论创意旅游——兼谈上海都市旅游的提升战略

在创意产业勃兴的背景下,创意旅游理论研究与实践逐渐受到了重视。但理论界对创意旅游认知的视角是有差异的,其中：旅游者自我关照视角下的创意旅游着重强调旅游活动主体的自我意识、自我反省,旅游产业发展视角下的创意旅游则着重强调创意思维的延伸及运用。本文对上述观点进行了分析,对理查德和威尔逊提出的创意旅游发展的三种形式做了进一步阐释,进而结合产业实际重点探讨了上海都市旅游的提升战略。     

The international transfer of creative industries as a policy idea

This article examines the transfer of creative industries as a policy idea to Lithuania. Tracing the stages of the transfer and analysing its consequences in the local cultural policy field, this paper argues for the importance of studying cultural policy process. The findings reveal that the process of the international transfer of creative industries mattered, because it generated wider transformations in cultural policy field by having ambiguous effects on local power relations. The policy idea of creative industries opened the cultural policy field to new actors. As a result, competition for scarce state funding increased, but cultural organisations gained access to the European Union structural funds. In all, creative industries as a policy idea significantly transformed Lithuanian state cultural policy, in that it led to a reassessment of both the practices and identities of cultural organisations.     

Spatial cooperation patterns and their impact on innovation outcomes: lessons from firms in a low-technology region

This paper examines cooperation patterns of firms in the German low-technology region of Lower Bavaria. Particular emphasis is placed on the interplay among the spatial scale of cooperation, the form of cooperation and the type of innovation. Generic results show that overall, firms with a spatially more diverse set of cooperation linkages have a higher likelihood of innovating. However, the innovation outcomes differ depending on the spatial scale of cooperation. While cooperation with regional partners positively correlates with low-threshold innovations, cooperation with spatially distant partners positively correlates with product innovations. Surprisingly, it is application-oriented cooperation that channels the relation in both cases. The findings support the view that innovation of firms in low-technology regions is driven by ‘development’ rather than ‘research’. It also suggests that innovation-driven growth may even be possible in regions with limited values on the traditional innovation-supporting factors.     

美籍华裔杰出科技人才成才机制研究*A

论文从创造教育学视角就美籍华裔杰出科技人才成才机制进行了分析探讨,认为世界上有2000多个民族、五大文化圈和众多的亚文化圈,不同民族和文化圈的科技发展水平差异甚大,杰出科技人才在不同民族和文化圈中所占比例亦有重大差距。即使在同一文化圈中,不同民族的科技发展水平和杰出科技人才所占比例差距也不小,而同一民族在不同文化圈中也有不同表现。美籍华裔科技人才是直接或间接受东亚文化圈影响的杰出华人科技人才,他们的成才机制必然有科技人才成才的共性逻辑,但也与其种族和文化有些许相关。美籍华裔科技人才成才机制受社会文化和个体素质内外因素的相互影响,一流科学家群落是美籍华裔科技人才成才的适宜组织环境;文化基因匹配是科技人才成才的精神土壤;优秀天赋是科技人才成才的物质基础;创新素质是科技人才成才的内在动力。     

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.     

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     

The promises of creative industry higher education: an analysis of university prospectuses in Malaysia

In the context of economic growth policies that stress the importance of a ‘creative economy’, and the expansion of private universities, there has been an enormous growth in the number of creative industry degrees offered by Malaysian HEIs. This paper provides a critical discourse analysis of the promotional materials used by two private institutions, Multimedia University and Limkokwing University, to persuade students that these degrees will offer them a desirable future as employable ‘industry savvy and tech savvy’ creative graduates. We explore the structures of feeling that promotional material seeks to engender in potential students as it promises them future success in a globalised, high-tech world.     

Expected job creation across the cultural industries: a sectoral division and its implications for cultural policy

The cultural industries have come to the forefront as the potential job creators of the future. However, building on the concentric circles model and production system view of the cultural industries, we pose that many young and small organizations in the industries lack the motivation, ability, and opportunity to become job creator. We reason that industry location crucially affects job creation expectations. Evidence from an international sample of early-stage entrepreneurs strongly supports this thesis. We identify a divide between entrepreneurs in the ‘core’ cultural industries vis-à-vis those in the ‘non-core’ cultural industries, where the latter group is indistinguishable from entrepreneurs in non-cultural industries in their job creation expectations. Simultaneously, those in the core cultural industries are distinct from others in their expectations to maintain the same number of jobs, rather than grow. These findings have important implications for cultural policy aimed at promoting employment growth in the cultural industries.     

Supporting ‘Film Cultural Peripheries’? The dilemmas of regional film policy in Norway

Public funding is crucial for the small Norwegian film industry. Based on an analysis of policy documents and interviews with regional film workers, this article discusses the implementation of regional film policy in Norway, and the tensions it has caused between center and periphery with respect to the allocation of funding. The creative industries discourse and the cluster concept are important for understanding this implementation; despite the new regional film policies the capital Oslo remains the undisputed hub of film production, and low production volume is still a challenge for the regions. Size, the article explains, is not only central when discussing Oslo as compared to the regions, but has also become a contentious issue within the regions. A key concern for the government, the article suggests, is how to create strong film milieus all over the country, which may entail the risk of spreading funding too thinly across the regions, resulting in a fragmented industry.