Creative Cities, Cultural Clusters and Local Economic Development

Creative Cities, Cultural Clusters and Local Economic Development

New Horizons in Regional Science series

Edited by Philip Cooke and Luciana Lazzeretti

This book analyses the economic development of cities from the ‘cultural economy’ and ‘creative industry’ perspectives, examining and differentiating them as two related but distinct segments of contemporary city economies. The authors argue that although they are normally conflated, the first is largely subsidized while the second is highly entrepreneurial hence they actually make very different kinds of contribution to a city’s character, attractiveness and competitiveness.

Creative Cities: An Introduction

Philip Cooke and Luciana Lazzeretti

Subjects: economics and finance, cultural economics, regional economics, geography, cities, urban and regional studies, cities, clusters, regional economics


Philip Cooke and Luciana Lazzeretti INTRODUCTION What is the creative city? This is not the first recent book to investigate that important and growing question. A relatively recent collection by Power and Scott (2004) explored similar territory under the rubric of cultural industries and the production of culture. While we are delighted that books of this quality and range are becoming available for study and research, we aim in this book to be clear about one thing in particular. Most treatments in this burgeoning field tend to use the terms ‘cultural’ and ‘creative’ interchangeably. As articulated with great precision for the case of Vancouver by Smith and Warfield in Chapter 12, in the book generally and in this introduction specifically we distinguish cultural economy and creative industries. This is because – as shown in a companion book to this one focusing upon Creative Regions (Cooke and Schwartz, 2007) – the two have almost totally distinctive modes of production, institutional bases and aesthetic content. Thus it can be a little alarming to see, as yet, inadequate recognition of these important differences. That is not to say that the two do not engage, interact and inspire each other as represented in ‘punk’ regalia or minimalist set design gracing presentations of Hamlet or Carmen, while it is notable that two of the globally style-defining costumier companies, Gucci and Prada, retain their functional bases in the adopted home town of Leonardo da Vinci in Florence. Nevertheless, fundamentally, those apparent contradictions sum up...