scholarly journals A Brazilian Hollywood in the making? Film, tourism and creative city discourse in the hinterland of Paraíba

2021 ◽  
pp. 136787792110116
Author(s):  
Débora Póvoa ◽  
Stijn Reijnders ◽  
Emiel Martens
Keyword(s):  
Creative Industries ◽  
Policy Makers ◽  
Creative Cities ◽  
Creative City ◽  
Global North ◽  
The City

Originating in metropoles in the Global North, the creative cities model has increasingly been replicated in locations around the globe. However, betting on the creative industries to reinvigorate stagnant economies might not be a solution compatible with every context. To analyse this issue, this article presents the case of the small Brazilian city of Cabaceiras, which was the target of a project aimed at revitalizing its economy through film and tourism in 2007. Based on 25 interviews with residents and policy makers, we examine whether the initiative was, in their view, successful in stimulating a creative hub. We argue that the creative cities model has not yet proven feasible in Cabaceiras due to financial and infrastructural challenges that the city experiences, its positioning outside of Brazil’s cultural and creative centres and the uncertainties of investing in the audiovisual sector in the country.

Lyon – UNESCO’s Creative City of Gastronomy?

2016 ◽  
Vol 4 (2) ◽  
pp. 126-132 ◽  
Author(s):  
Cecilia Avelino Barbosa
Keyword(s):  
Cultural Industries ◽  
Brand Positioning ◽  
City Branding ◽  
Structured Interviews ◽  
Creative Cities ◽  
Marketing Program ◽  
Creative City ◽  
Territorial Marketing ◽  
The World ◽  
The City

The fast urbanization in many regions of the world has generated a high competition between cities. In the race for investments and for international presence, some cities have increasingly resorting to the territorial marketing techniques like city branding. One of the strategies of recent years has been to use of creativity and / or labeling of creative city for the promotion of its destination. This phenomenon raises a question whether the city branding programs have worked in accordance with the cultural industries of the territory or if such labels influence the thought of tourists and locals. This paper begins by placing a consideration of the UNESCO Creative Cities Network (UCCN) and the strategies of the Territorial Marketing Program of the city of Lyon in France, Only Lyon. It also raises the question the perception of the target public to each of the current actions through semi-structured interviews which were applied between May and August 2015. Finally, I will try to open a discussion the brand positioning adopted by the city of Lyon

scholarly journals MODAL SOSIAL PEMANTIK UNTUK KOTA KREATIF

2018 ◽  
Vol 3 (2) ◽  
pp. 404
Author(s):  
Tubagus Arya Abdurachman
Keyword(s):  
Social Capital ◽  
Secondary Data ◽  
Primary Data ◽  
Creative Cities ◽  
Creative City ◽  
The People ◽  
The Social ◽  
The Government ◽  
The City ◽  
Dominant Influence

The discussion of this research is the development of creative cities in a country is the result of the efforts of the government and creative actors in the city in the country. Creative city can not be separated from the potential of social capital that is owned by the people in the city. Social capital is a social organization concept that includes network of norms and social trusts that facilitate mutual coordination and cooperation including in developing the regional economy. This research aims to (1) know the contribution of social capital in making a creative city, (2) express the social capital and creativity of individuals and communities to realize creative city, and (3) know aspects of social capital that dominant influence on a creativity of the city. The method of this research is qualitative primary data with technic observation and indepth interview, also secondary data in the form of document and archive analysis from Bandung city as one of creative city in Indonesia. Research is done during 2015-2016. Conclusions this research are (1)Social capital that form trust, tolerance, cooperation, openness, and independence of the community greatly contributes in the creation of creative city because through the braided integration of social capital that forms a norm of behavior binding for its citizens to be creative and does not require material capital,(2)Individual urban creativity formed through the process of socialization of elements of social capital in the life of society to trigger creativity of individuals and society as a whole, and (3) The form of openness, tolerance, and cooperation are the dominant elements of social capital in growing the creativity of individuals and societyKeywords: Creatif city, Social capital

Counting on Carrington Road: Street Numbers as Metonyms of the Urban

2018 ◽  
Vol 17 (4) ◽  
pp. 433-450 ◽  
Author(s):  
Alexandra Crosby ◽  
Kirsten Seale
Keyword(s):  
Visual Presentation ◽  
Creative Industries ◽  
Creative Economy ◽  
Top Down ◽  
Fine Grained ◽  
Creative City ◽  
Starting Point ◽  
Urban Futures ◽  
Post Industrial ◽  
The City

