Creative Cities, Cultural Clusters and Local Economic Development
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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.
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Chapter 3: Cultural Clusters and Districts: The State of the Art

Tommaso Cinti

Extract

3. Cultural clusters and districts: the state of the art Tommaso Cinti 1. INTRODUCTION1 A field of investigation that has established itself in recent years in various economic disciplines – from industrial economics to management, from urban and regional economics to economic geography and cultural economics – is the study of models of local development based on cultural resources (Lazzeretti, 2003; Mossetto, 1992; OECD, 2005; Santagata, 2002; Scott, 2000; Zukin, 1995). Basically, the question raised is how culture can represent a mechanism for setting in motion the economic engine of cities and regions. The present-day economy has taken the shape of a sort of ‘mixed economy of leisure, culture and creativity’ (Mommaas, 2004: 507); more then ever, it is crucial to understand the changes in the interaction between place and market at a local level. The experience of the Greater London Council (now Greater London Authority) in the 1980s undoubtedly represents one of the pioneering attempts to stress the importance of culture as an ‘industry’ (Lewis, 1990) capable of advancing the local economy. As might be expected from these premises, the constitution of cultural clusters and districts has speeded up in recent years and has ideally taken the role of an alternative ‘source’ for urban development. Despite – or, maybe, because of – such a concurrence of actions of cultural policy, the models appraised do not always refer to comparable experiences, but embrace very different situations, in terms of geographic areas and actors involved, financial sources, and methods of planning, management and administration....

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