章节

最薄弱的联系:创意产业、旗舰文化项目及文化复兴

摘要

文化复兴作为社会经济发展的一种手段,已成为一个被广泛研究且具有争议性的话题。本文在广泛查阅相关领域文献的基础上集中研究一个特定问题:文化复兴、特殊的旗舰文化项目和创意产业之间的关系是什么?关于欧洲文化复兴、旗舰建筑物的公共投资和新文化机构背后的争论部分是,它们不仅在旅游开发方面,还在支持创意产业成长等方面促进了城市经济发展。然而,罕有文献研究文化领域的公共投资、文化复兴与地方创意产业发展潜力之间真正的动态联系。在某种程度上,这方面的联系已被视为理所当然,许多政策文件中也都假设旗舰投资和文化复兴将鼓励和支持当地的创意产业。本文介绍了在纽卡斯尔—盖茨黑德和英格兰东北部进行的两年实地考察的成果,介绍了对当地创意和文化生产商采访的结果,强调了当地从业者和当地旗舰文化发展之间的微弱联系。最后,要求重新考虑那些认为创意产业和文化复兴之间联系非常重要的公共政策,并探索这种关系的真正潜力。

作者

李钰靖 ,河南省社会科学院人口与社会发展研究所七级职员,主要研究方向为教育社会学。
王元亮 ,河南省社会科学院副研究员,主要研究方向为农村经济。
齐爽 ,女,1991年1月出生,河南省社会科学院区域经济评论杂志社编辑。
文瑞