As urban renewal agendas are fortified in cities globally, ‘creativity’ – as contained within discourses of the creative industries, the Creative City and the creative economy – is circulated as the currency of secure post-industrial urban futures. Using the nexus between creativity and the urban as a starting point, the authors investigate how local enterprises visually communicate the urban in a neighbourhood that is characterized by the interface between manufacturing and creative industries. This research takes a fine-grained approach to the notion of creativity through an audit and qualitative analysis of the visual presentation, material attributes and semiotic meaning of street numbers. The authors do this by collecting data on and analysing how street numbers have been made, selected, used, replaced and layered in a contested industrial precinct in Australia’s largest city, Sydney. They contend that street numbers, as a ubiquitous technology within the city that is both operational and creative, are metonyms for what they understand to be urban. In arguing for vernacular readings of the city, they make use of a top-down, governmental mode of reading the city – the operational legibility of street numbering – as an intervention in current discourses of the urban and of creativity in the city.

Creative Cities and Knowledge Capital

2018 ◽  
pp. 159-184
Author(s):  
Aly Abdel Razek Galaby
Keyword(s):  
Knowledge Society ◽  
Arab Countries ◽  
Knowledge Capital ◽  
Policy Makers ◽  
Creative Cities ◽  
Knowledge Based ◽  
Creative City ◽  
Development Policies ◽  
The World ◽  
Research Findings

Many nations of the world are responding to the shift from development policies that rely on intensified labor and capital into alternative policies that build on the intensification of knowledge. The trend towards knowledge-based development has received increasing attention from academics and policy makers in the world. Innovative development paradigms of existing urban models (cities of knowledge, creative cities, and local circles of the knowledge society [precincts]) have opened up alternative prospects for development to the nations of the world. The Emirate of Dubai was among the Arab countries that absorbed this lesson and took the initiative of transforming its economy into a knowledge economy, building their development policies on the intensification of knowledge, embarked on the creation of the creative city and the formation of a knowledge capital, and stopping to understand this experience and explain its constraints; perhaps the research findings would support this effort.

scholarly journals Changing employment dynamics within the creative city: Exploring the role of ‘ordinary people’ within the changing city landscape

2018 ◽  
Vol 41 (4) ◽  
pp. 954-974 ◽  
Author(s):  
Tom Baum
Keyword(s):  
Labour Markets ◽  
Ordinary People ◽  
Policy Makers ◽  
Employment Dynamics ◽  
Creative Cities ◽  
Creative City ◽  
Creative Workers ◽  
Real Challenge ◽  
Work And Life

This article is about creative cities and their largely invisible and largely neglected workforce, the ‘ordinary people’ who provide the work- and life-place services upon which creative workers depend. The article considers the nature of creative cities, their labour markets and the precarious nature of much employment within them. The ambiguous relationship between different employment groups within the creative city is illustrated. The analysis forms the basis for reaching conclusions and helping to formulate advice for policy makers in developing approaches that are inclusive and accessible. The article is set against and acknowledges the importance of the rising tide of populism as a real challenge to an elitist mainstream creative city discourse.

scholarly journals PARIWISATA KREATIF BERBASIS INDUSTRI BATIK SEBAGAI UPAYA PENGEMBANGAN EKONOMI LOKAL KOTA PEKALONGAN

2016 ◽  
Vol 18 (1) ◽  
pp. 11
Author(s):  
L Latifah ◽  
Maya Damayanti
Keyword(s):  
Economic Development ◽  
Local Economic Development ◽  
Creative Industries ◽  
Tourist Destination ◽  
Business Association ◽  
Creative City ◽  
Art And Culture ◽  
The Impact ◽  
The City

<div><p class="AbstractEnglish">Currently, Pekalongan City is known as the city of batik. The recognition is both at national and international levels whereas Pekalongan has been acknowledged as a world creative city based on the art and culture of batik. Batik is an essential commodity in Indonesian creative industries and has been the major commodity of Pekalongan. Batik industry is also capable of creating an inter-business association like the <em>canting</em> making business and fabric dyes business. As a city of batik, Pekalongan is prepared as a tourist destination through the availability of Batik Museum and two centers of batik craftsmen. The attraction has been increasing because tourists do not only see the process but can practice on how to make batik along with the batik craftsmen and interact with the related tools and materials, and this is known as creative tourism. The impact of the creative tourism can become one of the efforts to the local economic development of Pekalongan because it has been able to make linkages between sectors in tourism and batik industry.</p></div>

scholarly journals CREATIVE CITIES RESEARCH IN PENANG, MALAYSIA: A REVIEW OF CONCEPTUAL AND METHODOLOGICAL FRAMEWORK

2015 ◽  
Vol 13 ◽  
Author(s):  
Khoo Suet Leng ◽  
Nurwati Badarulzaman ◽  
Narimah Samat ◽  
Morshidi Sirat ◽  
Sharifah Rohayah Sheikh Dawood
Keyword(s):  
New Economy ◽  
Creative Industries ◽  
Policy Framework ◽  
Creative Economy ◽  
Methodological Framework ◽  
Methodological Issues ◽  
Creative Cities ◽  
Contemporary Research ◽  
Creative City ◽  
Conducting Research

