Regulating the global infrastructure of film labor exploitation

Confronted by media globalization, many governments have expressed concern about the productive capacity of domestic screen media institutions that are aiming to sustain the allegiances of resident populations. Policymakers are furthermore aware that creative labor is now widely perceived as a resource worth cultivating for its perceived benefits as a catalyst to economic innovation and productivity. In fear of being left behind, countries with even modest resources have fashioned a range of subsidies, tax breaks, and other enticements that have facilitated the emergence of a global production infrastructure that favors producers and media conglomerates at the expense of screen media workers. This mounting crisis of creative labor calls for a critical reassessment of the fundamental rationales behind these film policies and encourages speculation about new directions for cultural activism. Drawing inspiration from environmental studies, this essay advances the concept of stewardship as a geographically scalable approach to the challenges of media globalization.     

Making screen production work at the margins: path-dependent development in Brisbane and the Gold Coast

While screen production is notoriously centralised, it is still found outside major media cities where the central problem for actors in these subordinate media cities is how to create sustainable levels of screen production capabilities in circumstances of increasing centralisation and globalisation in media production and its design. This article discusses how the screen production sectors of two subordinate media cities, Brisbane and the Gold Coast, are organised. Each city represents a different pathway for the sustainability of a media sector. The Gold Coast is a production location for globally and nationally dispersed high-budget feature film and TV drama production; while Brisbane is mostly a ‘national production’ location for domestically oriented news, documentary, infotainment and sports programming with a focus on lower budgeted feature filmmaking and occasionally, television drama. These different city pathways are the product of the creative resources and infrastructure evident in each city.     

Independent creative subcultures and why they matter

Independent creative subcultures, in their various hybrids of music, theatre, art, and new and old media, are the primordial soup of cultural evolution. They have the capacity for a highly definitive influence on their participants – catalysing the transition from consumer to producer for instance – often conferring much broader cultural and social benefit. Creative subcultures make continuing, well-documented, contributions to established city cultures for relatively low outlay. Indie creative activities in particular do not make much money and they do not cost much to set-up. They tend to cluster in areas characterised by low rents and non-residential uses such as retail and industrial areas, but as third wave gentrification reaches into the dark pockets of many cities, cheap rental properties are becoming scarce. This article uses time-series maps of inner Melbourne to show a pattern of tighter and tighter clustering of indie cultural activities as alternative spaces disappear. It looks at where they are going and why, considers the implications of this pattern for the ‘creative city’, and suggests some policy initiatives to help maintain and nurture independent creative scenes. As Melbourne’s live music scene is particularly vulnerable to displacement from increasingly dense and contested inner-urban space, the article focuses on interventions relating to music venues.     

CREATIVE INDUSTRIES IN THE NETHERLANDS: STRUCTURE, DEVELOPMENT, INNOVATIVENESS AND EFFECTS ON URBAN GROWTH

Creativity is central in stimulating economic growth in cities, regions and advanced capitalist economies in general. There is, of course, no one-to-one relation of the number of firms in creative industries to economic growth. Innovation is a key mechanism explaining the relationship of creative industries with economic performance. Based on an empirical study in the Netherlands we explore the effect of creative industries on innovation, and ultimately on employment growth in cities. In the Netherlands the three specific domains of creative industries - arts, media and publishing, and creative business services - make up 9 per cent of the business population. Drawing on survey data we find that firms in creative industries are indeed relatively innovative. Yet substantial differences are found across the three domains: firms in the arts domain are clearly less innovative, most likely due to a different (less market-oriented) dominant ideology. In addition, firms in creative industries located in urban areas are more innovative than their rural counterparts. We go on to analyse how the concentration of creative industries across cities is connected with employment growth. With the exception of the metropolitan city of Amsterdam, we find no measurable spill-over effect from creative industries. The presence of the creative class (in all kinds of industries other than creative ones) appears to be a much stronger driver of employment growth than creative industries.     