参考文献 查看全部 ↓
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  • 28.Garnham,N.(2005),From Cultural to Creative Industries,An Analysis of the Implications of the “Creative Industries” Approach to Arts and Media Policy Making in the United Kingdom,International Journal of Cultural Policy,11,15-29.
  • 29.Gotham,K. F.(2002),“Marketing Mardi Gras:Commodification,Spectacle and the Political Economy of Tourism in New Orleans”,Urban Studies,39(10),1735-1756.
  • 30.Grabher,G.,& Ibert,O.(2005),“Bad Company?The Ambiguity of Personal Knowledge Networks”,Journal of Economic Geography,6(3),1-21.
  • 31.Griffiths,R.(1995),“Cultural Strategies and New Modes of Urban Intervention”,Cities,12(4),253-265.
  • 32.Grodach,C.(2008),“Museums as Urban Catalysts:The Role of Urban Design in Flagship Cultural Development”,Journal of Urban Design,13(2),195-212.
  • 33.Heartfield,J.(2005),The Creativity Gap,London:Blueprint,ETP Ltd.
  • 34.Holden,J.(2007),Publically Funded Culture and the Creative Industries,London:DEMOS.
  • 35.Jensen,O. B.(2007),“Culture Stories:Understanding Cultural Urban Branding”,Planning Theory,6(3),211-236. http://dx.doi.org/10.1177/1473095207082032.
  • 36.Kong,L.(2005),“The Sociality of Cultural Industries”,International Journal of Cultural Policy,11,61-76.
  • 37.Landry,C.(2000),The Creative City:A Toolkit for Urban Innovators,London:Earthscan Publications.
  • 38.Markusen,A.(2010),“Organizational Complexity in the Regional Cultural Economy”,Regional Studies,44(7),813-828. http://dx.doi.org/10.1080/00343400903365086.
  • 39.McRobbie,A.(2002),“Clubs to Companies:Notes on the Decline of Political Culture in Speeded Up Creative Worlds”,Cultural Studies,16(4),516-531.
  • 40.Merli,P.(2002),“Evaluating the Social Impact of Participation in Arts Activities:A Critical Review of Francois Matarasso Use or Ornament?” International Journal of Cultural Policy,8(1),107-118.
  • 41.Miles,M.(2005),“Interruptions:Testing the Rhetoric of Culturally Led Urban Development”,Urban Studies,42(5/6),889-911.
  • 42.Minton,A.(2003),Northern soul:Culture,Creativity and Quality of Place in Newcastle and Gateshead,Published by DEMOS & RICS.
  • 43.Molotch,H.(2002),“Place in Product”,International Journal of Urban and Regional Research,26(4),665-688.
  • 44.Montgomery,J.(2003),“Cultural Quarters as Mechanisms for Urban Regeneration.Part 1:Conceptualising Cultural Quarters”,Planning Practice & Research,18(4),293-306. http://dx.doi.org/10.1080/1561426042000215614.
  • 45.Newbigin,J.(2011),“A Golden Age for the Arts?” Cultural Trends,20(3-4),231-234.http://dx.doi.org/10.1080/09548963.2011.589702.
  • 46.ONE North East.(2007),Commercial Creative Industries Sector(Vol. Report availableonline http://www.onenortheast.co.uk/page/commercialcreative.cfm(accessedOctober 2008)),Newcastle Upon Tyne:One North East and Culture North East.
  • 47.Peck,J.(2005),“Struggling with the Creative Class”,International Journal of Urban and Regional Research,29,740-770.
  • 48.Plaza,B.,Tironi,M.,& Haarich,S. N.(2009),“Bilbao’s Art Scene and the “Guggenheimeffect” Revisited”,European Planning Studies,17(11),1711-1729. http://dx.doi.org/10.1080/09654310903230806.
  • 49.Prince,R.(2010),“Policy Transfer as Policy Assemblage:Making Policy for the Creative Industries in New Zealand”,Environment and Planning A,42(1),169.
  • 50.Richard,L.(2002),“Neo-Bohemia:Art and Neighborhood Redevelopment in Chicago”,Journal of Urban Affairs,24(5),517-532.
  • 51.Richards,G.,& Wilson,J.(2004),“The Impact of Cultural Events on City Image:Rotterdam,Cultural Capital of Europe 2001”,Urban Studies,41(10),1931-1951.
  • 52.Scott,A. J.(2006),“Creative Cities:Conceptual Issues and Policy Questions”,Journal of Urban Affairs,28(1),1-17.
  • 53.Selwood,S.(Ed.)(2002),The UK Cultural Sector,London:Policy Studies Institute.
  • 54.Vall,N.(2011),Cultural Region:North East England,1945-2000,Manchester:Manchester University Press.
  • 55.Vorley,T.,Mould,O.,& Courtney,R.(2012),“My Networking is not Working!Conceptualizing the Latent and Dysfunctional Dimensions of the Network Paradigm”,Economic Geography,88(1),77-96. http://dx.doi.org/10.1111/j.1944-8287.2011.01141.x.
  • 56.Wittel,A.(2001),“Toward a Network Sociality”,Theory Culture Society,18(6),51-76.
  • 57.Yue,A.(2006),“Cultural Governance and Creative Industries in Singapore”,International Journal of Cultural Policy,12(1),17-33.
  • 58.Zukin,S.(1985),Loft living:Culture and Capital in the Urban Change,New Brunswick:Rutgers University Press.
