基于空间分析方法的武汉市创意产业空间集聚演化研究

通过ArcGIS利用区位商、最近邻距离分析、核密度分析与定向分布分析等多种方法综合分析武汉市创意产业空间集聚的演变特征。结果表明,武汉市创意产业总体呈集聚状态,依据发展水平差异可分为核心区、潜力区与待发展区,并主要集聚在汉口"核心圈"与武昌"潜力轴"上。城市内创意产业功能分布与集聚分布主要呈由内向外扩展的演变特征。但根据产业特征、发展基础与发展阶段的不同,不同创意产业部门在不同区域的集聚形态、集聚强度、空间演化过程及发展趋势存在差异。这些差异与创意人才机构、文化传播设施以及创意交流空间集聚存在密切联系。     

基于细分类型的南京市创意产业空间演化特征与差异

运用核密度分析的方法,对南京市创意产业总体和细分类型的空间分布演化特征和差异进行研究。研究表明,南京市创意产业总体上呈现集聚态势,集聚重心主要位于城市商业和商务中心,并沿城市商务业主轴中山北路和中山路向外扩散,与外围地区的小型据点呈连绵粘合之势。然而,各类创意产业的空间格局与演化又呈现出一定的差异,主要表现在分布模式、演化态势、集聚强度、集聚速度等方面。这些差异主要与各类创意产业的行业关联特征、所有制结构、企业规模结构、行业发展阶段与增长趋势的差异相关。     

中国文化创意产业园区旅游与文化产业融合发展现状

中国文化创意产业园区发展蓬勃,但是盲目效仿现象严重,导致恶性后果的产生。本文主要通过分析目前国内文化创意产业园区旅游的发展现状,并将园区进行分类,提出旅游与文化产业融合发展的建议。一、中国文化创意产业园区发展整体现状(一)园区总体数量及分布情况2002年到2004年,中国文化创意产业园区进入探索期。2004年11月10日,国家文化部命名了第一批42家国家文化产业     

广州市创意产业从业者地域分布特征研究

20世纪90年代以来,一种依靠知识和信息的新的经济形态--创意经济应运而生,它以市场化运作的模式创造经济财富的同时,也带来广阔的就业领域。在这一浪潮影响下,广州市创意产业中也得到快速发展,创意产业从业人数也大量增加,并呈现出特有的地域分布特征。以广州市第一次经济普查数据为根据,从地理学空间的角度以微观层面探寻广州城市内部空间创意产业从业人员空间分布特征,通过从城市整体空间、城市地域结构空间、不同创意产业行业分布空间三个空间层面的对比分析研究,追溯出广州市创意产业从业人员地域分布规律,对并试图总结出它的发展趋势。并尝试对其分布特征的形成原因做出解释,总结出它的分布规律。鉴于国内外创意产业研究的现况,这一研究不仅能丰富国内外创意产业就业研究的空间尺度和实证研究成果,具有重要的理论意义,而且对广州市创意产业的发展具有一定的指导作用。     

广东省创意阶层集聚的时空演变及其影响因素分析

以广东省21个地级市为例,利用ESDA分析方法和2000-2012年的数据,对广东省创意阶层的空间集聚特征和演变趋势、影响因素进行了初步探索。结果表明:广东省创意阶层的空间分布存在明显差异,主要集中在珠三角地区,东西两翼和粤北山区分布较少,与广东省经济格局较为一致,集聚呈现二元结构;在总体空间格局上,区域创意阶层分布存在显著的空间正相关特征,空间整体差异呈现先缩小后扩大的趋势;各地级市自身与周边地区的相互联系比较微弱,创意阶层高聚集区的辐射和带动作用不明显。从创意阶层空间集聚的影响因素看,不同时间段的显著影响因素存在差异。总体上,科技是持续显著影响广东省创意阶层空间集聚的因素,其次是社会人文因素和城市的工资水平。     

中关村科技园区创意基地型园区发展研究

中关村科技园区以德胜园、雍和园、石景山园为代表,规划建设创意基地型园区,这对北京市加快文化创意产业发展、积极参与国际创意产业分工等具有重要意义。本文在分析创意基地型园区的基本情况并借鉴国际经验的基础上,指出中关村科技园区创意基地型园区存在的主要问题,并探讨了促进其发展的对策。本文认为中关村科技园区创意基地型园区的发展应侧重于四个方面:为园区提供"新生"的产业发展空间、供给适应创意产业发展需要的特殊基础结构、构造创意产业集群并形成完整的产业链、注重园区之间错位发展。     