Capitalism, cities, and the production of symbolic forms

A striking characteristic of contemporary capitalism is the increasing importance (in terms of growth, employment, revenue, etc.) of sectors whose outputs are imbued with significant cultural or symbolic content. Sectors of these sorts are predominantly, though not exclusively, located in large cities. I describe how these cities function as creative fields generating streams of both cultural and technological innovations. Post-Fordist cities are shown to be especially fertile terrains of commodified cultural production. A number of these cities have become major centres of image-producing industries such as film, music recording, or fashion clothing, and this phenomenon is also often associated with profound transformations of their physical landscapes. I argue that the economic foundations of these trends reside, in part, in the structural characteristics of image-producing industries, marked as they frequently are by modularized, network structures of production and a strong proclivity to geographic agglomeration. At the same time, the main centres of the contemporary cultural economy are caught up in insistent processes of globalization. I suggest that after an initial phase of product standardization and concentrated development in only a few major centres, the cultural economy of capitalism now appears to be entering a new phase marked by increasingly high levels of product differentiation and polycentric production sites. I also submit that the contemporary cultural economy of capitalism constitutes a historical shift beyond consumer society as such.     

CREATIVE CITIES: THE CULTURAL INDUSTRIES AND THE CREATIVE CLASS

The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth.     

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.     

Global Media Cities in a World-wide Urban Network

This article examines the link between cities and culture from the point of view of the production of cultural goods, including media products. It focuses on the institutional structure of present-day cultural production and the media industry and on their geographical organization at the local and global levels. The cultural economy is a prime mover for globalization processes in the urban system, in which cultural production clusters act as local nodes in the global networks of the large media groups. The models frequently used to analyse the global city system will be supplemented and partially modified by an empirical analysis of the 'world media cities'. The analysis of the world media cities enables those locations to be identified, from which globalization in the spheres of culture and the media proceeds and is 'produced' in practical terms. Global city research has predominantly emphasized the role of advanced producer services—in contrast this article concludes that for the process of globalization the globally operating media firms are at least as influential as the global providers of corporate services, because they create a cultural market space of global dimensions, on the basis of which the specialized global service providers can ensure the practical management of global production and market networks.     

我国历史文化村镇保护的内容与方法研究

历史化村镇是我国遗产保护体系的重要组成部分,随着第一批中国历史化名镇(村)的命名公布。遗产保护工作又进入了一个崭新阶段。我国历史化村镇保护研究较国外起步较晚,相关研究也欠深入全面。导致在当前城镇化快速发展过程中,一些颇具价值特色的古村镇没有得到很好保护。本首先回顾了国内外历史小城镇、村落保护的演变发展,然后指出历史化村镇保护在价值特性方面,不同于历史化名城;在保护内容方面,要在以往偏重于物质化遗产保护的基础上。进一步加重非物质化遗产的保护;在保护方法方面,要综合运用历史学、地理学、建筑学、社会学、景观生态学等方法,才能达到较好的保护效果。     

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.     

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.     

县城在乡村城市化中的优势分析

依据县城在我国乡村城市化过程中快速发展的现实,分析了县城在乡村城市化过程中拥有的而一般小城镇所不具备的非经济方面的优势条件。这些优势条件主要体现在社会文化、地域条件、区域与设施条件等方面。最后提出在乡村城市化的过程中要重点建设县城,并配合各项改革,进行制度创新,因势利导,充分发挥县城优势等各项对策建议。     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

新经济环境下的城市创新模式探讨——以沪宁城市带为例

信息时代,非线性化的创新活动和跨国公司主导下的全球化,构成了区域培育创新活动的大背景。在这一背景下,由弹性的专门化生产、战略联盟、地方支撑体系和跨国公司主导的创新等级网络所形成的生产、市场、支持空间构成了创新网络环境,并通过城市等级体系、大型企业分工体系和类似于信息网络的体系,这三种途径形成创新扩散机制。本文结合沪宁城市带内代表性城市创新环境分析,提出了自主、合作、配套、联合和园区五种城市创新模式。     

(RE)PRODUCING A “PERIPHERAL” REGION – NORTHERN SWEDEN IN THE NEWS

Building on theories of internal orientalism, the objective of this study is to show how intra‐national differences are reproduced through influential media representations. By abstracting news representations of Norrland, a large, sparsely populated region in the northernmost part of Sweden, new modes of “internal othering” within Western modernity are put on view. Real and imagined social and economical differences between the “rural North” and the “urban South” are explained in terms of “cultural differences” and “lifestyle” choices. The concept of Norrland is used as an abstract essentialized geographical category and becomes a metonym for a backward and traditional rural space in contrast to equally essentialized urban areas with favoured modern ideals. Specific traits of parts of the region become one with the entire region and the problems of the region become the problems of the people living in the region. I argue that the news representations play a part in the reproduction of a “space of exception”, in that one region is constructed as a traditional and undeveloped space in contrast to an otherwise modern nation. A central argument of this study is that research on identity construction and representations of place is needed to come to grips with issues of uneven regional development within western nations.     