  • 1.Bailey,C.,Miles,S.,& Stark,P.(2004),“Culture-led Urban Regeneration and the Revitalisation of Identities in Newcastle,Gateshead and the North East of England”,International Journal of Cultural Policy,10(1),47-65.
  • 2.Belfiore,E.(2002),“Art as A Means of Alleviating Social Exclusion:Does it Really Work?A Critique of Instrumental Cultural Policies and Social Impact Studies in the UK”,International Journal of Cultural Policy,8(1),91-106.
  • 3.Belfiore,E.(2009),“On Bullshit in Cultural Policy Practice and Research:Notes from the British Case”,International Journal of Cultural Policy,15(3),343-359.
  • 4.Benneworth,P.(2002),“Creating New Industries and Service Clusters on Tyneside”,Local Economy,17(4),313-327. http://dx.doi.org/10.1080/02690940220000 22723.
  • 5.Bianchini,F.,& Parkinson,M.(Eds.)(1993),Cultural Policy and Urban Regeneration,Manchester:Manchester UP.
  • 6.Blair,H.(2003),“Winning and Losing in Flexible Labour Markets:The Formation and Operation of Networks of Interdependence in the UK Film Industry”,Sociology,37(4),677-694. http://dx.doi.org/10.1177/00380385030374003.
  • 7.Bolton,M.,& Cooper,C.(2001),Capital Matters:How to Build Financial Resilience in the UK’s Arts and Cultural Sector,Mission Models Money.
  • 8.Bontje,M.,& Musterd,S.(2009),“Creative Industries,Creative Class and Competitiveness:Expert Opinions Critically Appraised”,Geoforum,40(5),843-852. http://dx.doi.org/10.1016/j.geoforum.2009.07.001.
  • 9.Campbell,P.(2011),“Creative Industries in A European Capital of Culture”,International Journal of Cultural Policy,17(5),510-522. http://dx.doi.org/10.1080/10286632.2010.543461.
  • 10.Chapain,C.,& Comunian,R.(2009),“Creative Cities in England:Researching Realities and Images”,Built Environment,35(2),220-237.
  • 11.Chapain,C.,& Comunian,R.(2010),“Enabling and Inhibiting the Creative Economy:The Role of the Local and Regional Dimensions in England”,Regional Studies,44(6),717-734.
  • 12.Comunian,R.(2011),“Rethinking the Creative City the Role of Complexity,Networks and Interactions in the Urban Creative Economy”,Urban Studies,48(6),1157-1179.
  • 13.Comunian,R.(2012),Exploring the Role of Networks in the Creative Economy of North East England:Economic and cultural dynamics. In B. Warf(Ed.),Encounters and engagement between economic cultural geography.Springer.
  • 14.Curds(2001),Culture Cluster Mapping and Analysis,New castle Upon Tyne:Prepared by Curds,Centre for Urban and Regional Development Studies for One North East.
  • 15.EC(1998),Culture,the Cultural Industries and Employment,Brussels:European Commission.
  • 16.EC(2010),Green Paper:Unlocking the Potential of Cultural and Creative Industries,Brussels:European Commission.
  • 17.EC(2012),Communication from the European Commission to the European Parliament,the Council,the European Economic and Social Committee and the Committee of Regions,Promoting the Cultural and Creative Sectors for Growth and Jobs in the EU,Brussels:European Commission.
  • 18.Ettlinger,N.(2010),“Bringing the Everyday into the Culture/Creativity Discourse”,Human Geography,3(1),49-59.
  • 19.Evans,G.(2003),Hard-branding the Cultural City-From Prado to Prada,International Journal of Urban and Regional Research,27(2),417-440.
  • 20.Evans,G.(2009),“Creative Cities,Creative Spaces and Urban Policy”,Urban Studies,46(5-6),1003-1040. http://dx.doi.org/10.1177/0042098009103853.
  • 21.Evans,G.,& Shaw,P.(2004),The Contribution of Culture to Regeneration in UK:Areview of Evidence,London:DCMS.
  • 22.Florida,R.(2002),The Rise of the Creative Class,New York:Basic Books.
  • 23.Florida,R.(2003),“Cities and Creative Class”,City and Community,2(1),3-19.
  • 24.Foord,J.(2009),“Strategies for Creative Industries:An International Review”,Creative Industries Journal,1(2),91-113.
  • 25.Galloway,S.,& Dunlop,S.(2007),“A Critique of Definitions of the Cultural and Creative Industries in Public Policy”,International Journal of Cultural Policy,13(1),17-31. http://dx.doi.org/10.1080/10286630701201657.
  • 26.García,B.(2004),“Cultural Policy in European Cities:Lessons from Experience,Prospects for the Future”,Local Economy,19(4),312-326.
  • 27.García,B.(2005),“De-constructing the City of Culture:The Long Term Cultural Legacies of Glasgow 1990”,Urban Studies,42(5/6),1-28.
  • 28.Garnham,N.(2005),From Cultural to Creative Industries,An Analysis of the Implications of the “Creative Industries” Approach to Arts and Media Policy Making in the United Kingdom,International Journal of Cultural Policy,11,15-29.
