Creative industries, spatiality and flexibility: The example of film production

Dahlström, Margareta; Hermelin, Brita

doi:10.1080/00291950701553863

Cited by 33 publications

(11 citation statements)

References 23 publications

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“…Similarly, a review of the research on the CCIs, reveals many studies which analyse, for example, the cultural and creative production system Pratt 2004;Adkins, Foth et al 2007;Pratt 2008;Bakhshi and McVittie 2009;Abadie, Friedewald et al 2010;Potts and Cunningham 2010, Taylor 2011), the role played by networks and informal relations (Banks, Lovatt et al 2000;Delmestri, Montanari et al 2005;Adkins, Foth et al 2007;Antcliff, Saundry et al 2007;Dahlstrom and Hermelin 2007;Potts, Cunningham et al 2008;Currid and Williams 2010;Lange 2010;Lingo and O'Mahony 2010), the importance of places and clusters Drake 2003;Mommaas 2004;Neff 2005;Bathelt and Graf 2008;Gwee 2009;Pratt 2009;Collis, Felton et al 2010;Thomas, Hawkins et al 2010) and the conditions and drivers of creative labour (Banks 2006;Comunian 2009). The role of HE institutions within this new CCI landscape in the UK has received some attention (Crossick 2006;Powell 2007;Taylor 2007;Comunian and Faggian 2011) but little with an explicitly regional and urban development focus.…”

Section: Introductionmentioning

confidence: 99%

The Role of Universities in the Regional Creative Economies of the UK: Hidden Protagonists and the Challenge of Knowledge Transfer

Comunian¹,

Taylor²,

Smith³

2013

European Planning Studies

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The Triple Helix model of knowledge-industry-government relationships is one of the most comprehensive attempts to explain the changing institutional frameworks for innovation and growth, especially in the regional and urban contexts. Since the 1970s policies have been developed across Europe to evolve this institutional landscape. Since the late 1990s, regional and urban development strategies have also sought to harness the growth potential of the Cultural and Creative Industries (CCIs) to regional and urban economic development. However, whilst the regional and urban planning literature has examined the growth-promoting potential of universities very closely, their possible role in relation to regional and urban creative economic development has received less attention. This paper aims to begin addressing this gap by interrogating the relationship between universities and the regional creative economy using, as a starting point, a model of analysis suggested by the Triple Helix theoretical framework. The paper finds that whilst universities possess often long and hidden associations with regional and urban creative activitiesas hidden protagonists -there are important institutional and professional challenges in the possibility of their developing an explicit and sustainable role as new actors in the regional and urban creative economies. The paper identifies the nature of these challenges with a view to developing a clearer understanding of the system, policy and institutional realities that underpin the often complex dynamics of knowledge creation-practice relationships found in arts and humanities disciplines.

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Section: Introductionmentioning

confidence: 99%

The Role of Universities in the Regional Creative Economies of the UK: Hidden Protagonists and the Challenge of Knowledge Transfer

Comunian¹,

Taylor²,

Smith³

2013

European Planning Studies

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“…The film and TV industry is categorized into production chains with five stages: development, shooting, post-production, distribution and exhibition (Dahlström & Hermelin, 2007). The production of films and television dramas is an especially prodigious and complex project that requires major funding and various actors for value creation.…”

Section: Co-evolutionmentioning

confidence: 99%

Creative Cluster Evolution: The Case of the Film and TV Industries in Seoul, South Korea

Berg

2014

European Planning Studies

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Can the concept of co-evolution help to analyse and explain the dynamics of creative industries? This article tackles the question by investigating the film and TV cluster in Seoul, South Korea. The analysis of the 35 semi-structured interviews confirms the dynamics of the film and TV industries in Korea. First, Hallyu began with the export of Korean TV drama series across East Asia. The state deregulation and neo-liberal reforms during the 1990s in Korea boosted an explosion of the export of the Korean film and TV industry. Second, the core of the film and TV production is concentrated within Seoul, while dispersion of those industries occurred in Gyeong-gi province. Third, from an institutional perspective, tensions between the central government and the film and TV industry can be observed, which have been intensifying since 2006. This paper concludes that particularly co-evolution could potentially be an important concept to explain and analyse dynamics in creative industries.

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“…As such, globalisation of the film industry involves the expansion of production away from its established centres, whether to other countries or to other locations within the same country. This has been reinforced by recent trends in the film industry, like cross-border film production or the rise of production networks through international co-production initiatives, which affect established production locations (Dahlström, M. and Hermelin, B. 2007).…”

Section: Global Shift In the Film Industrymentioning

confidence: 99%

The rise of film production locations and specialised film services in European semi-peripheries

Stachowiak

Stryjakiewicz

2018

HunGeoBull

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The research on a creative economy has been gaining momentum globally in the recent years, but the associated concepts such as the cultural economy, the creative class, creative cities and so on, have typically been urban or national in orientation. There is evidence showing that many important developments in creative industries take place now in almost all parts of the globe. One of the creative industries which may serve as a vivid example of the complex interplay between the global core and the local periphery is film industry. The paper aims to discuss rise of film production locations and specialised film services in European global semiperipheries. Globalisation of film industry involves the expansion of production away from the established and globally recognised centres, such as Hollywood or Western Europe. While some researchers refer to this development as a 'runaway production', this paper examines it through a broader look to core-periphery relations and points out their implications and consequences from the perspective of European countries (with a focus on post-socialist countries of East Central Europe).

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Creative industries, spatiality and flexibility: The example of film production

Cited by 33 publications

References 23 publications

The Role of Universities in the Regional Creative Economies of the UK: Hidden Protagonists and the Challenge of Knowledge Transfer

The Role of Universities in the Regional Creative Economies of the UK: Hidden Protagonists and the Challenge of Knowledge Transfer

Creative Cluster Evolution: The Case of the Film and TV Industries in Seoul, South Korea

The rise of film production locations and specialised film services in European semi-peripheries

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