社交媒体对广州饮食文化空间的建构与重塑

研究选取国内四大社交媒体——新浪博客、新浪微博、豆瓣网和土豆网作为研究案例,通过文本分析的方法,探讨了社交媒体对广州饮食文化空间的构建与重塑,得出以下结论:①社交媒体构建了广州饮食文化空间的结构以及全球地方特征。社交媒体将广州饮食文化空间结构塑造为承载饮食内容、饮食文化及其相关社会活动的物质和社会文化空间,具有全球化和本地化交融的特征;②基于网民对社交媒体空间的生产,及其之间的社会互动,社交媒体消解了广州饮食文化空间原有的社会文化意义,并将其重塑为一个承载多元社会文化、消费文化、权力和情感的空间,而且这些空间意义具有流动性。研究结论丰富了现有媒体和饮食文化空间地理研究成果,同时为广州饮食文化发展和地方品牌构建提供了参考。     

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。     

Rural–urban divide and identity conflicts of migrant Muslim students in Northwest China

Abstract

A huge flow of internal migrants in China is an indicator of the significant changes in the geographical and cultural patterns brought by China’s recent economic growth. The Hui (10.6 million), as one of the largest ethnic minority groups in China, and the Dongxiang, with almost 100% of them holding the Islamic belief, are migrating from rural areas to urban centers in Northwest China. Analyzing the qualitative data from narrative stories, thematic photos, group discussions, semi-structured interviews, and field observations, this study interprets the cultural experience of rural Muslim migrant students in Chinese public schools and examines their complex and fluid rural–urban identities. This study further discusses the possibilities of including and integrating rural migrant students in cities.     

The changing geography of the Canadian manufacturing sector in metropolitan and rural regions, 1976–1997

This paper documents the changing geography of the Canadian manufacturing sector over a 22‐year period (1976–1997). It does so by looking at the shifts in employment and differences in production worker wages across different levels of the rural/urban hierarchy—central cities, adjacent suburbs, medium and small cities and rural areas. The analysis demonstrates that the most dramatic shifts in manufacturing employment were from the central cities of large metropolitan regions to their suburbs. Paralleling trends in the United States, rural regions of Canada have increased their share of manufacturing employment. Rising rural employment shares were due to declining employment shares of small cities and, to a lesser degree, large urban regions. Increasing rural employment was particularly prominent in Quebec, where employment shifted away from the Montreal region. The changing fortunes of rural and urban areas were not the result of across‐the‐board shifts in manufacturing employment, but were the net outcome of differing locational patterns across industries. In contrast to the situation in the United States, wages in Canada do not consistently decline, moving down the rural/urban hierarchy from the largest cities to the most rural parts of the country. Only after controlling for the types of manufacturing industries found in rural and urban regions is it apparent that wages decline with the size of place .     

媒介-空间辩证法:创意城市理论新解

本文采用思辨方法,以作者对现代城市空间的观察,以及"媒介物"和"媒介表征"在城市空间的渗透,作为出发点,探讨媒介与城市空间的辩证关系,增进有关媒介和城市及其相互作用的认识。文章指出媒介-空间辩证法的知识基础,来自于新兴交叉学科"媒介与传播地理学";然后对媒体的空间性和空间化过程及其在城市空间的具体表现和可能影响,进行了初步分析,建立了媒体与城市空间的交互分类体系;通过借用"媒介的物化"和"物的媒介化"思想,将媒体与城市空间的辩证关系,与创意城市的理论探讨相关联,指出媒介-城市空间辩证法对于创意城市的理论建构,具有重要的启发意义。