable lobbying on behalf of their firms in regards to regional and national policy makers and public funding bodies. When comparing the impact experienced by mature and emerging clusters and their adaptation strategies, the data show that more mature clusters adapted to recent crises by implementing new innovation strategies and increasing collaboration and competence-building activities, to a greater extent than emerging clusters.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

Four models of the creative industries

What is the dynamic value of the creative industries from the economic perspective? This paper seeks to answer this question by proposing four models of the relationship between the creative industries and the whole economy, then examining the evidence for each. We find that growth models fit the data well, but not everywhere. We discuss the methodological and empirical basis for this finding and its implications for economic and cultural policy.     

Policies for Creative Clusters: A Comparison between the Video Game Industries in Melbourne and Montreal

This paper analyses whether the video game industries in the main video game hubs in Australia and Canada have the attributes of creative clusters. Three components are analysed: (1) The significance of cross-fertilization with other creative fields in the emergence and growth of the cluster; (2) The benefits of clustering; (3) The role of policies in the maturation of those clusters. The case studies included are the most notable video game clusters in Canada and Australia: Montreal and Melbourne. The research methods applied are semi-directed interviews with policy advisors and game developers in each context. As an outcome of this research, its findings reveal that the video game industry in Melbourne cannot yet be qualified as a creative cluster but is rather still very much embedded in a technology culture. In Montreal, the cluster is more mature and presents the attributes of a creative cluster, as there are interrelations between the various actors of the cluster, and with other creative activities. In both contexts the impact of policies on the maturation of the cluster is limited; rather, attaining a critical mass of video game companies is necessary for cross-fertilization to occur.     

Measuring relatedness in a multisectoral cluster: an input–output approach

Studies in evolutionary economic geography have found that knowledge spillovers, crucial for the development and maintenance of clusters, tend to flow between sectors that are related via similar inputs and/or outputs. Thus, there is a growing body of literature stating that industrial variety within clusters is beneficial for economic growth, whereby local industrial diversity sparks creativity, new ideas and innovations. Within this context, the Irish Maritime and Energy Resource Cluster (IMERC) is a diverse, multisectoral cluster. Using an Input–Output table this paper examines the intra-cluster linkages, as well as the relatedness in terms of inputs and outputs across the four IMERC pillars: Marine Energy; Shipping, Logistics and Transport; Maritime Safety and Security; and Yachting Products and Services. This analysis found that although IMERC has weak intra-cluster linkages, the four pillars share a high number of related inputs and outputs. Based on this analysis, IMERC has the potential to develop into a strong maritime cluster.     

产业集群理论的争论、困惑与评论

产业集群理论是近年来在学术界及政策界影响较大的理论之一。但产业集群理论仍是发展中的理论,在国外有很大的争论。本文介绍了西方学者对产业集群的争论,重点分析了产业集群空间界限及划分、产业集群与产业演化及区域发展、产业集群与全球化及产业政策方面存在的问题,在此基础上,进行了理论评述。     

What are the concerns? Looking back on 15 years of research in cultural and creative industries

This paper surveys the research literature on cultural and creative industries (CCI). Academic discussions on CCI have grown extensively after the Department of Culture, Media and Sport (DCMS) identified 13 sectors as constituting creative industries in the UK in 1998. The public has also become gradually convinced of the significance of CCI as being important for economic growth. We adopt a systematic and quantitative method to review the academic CCI literature. After collecting data, we first investigate the research fields under which the journals that publish CCI papers are categorized, finding that Business, Economics and Geography are the top three research fields. A second examination on the authors’ nationality indicates that their cultural background induces a different emphasis on their research field. We lastly apply the multiple main paths analysis to uncover the development trajectories of CCI research, with the result showing that the research agenda has changed along with a better understanding of the essential elements of CCI. Based on the literature on the main path, we observe the top five discussed themes: information technology, global cooperation, micro and fragmentary creative activities, remote places, and country/regional characteristics. Monitoring the discussions on these themes may help CCI researchers, creative workers, and policy makers to assess future directions for economic development.