The Cultural Economy of Cities

By E. B. Henriques, J. Thiel. 2000

433 citations recorded by the source corpus.

Subfields: Urban Studies, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/38d708b4838a75d2ece70a8025e306de24b92d85

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Citations in the corpus

The dynamics of interfirm networks along the industry life cycle: The case of the global video game industry, 1987–2007 (2013, background): “…scholars have argued that the weightlessness of ideas is likely to diminish the role of geography (Friedman, 2005), others have stressed the overall importance of space and place because of the symbiotic relationship between place, culture and economy (Scott, 1997; Pratt, 2000; Johns, 2005).”
Rapid assessment of disaster damage using social media activity (2016, background): “Cities are important because of their dominant ( 52 , 53 ) and increasing ( 54 , 55 ) socioeconomic role in all aspects of human life ( 56 – 58 ), both in the real world and online.”
CULTURAL DEVELOPMENT STRATEGIES AND URBAN REVITALIZATION (2007, background): “In the process, local governments seek to adapt their built environments and economies to better compete for the growing industries of the “new economy” – tourism, culture, and information technologies (Judd 2003; Nevarez 2003; Scott 2000).”
Density and Creativity in U.S. Regions (2008, background): “First, much analysis, such as that of Griliches (1979) , has been devoted to demonstrating the link between R&Dexpendituresandinnovation.R&Dshouldtherefore be taken into account in any analysis that looks to explain innovation.”
Creative economy policy in developing countries: The case of Indonesia (2017, background): “The cultural economy comprises all economic sectors that serve the consumers with ‘amusement, ornamentation, self-affirmation and social display’ (Scott, 1997).”
The role of creative industries in industrial innovation (2009, neutral): “Finally, we add a dummy variable for enterprises located in a University town in order to control for their specific environment which is often said to promote a creative industry’s development (see Florida, 2002; Scott, 2000).”
Location, Control and Innovation in Knowledge-Intensive Industries (2008, background): “Value creation in these industries is almost entirely based on intellectual content in the form of texts, music, media, etc. (Caves, 2000; Scott, 2000).”
Creative Cities, Creative Spaces and Urban Policy (2009, background): “Scott's earlier warning As the experience of many actual local economic development efforts over the 1980s demonstrates, it is in general not advisable to attempt to become a Silicon Valley when Silicon Valley exists elsewhere (Scott, 2000, p. 27).”
Cultures at work: Why 'culture' matters in research on the 'cultural' industries (2003, background): “Recent work on the geographies of film (Coe 2000), music (Connell and Gibson 2003; Kong 1995; Leyshon 2001; Lovering 1998; McLeay 1998; Sadler 1997; Smith 1994), fashion (Crewe 1996)—and the cultural industries as a whole (Banks, Lovatt, O’Connor and Raffo 2000; Pratt 1997; Scott 2000)—have sought t”
New York as a Global Creative Hub: A Competitive Analysis of Four Theories on World Cities (2006, background): “Whereas Florida has looked at this on a broader level, other scholars such as Markusen and King (2003), Markusen et al. (2004), Caves (2000), and Scott (2000) have probed the relationship between culture and creativity in particular regions and industries.”
Cultural policy in Singapore: negotiating economic and socio-cultural agendas (2000, background): “…literature on cultural policies, particularly cultural economic policies and the regeneration of cities, has focused on Western countries, mainly in the US and Europe, and more recently, the UK and Australia (Frith, 1991; Watson, 1991; Bassett, 1993; Bianchini, 1993a; Scott, 1997; Williams, 1997).”
Specialization as strategy for business incubators: An assessment of the Central German Multimedia Center (2008, background): “Several studies mention the importance of vertical and horizontal networks for the development of a regional MI (see e.g. Scott, 2000; Oakey et al., 2001; Searle and de Valence, 2005).”
Video games production networks: value capture, power relations and embeddedness (2006, background): “This is supported by the work of Scott (1997, 1999, 2000a, 2000b, 2001) on several cultural industries, who claims that there is a symbiotic relationship between place, culture and economy.”
Defining the Creative Economy: Industry and Occupational Approaches (2008, methodology): “These two streams were brought together in novel ways by Florida (2002) and Scott (1997, 2003) in their work on “the creative class” and “the cultural economies of cities,” respectively.”
Profiting from Creativity? The Music Industry in Stockholm, Sweden and Kingston, Jamaica (2002, neutral): “…et al, 2000; Hesmondhalgh, 1997; Scott, 1999a) and the c̀ultural industries' in general (Dziembowska-Kowalska and Funck, 1999; Greffe, 1997; Hirsch, 1972; 2000; Kong, 2000a; Lindeborg, 1993; NUTEK, 1994; Power, 2002; Pratt, 1997a; 1997b; Scott, 1996; 1997; 1999a; 2000a; 2000b; UNESCO, 1982).”