Display candidate transaction variables for article
| Id | 643 | |
| Author | Comunian R., Mould O. | |
| Title | The weakest link: Creative industries, flagship cultural projects and regeneration | |
| Reference | Comunian R., Mould O.; The weakest link: Creative industries, flagship cultural projects and regeneration ;City, Culture and Society vol:5 issue: 2.0 page:65.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84903436552&doi=10.1016%2fj.ccs.2014.05.004&partnerID=40&md5=0c159f335a52c5f94439e337dc403a84 |
| Abstract | The role of cultural regeneration as means of social and economic development has been a widely investigated yet controversial topic. This paper focuses on a specific research question within the wider literature in the field: what is the relationship between regeneration, in particular flagships cultural projects, and the creative industries?Part of the argument behind cultural regeneration and public investment in flagship buildings and new cultural institutions in Europe is that they will foster the economic development of the city, not only in terms of tourism development but also supporting the growth of the creative industries. Nevertheless, little research has addressed what are the real dynamics linking public investments in culture and regeneration and the potential development of local creative industries. Somehow, this connection has been taken for granted and in many policy document there is the assumption that flagship investments and regeneration will encourage and support local creative industries.The paper presents the result of a 2. year fieldwork undertaken in the context of Newcastle-Gateshead and the North-East region of England. The paper presents the result of the interviews conducted with local creative and cultural producers and highlights the weak connection between local practitioners and local cultural flagship developments in the region. Finally it calls for reconsideration by public policy of the importance of reconnecting creative industries and cultural regeneration to explore the real potential of this relationship. © 2014 Elsevier Ltd. |
| Candidate transition variables |
|---|
| Therefore, it needs to be acknowledged that alongside the establishment of the named cultural flagship developments, one of the emerging patterns of support to the local creative economy has been the development of more or less sectorial networks and organization supporting people in the creative sector. . | Usually the positive outcomes of cultural regeneration are highlighted in reference to community cohesion and social improvements, but very often the economic impact is also promoted. . | It is important that the cultural city places attention on culture with the capital C but also on the smaller creative and cultural producers that work in the city. . | Of course the public nature of these institutions offer opportunities for artists and creative practictioners to socialise. . | Part of the argument behind cultural regeneration and public investment in flagship buildings and new cultural institutions in Europe is that they will foster the economic development of the city, not only in terms of tourism development but also supporting the growth of the creative industries. . | It shows that often regeneration and flagship cultural investment acts in creating an international image and profile for a city and can have positive return in exporting this image, however this is often done at the expenses of local actors who are not able to benefit from this new infrastructure.. | However, local creative practitioners recognise that the improved image of a city can have a beneficial impact on their business; it is easier to associate an SME or freelancer with a cultural city than non-cultural city (however that is branded). . | Of course there is a question of value behind many of the arguments of this paper: should publically supported new cultural developments engage in supporting their local (private) creative economy and local producers? . | It is important to consider the role and scale of activities surrounding the cultural investment in Newcastle-Gateshead as they are embedded in urban, local, regional, national and even international funding and initiatives that have promoted local cultural regeneration as key to local economic development. . | these cultural of assets are the kinds of things that make frankly for good window dressing. . | The policy literature often highlights the positive externalities of investments in new flagship cultural infrastructure for a city. . | In many cases, the initial boost they can give to the outward image of a city is perhaps of more importance to the shortterm benefits required of them, than the middle to long-term processes of causing local creative industry production to increase. . | Practices such as the promotion of local producers, the commissioning of creative work, directing visitors to smaller workshops; these initiatives can all help in creating a direct causal link. . |
MESOC has received funding
from Horizon 2020 - the EU Framework Programme
for Research and Innovation (2014-2020) -
under Grant Agreement n°870935.
We take your privacy seriously and WE DO NOT process any personal data or any information that reveals personal identity or information that can be linked to such information to identify directly or indirectly.
2021 © CD