A heightened interest in the notions of ‘creative cities, creative industries and creative economy’ has propelled research in these emerging areas of the New Economy. As an emerging area, some conceptual and methodological issues need to be addressed prior to adopting the creative city paradigm as part of the strategic and policy framework towards a creative economy. This paper presents a review of key conceptual and methodological issues that need to be considered when conducting research on creative cities in Malaysia. The conceptual and methodological issues relating to creative cities and creative industries should be addressed and dealt with in order to facilitate an enabling framework for contemporary research in this emerging area.

scholarly journals Crafting place: Women’s everyday creativity in placemaking processes

2017 ◽  
Vol 22 (3) ◽  
pp. 362-377 ◽  
Author(s):  
Louise C Platt
Keyword(s):  
Sense Of Self ◽  
Creative Industries ◽  
City Centre ◽  
Structured Interviews ◽  
Urban Experience ◽  
Creative City ◽  
Everyday Creativity ◽  
Attachment To Place ◽  
The City

Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited.

scholarly journals Transforming Narratives: Reaction, Context and the Emerging (IM)-Possibilities of Social Discourse on Art in Cluj-Napoca

2019 ◽  
Vol 64 (2) ◽  
pp. 63-84
Author(s):  
Miki Braniște
Keyword(s):  
Operation Mode ◽  
Global Scale ◽  
Development Project ◽  
Creative Industries ◽  
Social Discourse ◽  
Creative City ◽  
New Development ◽  
International Standing ◽  
Symbolic Production ◽  
The City

Abstract The aim of this article is to comprehend the register of existence and the developing of social art practices and discourses in Cluj-Napoca, citing the example of the contemporary art space The Paintbrush Factory, established in 2009. Analysing the operation mode/modus operandi of artists, curators, and cultural agents of Cluj-Napoca, I study the creative pattern based on reaction as a response to the undergoing changes within the socio-political environment of the city as well as those on a global scale. The wider expansion of the urban regeneration theory, that attributes an economic growth factor to culture (based on the existence of creative industries), persuades the local authorities to create a new narrative of a Cluj-Napoca based on the image of a creative city. The Paintbrush Factory is precisely the success story – with a grassroots background, and international standing – that Cluj-Napoca Town Hall needed to legitimise its new development project that sought to put the city on Europe’s map. This ambition of the authorities is reflected in the application for the title of European Cultural Capital 2021. The story of the Paintbrush Factory mirrors this precise transformation of the city, which sees the industrial production being replaced by symbolic production. During this process factories are literally replaced by IT firms and adjacent services, while The Paintbrush Factory that had benefited from a long-term rental of a factory space is eventually displaced in this massive gentrification course of the city.

scholarly journals “CREATIVE CITY ” AS A BRAND – THE CASE OF ŁÓDŹ

2016 ◽  
Vol 9 (1) ◽  
pp. 3-14 ◽  
Author(s):  
Blanka Brzozowska
Keyword(s):  
Development Strategy ◽  
Textile Industry ◽  
Brand Management ◽  
Essential Element ◽  
Creative Industries ◽  
Brand Strategy ◽  
Creative City ◽  
The 19Th Century ◽  
The City ◽  
New Situation

The aim of the paper is to discuss the case of Polish city Łódź. Łódź flourished as the textile industry city since the second half of the 19th century. That changed after the Poland’s transition to a market economy. In the new situation, the city began to decline, both economically and socially. In 2012 the city authorities have adopted the Łódź Brand Management Strategy for the Years 2010–2016 and Integrated Development Strategy for Łódź 2020+. The essential element of both strategies is to apply the idea of creative industries. The motto “Łódź – City of Creative Industries” not only determines the direction of the current development of the city, but also it was the basis for applying for the title of “European Capital of Culture”. The paper presents the case of Łódź from the perspective of the official strategies adopted by the city authorities, and at the same time from the perspective of grassroots activities undertaken by residents that fit, sometimes unintentionally, in the brand strategy of Łódź as the city of creative industries.

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