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1.
José Antonio González Zarandona 《International Journal of Heritage Studies》2016,22(10):781-798
This paper is a discussion of how and why film should be considered heritage, by analysing the role of the Cannes Film Festival (CFF) in turning films into a form of heritage, through a number of different initiatives focused on the preservation and promotion of films as heritage. In doing so, the present article charts the evolution of the CFF against the background of cultural diplomacy and heritage. Studying the CFF from a heritage perspective will contribute to theoretical debates that situate film festivals as places where memories and identities are contested and negotiated. The paper will show that these heritage-making initiatives are a result of the ability of the CFF to respond to changes taking place in an age of international contact, to accommodate new trends, new films and emerging national film industries. Within this context, this paper also addresses a gap in film festival scholarship by engaging in heritage theory to further expand cultural and heritage insights. 相似文献
2.
Hye-Kyung Lee 《International Journal of Cultural Policy》2020,26(4):544-560
ABSTRACT This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as ‘industrial policies’, it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state’s management of cultural turn in the economy, both cases seem to present a ‘paradox’. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK’s creative industries policy engenders some space for ‘cultural’ policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification. 相似文献
3.
Tim Winter 《International Journal of Heritage Studies》2013,19(10):997-1015
This paper explores the concept of heritage diplomacy. To date much of the analysis regarding the politics of heritage has focused on contestation, dissonance and conflict. Heritage diplomacy seeks to address this imbalance by critically examining themes such as cooperation, cultural aid and hard power, and the ascendency of intergovernmental and non-governmental actors as mediators of the dance between nationalism and internationalism. The paper situates heritage diplomacy within broader histories of international governance and diplomacy itself. These are offered to interpret the interplay between the shifting forces and structures, which, together, have shaped the production, governance and international mobilisation of heritage in the modern era. A distinction between heritage as diplomacy and in diplomacy is outlined in order to reframe some of the ways in which heritage has acted as a constituent of cultural nationalisms, international relations and globalisation. In mapping out directions for further enquiry, I argue the complexities of the international ordering of heritage governance have yet to be teased out. A framework of heritage diplomacy is thus offered in the hope that it can do some important analytical work in the field of critical heritage theory, opening up some important but under theorised aspects of heritage analysis. 相似文献
4.
Luciana Lazzeretti Francesco Capone Niccolò Innocenti 《European Planning Studies》2017,25(10):1693-1713
The aim of the present research is to investigate the intellectual structure of creative economy research (CER) with a bibliometric analysis based on co-citation. Firstly, we try to reconstruct the evolution of academic research on creative economy with particular attention to the themes of regional and local economic development. Secondly, we investigate the community of contributions/actors that contributed to its generation throughout social network analysis. We analyse publications collected from ISI Web of Science, which includes all academic works starting from the seminal contribution of Department of Culture Media and Sport in 1998. Through the analysis of 941 publications produced over 16 years, we investigate the evolution of CER. Then we apply a relational analysis exploring co-citations of ‘disseminators’ and founders’ work’ of CER. Results underline that creative economy may be considered as a successful multidisciplinary paradigm born and developed in English-speaking countries, developed even on a global level, and still in a developmental phase. The internal structure of research appears fragmented in many sub-communities concentrated around some key concepts. Whereas creative class and creative city contribute to the foundation of the field, cultural and creative industries are the most important and recent topic. 相似文献
5.
David Clarke Anna Cento Bull Marianna Deganutti 《International Journal of Cultural Policy》2017,23(6):660-674
AbstractWhile positively connoted tangible cultural heritage is widely recognized as an asset to states in their exercise of soft power, the value of sites of ‘dark heritage’ in the context of soft power strategies has not yet been fully explored. This article offers a theoretical framework for the analysis of the multiple soft power potentialities inherent in the management and presentation of sites of past violence and atrocity, demonstrating how the value of these sites can be developed in terms of place branding, cultural diplomacy and state-level diplomacy. The relationship between dark heritage, soft power and the search for ‘ontological security’ is also explored, highlighting how difficult pasts can be mobilized in order to frame positive contemporary roles for states in the international system. Drawing on this theoretical framework, the article offers an analysis of the case of the So?a valley in Slovenia and the presentation of the site of the First World War battle of Kobarid in a dedicated museum. Through this case study, the article underlines the particular role of dark heritage for the national self-projection of a new and small state in the context of European integration. 相似文献
6.