吉林省旅游创意产业发展研究

文化创意为旅游产业注入观念、感情和品位等新的要素,旅游创意产业基于创意元素与旅游元素的完美融合。旅游创意产业依托于旅游元素的感知度、服务性和创意元素的新奇度、体验性,并在双方相互渗透的基础上,通过创意理念为旅游业搭建桥梁,从而促进旅游业的发展。通过对创意产业的特点、旅游创意产业的作用和生命周期等的分析,探讨了吉林省旅游创意产业发展状况和发展重点。     

全球化背景下的广东省制造业地理集中研究

本文利用2004年经济普查的数据,分析了广东省制造业的地理分布特征。广东省大多数的制造业地理集中程度都较高,并且主要集中在珠三角地区,很多地理集中程度较高的制造业分布都存在较高的空间自相关性。对广东省制造业集中的实证研究表明,资源和能源投入强度较高的产业较为集聚,并且出口显著提高了产业集聚程度。尽管外资是广东省制造业发展的重要力量,但是并没有促进产业的集聚,说明制造业外资已经进入扩散阶段。本文的结果和全国尺度的研究结果存在差异,这说明地理尺度对于研究产业集聚非常重要。     

文化创意产业的定义、分类与特点

文化创意产业又称创意产业,是对传统文化产业的发展和超越。文化创意产业作为经济学界的新生概念,自产生伊始就得到了广泛的关注。但是学术界对于文化创意产业的概念并未形成统一的认识,不同的历史文化背景、不同的学科或不同的角度对文化创意产业的理解各不相同。作者通过本文对文化创意产业的定义、分类以及特点等基本概念进行归纳与总结。     

大熊猫文化创意产业与大熊猫栖息地的保护和发展

大熊猫栖息地区一直在寻求保护生态环境和发展区域经济相协调的道路,文化创意产业作为一种新型产业,其发展速度超过传统的工业、农业,并且在优化区域产业结构上有着重大的作用。大熊猫栖息地区孕育了丰富多彩的大熊猫文化,四川大熊猫栖息地成为世界自然遗产,为四川省发展大熊猫文化创意产业提供了难得的契机。立足大熊猫文化内涵,从文化创意产业发展可行性分析,本文提出"创建大熊猫文化创意产业集聚区,构建大熊猫文化旅游园区,进一步开发大熊猫形象手工艺品"的设想,为发展四川省大熊猫文化创意产业及缓解大熊猫栖息地区保护和发展的矛盾提供参考。     

建构主义视角下工业遗产的功能置换和意义诠释——广州红专厂的案例研究

从建构主义的角度,研究广州红专厂的空间功能置换和游客感知,空间功能的置换具体表现为物质载体工业建筑和机器设备的外观改造及用途变化,而游客感知则通过分析游客对工业遗产空间的感知情况,探讨空间置换后产生和传达出的意义。通过比较这些意义与工业遗产价值的关系,可以更好的理解工业遗产空间的消费主义改造方式,也可以更好的理解创意产业空间所体现的当今社会对工业遗产的态度。研究发现,游客将红专厂理解为一个文化艺术和休闲消费的场所,而不是工业文明的记忆空间。红专厂工业空间的创意产业园式改造,传递出的已经不是工业文化的内涵,而是新的消费意义,实际上是工业文化向消费文化转变的过程。这种再利用方式与真正意义上的工业遗产保护是有所偏离的。     

国外创意旅游内涵研究

创意旅游从旅游活动发展伊始便在实践层面一直存在,但直到近几年才由理查德(Greg Richards)和瑞蒙德(Crispin Raymond)首先在真正意义上提出。这一概念的提出,主要源于西方社会创意趋势(creative turn)的出现,并且逐渐蔓延到经济、社会的各个层面。创意旅游因创意趋势被正式提出,因源于创意而具有天然的独特内涵,这也使得它与"传统的旅游形式"相区别,首先表现为创意旅游具有极强的"活动参与性"。特别值得强调的是,这种区别更多的表现为本质上的差别而不仅仅是时间上的先后次序及形式上的改变。     

Cultural governance and creative industries in Singapore

Singapore, a leading country in the Asia‐Pacific region, is currently attempting to transform its cultural industry into creative economy. Creative economies capitalise on how knowledge can be marketed by merging arts, technology and business. They ensure a nation's competitiveness within an integrated global economy. This paper critically examines Singapore's recent cultural policy developments in tourism, broadcasting and new media. It argues that new creative industries have produced new consumption patterns and identities that harness the place‐branding of “New Asia” as a form of cultural capital and a strategy of regional dominance. Cybernetics is proposed as an approach to frame creative cultural governance and consumption in Singapore.     