  • 29.Gotham,K. F.(2002),“Marketing Mardi Gras:Commodification,Spectacle and the Political Economy of Tourism in New Orleans”,Urban Studies,39(10),1735-1756.
  • 30.Grabher,G.,& Ibert,O.(2005),“Bad Company?The Ambiguity of Personal Knowledge Networks”,Journal of Economic Geography,6(3),1-21.
  • 31.Griffiths,R.(1995),“Cultural Strategies and New Modes of Urban Intervention”,Cities,12(4),253-265.
  • 32.Grodach,C.(2008),“Museums as Urban Catalysts:The Role of Urban Design in Flagship Cultural Development”,Journal of Urban Design,13(2),195-212.
  • 33.Heartfield,J.(2005),The Creativity Gap,London:Blueprint,ETP Ltd.
  • 34.Holden,J.(2007),Publically Funded Culture and the Creative Industries,London:DEMOS.
  • 35.Jensen,O. B.(2007),“Culture Stories:Understanding Cultural Urban Branding”,Planning Theory,6(3),211-236. http://dx.doi.org/10.1177/1473095207082032.
  • 36.Kong,L.(2005),“The Sociality of Cultural Industries”,International Journal of Cultural Policy,11,61-76.
  • 37.Landry,C.(2000),The Creative City:A Toolkit for Urban Innovators,London:Earthscan Publications.
  • 38.Markusen,A.(2010),“Organizational Complexity in the Regional Cultural Economy”,Regional Studies,44(7),813-828. http://dx.doi.org/10.1080/00343400903365086.
  • 39.McRobbie,A.(2002),“Clubs to Companies:Notes on the Decline of Political Culture in Speeded Up Creative Worlds”,Cultural Studies,16(4),516-531.
  • 40.Merli,P.(2002),“Evaluating the Social Impact of Participation in Arts Activities:A Critical Review of Francois Matarasso Use or Ornament?” International Journal of Cultural Policy,8(1),107-118.
  • 41.Miles,M.(2005),“Interruptions:Testing the Rhetoric of Culturally Led Urban Development”,Urban Studies,42(5/6),889-911.
  • 42.Minton,A.(2003),Northern soul:Culture,Creativity and Quality of Place in Newcastle and Gateshead,Published by DEMOS & RICS.
  • 43.Molotch,H.(2002),“Place in Product”,International Journal of Urban and Regional Research,26(4),665-688.
  • 44.Montgomery,J.(2003),“Cultural Quarters as Mechanisms for Urban Regeneration.Part 1:Conceptualising Cultural Quarters”,Planning Practice & Research,18(4),293-306. http://dx.doi.org/10.1080/1561426042000215614.
  • 45.Newbigin,J.(2011),“A Golden Age for the Arts?” Cultural Trends,20(3-4),231-234.http://dx.doi.org/10.1080/09548963.2011.589702.
  • 46.ONE North East.(2007),Commercial Creative Industries Sector(Vol. Report availableonline http://www.onenortheast.co.uk/page/commercialcreative.cfm(accessedOctober 2008)),Newcastle Upon Tyne:One North East and Culture North East.
  • 47.Peck,J.(2005),“Struggling with the Creative Class”,International Journal of Urban and Regional Research,29,740-770.
  • 48.Plaza,B.,Tironi,M.,& Haarich,S. N.(2009),“Bilbao’s Art Scene and the “Guggenheimeffect” Revisited”,European Planning Studies,17(11),1711-1729. http://dx.doi.org/10.1080/09654310903230806.
  • 49.Prince,R.(2010),“Policy Transfer as Policy Assemblage:Making Policy for the Creative Industries in New Zealand”,Environment and Planning A,42(1),169.
  • 50.Richard,L.(2002),“Neo-Bohemia:Art and Neighborhood Redevelopment in Chicago”,Journal of Urban Affairs,24(5),517-532.
  • 51.Richards,G.,& Wilson,J.(2004),“The Impact of Cultural Events on City Image:Rotterdam,Cultural Capital of Europe 2001”,Urban Studies,41(10),1931-1951.
  • 52.Scott,A. J.(2006),“Creative Cities:Conceptual Issues and Policy Questions”,Journal of Urban Affairs,28(1),1-17.
  • 53.Selwood,S.(Ed.)(2002),The UK Cultural Sector,London:Policy Studies Institute.
  • 54.Vall,N.(2011),Cultural Region:North East England,1945-2000,Manchester:Manchester University Press.
  • 55.Vorley,T.,Mould,O.,& Courtney,R.(2012),“My Networking is not Working!Conceptualizing the Latent and Dysfunctional Dimensions of the Network Paradigm”,Economic Geography,88(1),77-96. http://dx.doi.org/10.1111/j.1944-8287.2011.01141.x.
  • 56.Wittel,A.(2001),“Toward a Network Sociality”,Theory Culture Society,18(6),51-76.
  • 57.Yue,A.(2006),“Cultural Governance and Creative Industries in Singapore”,International Journal of Cultural Policy,12(1),17-33.
  • 58.Zukin,S.(1985),Loft living:Culture and Capital in the Urban Change,New Brunswick:Rutgers University Press.

最薄弱的联系:创意产业、旗舰文化项目及文化复兴

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章节目录

  • 一 介绍
  • 二 旗舰文化项目,复兴和经济发展
  • 三 旗舰文化复兴,政策和主张
  • 四 揭露结构性的缺口——英国东北部的案例
    1. (一)介绍和政策背景
    2. (二)方法论
    3. (三)文化复兴:从品牌到门面粉饰
    4. (四)文化旗舰项目,基金和职业
    5. (五)支持当地的文化生态系统?
    6. (六)旗舰文化基础设施:优化当地网络?
    7. (七)积极的外部效应:对所有人还是对少数人?
  • 五 结论:最薄弱的联系

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