Andy C. Pratt 《Geografiska annaler. Series B, Human geography》2008,90(2):107-117
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. 相似文献
7.
《International Journal of Cultural Policy》2012,18(3):340-355
This study reviews the evolution of the cultural and creative industries (CCI) policy in Taiwan. Beginning with the early 1990s, when the ‘culturalization of industries, industrialization of culture’ represented the central theme of Taiwanese ‘cultural policy’, it traces the shift to the present day, in which Taiwan’s ‘CCI policy’ has been driven by the broader economic rationale of pursuing international competitiveness. By examining the recent discourse and development of Taiwan’s CCI policy, the paper reveals that Taiwan’s CCI policy has served to widen, rather than bridge the gaps between ‘localization and globalization’, ‘culture and creativity’, and ‘network system’ of the CCI development and more importantly, has overshadowed cultural issues. Consequently, tensions are emerging which are challenging to future CCI policy development, especially at a time when Taiwan is becoming increasingly incorporated into the fastest growing economy – mainland China, which brings threats and opportunities to the CCI development in Taiwan. 相似文献
8.
Ben Eltham 《International Journal of Cultural Policy》2013,19(5):537-556
This paper critiques recent research on innovation in the cultural and creative industries. In particular, this paper examines Paul Stoneman’s idea of ‘soft innovation’ as a jumping off point for discussing theories of cultural innovation more broadly. Three critiques are advanced. Firstly, soft innovation is a theoretical perspective that has developed from neoclassical economics, and is therefore vulnerable to criticisms levelled at neoclassical explanations of economic behaviour. Secondly, the theory of soft innovation can be criticised for being contingently inaccurate: the observed reality of cultural industries and marketplaces may not reflect the theory’s premises. Thirdly, because soft innovation defines the significance of an innovation in terms of marketplace success, it implies that only high-selling cultural products are significant, a difficult claim to substantiate. This paper concludes by arguing that our understanding of innovation in the cultural sphere can benefit from a multi-disciplinary approach grounded in the full gamut of human creativity. 相似文献
9.
Carl Grodach 《International Journal of Cultural Policy》2016,22(3):353-375
This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities. 相似文献
10.
Hye-Kyung Lee 《International Journal of Cultural Policy》2016,22(3):438-455
The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain. 相似文献
11.
Jo Caust 《International Journal of Cultural Policy》2013,19(1):51-63
Abstract: This paper explores the current discourse about arts policy and funding and its placement within an economic paradigm. The models of “cultural industry” and “creative industry” are explored and how they affect arts funding discourse. Similarly the impact of the introduction of the language of industry and business to the arts sector is considered. If bottom-line arguments are used by funders, governments and critics to argue the merits or otherwise of arts activity, how does this affect arts practice? In recent times arts funding agencies have been restructured to reflect a market-driven agenda rather than an arts-driven agenda. The impact of all these issues is considered in the context of Australian arts' models in particular, but with reference to examples in the United Kingdom and the United States of America. The paper concludes with suggestions for a reassertion of core cultural values in future discourse. 相似文献
12.
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. 相似文献
13.
Deborah Stevenson 《International Journal of Cultural Policy》2013,19(1):111-113
This article examines the transition from cultural industries to creative industries policies in the English regions between 1980 and 2010. It argues that audio-visual policy in this period is best understood as a trajectory: the gradual, differentiated, contested, but overall coherent development of a policy discourse and corresponding institutional structure. This trajectory can be mapped onto the wider political economy of the period: the transition from social-democratic reformism to neo-liberalism at the end of the 1970s and up to the present. This process has resulted in audio-visual policy being determined to a large degree by the perceived needs of commercial interests, up to the point where regional cultural policy is virtually indistinguishable from economic policy. The transition from cultural to creative industries reflects the development of the neo-liberal state in which cultural policy has been instrumentalised within the larger project of the privatisation of public assets and the shift of relative power from labour to capital. 相似文献
14.
ABSTRACTIn recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of ‘excellence and access’ and the neoliberal logic of ‘creative industries’. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying ‘cultural democracy’ as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice. 相似文献
15.