Creativity in the ‘Torrid’ zone: policy,creative industries and the vision for Northern Australia

Creative industries are recognised as a key driver of economic growth in both developed and developing nations. In addition to recognising the importance of creative industries, the Australian government has recently renewed a focus on the vast northern tropical area of this island nation as key to future economic and population growth, via the release of a white paper focussed on development options for the north. However, the white paper contains virtually no references to creative industries. In addition, Australia’s most recent national cultural policy, Creative Australia, has after only a few years slipped into obscurity and despite major resources being invested towards its development. Drawing on the almost 100 years of policy documentation relevant to Northern Australia, this paper highlights the limited attention paid to arts, culture and creative industries, and considers this relative policy vacuum in the context of global developments in creative industries.     

Youthful Creativity in Regional Australia: Panacea for Unemployment and Out‐Migration?

This paper addresses the theme of youth out‐migration from rural Australia, in the context of recent policy discussions about creativity and its role in regional development. Ethnographic fieldwork in one rural location – the New South Wales Far North Coast – is drawn upon to highlight how creative industries are being cast as a potential way of promoting cultural activities and jobs for young people, and in turn, how they might be imagined as a means to mitigate youth out‐migration. Yet, creative industries have contradictory employment and social outcomes. Creative industries are likely to generate higher rates of youth participation in economic activities than public data reveal. However, strategies for future job growth should also consider the limitations and instabilities of creative industry employment. Second, and more broadly, the paper discusses those socio‐cultural dimensions of nascent creative industries that may have a more substantial impact when conceived as part of strategies to stem youth exodus from rural areas. Creative activities may contribute to rural development in indirect ways, especially if linked to policy goals of increased tolerance of youth activities, better provision of cultural services, and improved well‐being for young people. While formal job‐creation may be limited, creative industries could mitigate some of the impacts of youth migration to cities by enriching regional social life and mediating perceptions of the advantages and drawbacks of rural versus urban life. This kind of policy imagination requires a shift in attitudes towards young people and a more genuine commitment to encourage young people to feel that they belong in non‐metropolitan areas.     

Culturally clustered or in the cloud? How amenities drive firm location decision in Berlin

Creative firms are neither capital‐ nor land‐intensive in production. They predominantly rely on creative and specialized labor and, assuming a strong competition for workers, are therefore increasingly dependent on the location of their (potential) employees. If these creative and highly qualified employees are attracted by consumption amenities such as bars, clubs, and restaurants, then it follows that these same amenities may determine the location of creative service firms. I investigate this hypothesis by examining whether Berlin Internet start‐up firms locate in urban amenity‐rich places. Identification builds on the fall of the Berlin Wall. A 1 percent increase in amenity density raises the probability of a start‐up location by almost 2 percent. A comparison with other service industries suggests that amenities are significant to the location choice of creative sectors, whereas no effect can be observed for nonreative firms.     

The spatialisation of the digital games industry: lessons from Ireland

This article draws on the concept of spatialisation to better understand the development of a digital games industry on the periphery of mainland Europe, on the island of Ireland. Positioning digital games within the cultural and creative industries, we explore how global networks of production in this industry get territorialised, negotiated and shaped by local factors. Drawing upon an industry-wide survey in Ireland we found that employment has grown by 400% in the last decade but that this rate of employment growth and its concentration in large urban areas masks significant ruptures and shifts which more detailed spatial, occupational and social analysis reveals: in particular, how the state, multinational game companies, and physical and human capital interact to shape an industry which is strong in middleware, localisation and support but weak in content development. An understanding of global digital games production networks and of occupational patterns in this industry is, we believe, crucial for national and European cultural policies for the digital games industry and for the cultural and creative industries more generally.