CHRIS GIBSON 《Geographical Research》2012,50(3):282-290
This paper reflects on two decades' scholarship in geography on cultural economy, assessing strides made against some of the expectations of early proponents. Cultural economy continues to be a polysemic term. In some quarters, it refers to a type of economic geography into which matters of ‘culture’ are absorbed. This work frequently focuses on the empirics of the so‐called ‘cultural and creative industries’. Others see cultural economic research as an opportunity to move beyond the epistemological constraints of ‘culture’ and ‘economy’, questioning their status as foundational categories. This latter approach has been used in a broader set of empirical projects encompassing technology, knowledge, and society. Contrasting threads of cultural economic research have helpfully moved geographical scholarship beyond paradigmatic limitations, but jostle somewhat uncomfortably within existing (and increasingly specialised) disciplinary and subdisciplinary fields. The risk is that by questioning the categorical underpinnings of much specialised research, cultural economy struggles to ‘belong’ in the increasingly coded and compartmentalised university setting. I conclude with a discussion of future prospects. Some measure of vitality could be achieved through incorporation of a cultural economy perspective into the pressing issues of climate change, human sustenance, and urban infrastructure planning. These are issues for which the polysemy of cultural economy could prove constructive, transcending technocentric market ‘fixes’ and bland assumptions about how best to ‘green’ our cities – promoting instead ethnographic interrogations of how humans access, use, exchange, and value financial and material resources as moral and social beings. 相似文献
16.
台湾地区博物馆发展文化创意产业的理念与实践 总被引：3，自引：0，他引：3
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。 相似文献
17.
Yiu Fai Chow 《Eurasian Geography and Economics》2017,58(4):361-385
In 2008 a controversial essay was published in Hong Kong drawing attention to the increasing number of local creative workers who have allegedly responded to the limitations the city had to wrestle with and the opportunities brought forward by the “Rise of China” – they moved northwards. Taking cues from the mainland China–Hong Kong dynamics, this inquiry zooms in on 12 Hong Kong creative workers who have relocated to Shanghai and Beijing during the last 20 years. It supplements existing scholarship on creative class mobility, which is largely configured by concerns with work situations and place attractiveness and is situated in cities in Europe, the United States, and Australia. It does so in two ways. On the one hand, the empirical evidence delivered by this inquiry aligns with studies pointing to the limitation of Florida’s creative class thesis and wonders if “cool places” are indeed attracting talents. On the other hand, it is inadequate to posit that creative workers move only because of place or only because of work. It builds on the complexities of their subjective accounts to propose to include four dimensions – the geopolitical, the intersectional, the contingent, and the circuitous – to future explorations on creative class mobility. 相似文献
18.
Ryan Daniel 《International Journal of Cultural Policy》2013,19(6):780-791
The arts and culture sector in many countries faces major challenges, as a consequence of ongoing austerity measures and changes in the ways in which the arts are experienced. In major nations such as the United States, the United Kingdom and in several European countries, there is considerable pressure to look for new ways of surviving in an age of consumerism, accountability and rapidly changing technologies. On the other hand, many Asian countries have invested heavily in building their arts and culture sector as part of the new twenty-first-century economy. The arts and culture sector in Australia faces serious challenges at present, including ongoing fiscal pressures, an absence of any national cultural policy and disruption as a consequence of changing governments. In order to explore these issues, interviews were held with 22 key leaders from a range of Australian organisations associated with arts representation, funding, policy and advocacy. The findings highlight both the challenges and opportunities facing Australia towards what may be considered the next wave of innovation and change. 相似文献
19.
Arno van der Hoeven 《International Journal of Cultural Policy》2019,25(2):232-245
This study examines the changing roles of heritage professionals by focusing on the participatory practices of intangible urban heritage. Developments towards democratisation in the heritage sector led to a growing expectation that heritage professionals would work with local publics. This democratisation is manifested in (1) the use of digital media for grassroots heritage practices, (2) the broader scope of what is defined as heritage, and (3) a focus on communities in UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage. Heritage professionals are thus challenged to develop inclusive heritage practices, particularly in cities, which are characterised by a dynamic nature and cultural diversity. In this article, I analyse how urban heritage organisations and professionals have responded to these developments. Drawing on interviews and a qualitative content analysis of these organisations’ policy documents, I examine the ways in which heritage professionals reconsider their public role through what I define as networked practices of intangible heritage. This concept captures the networked structure in which heritage professionals increasingly work, and also demonstrates how heritage is given meaning through public practices that take place in both the physical and virtual realms of contemporary cities. 相似文献
20.
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. 相似文献