The Cultural Economy of Cities: Essays on the Geography of Image-Producing Industries

By A. Scott. 2000

562 citations recorded by the source corpus.

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Citations in the corpus

Priority Sector Report: Creative and Cultural Industries (2010, background): “There is an extensive literature that gives more detailed accounts of the various terms and debates related to creative and cultural industries: (Caves 2000; Scott 2000; Hesmondhalgh 2002; Power 2002; Power and Scott 2004; Pratt 2005; Fleming 2007; Galloway and Dunlop 2007; Kolmodin, Pelli, Bager-Sj”
Cultural economic geography and a relational and microspace approach to trusts, rationalities, networks, and change in collaborative workplaces (2003, background): “…across space and time (e.g. McDowell and Court, 1994; Crang, 1997; Schoenberger, 1997; McDowell, 1998; Thrift, 1999, 2000; Lee, 2000), in contrast to more traditional conceptions of culture as a way of life or a body of knowledge or activity, such as the arts (e.g. Gertler, 1997; Scott, 2000).”
Cultural economy and the creative field of the city (2010, background): “…Paris, Milan, tokyo, and so on, the incidence of employment in the cultural economy may rise to levels as high as 25 to 40 per cent of the total (Scott 2000). a broader sense of the empirical extent and geography of the cultural economy in the United States today may be conveyed with the aid…”
Cultural economy planning in creative cities: Discourse and practice (2013, background): “Cultural Industries Model This model focuses on the functional characteristics of the commercial cultural industries (Hesmondhalgh, 2007; Pratt, 2005; Scott, 2000, 2008).”
The Creative Class and Economic Development (2014, background): “All of this work was shaped by my reading of Marx (1887) and Schumpeter (1947), as well as the regulation school of political economy (Boyer, 1981/1990), the work of economic geographers like Allen Scott (1993, 1998, 2000) and Michael Storper (1997; Walker & Storper, 1989), and of social scientists ”
Profiting from Creativity? The Music Industry in Stockholm, Sweden and Kingston, Jamaica (2002, background): “Therefore, there now exists a lacuna in systematic studies of the industry and its sectors (DiMaggio, 1977; Pratt, 1997a; 1997b; Sadler, 1997; Scott, 2000a).”
Globalization and the Rise of City-regions (2001, background): “As exempli ed by the new cultural economy of Los Angeles with its many different component clusters in motion-pictures, television programming, recorded music, clothing, and so on (cf. Scott, 2000).”
Will the real smart city please stand up? (2008, background): “While two of the main aspects of designated smart cities are the use of new technologies and a strong pro-business/ entrepreneurial state ethos, a related concern is with particular high-tech and creative industries such as digital media, the arts and the cultural industries more generally (see Flor”
On the reproduction of the musical economy after the Internet (2005, background): “The company is a particularly good example of the externalization of A&R functions, and one that represents a consolidation of the music industry within dominant cultural centres such as Los Angeles (see Scott, 2000).”
Capitalism and Urbanization in a New Key? The Cognitive-Cultural Dimension (2007, background): “The role of flexible inter-firm networks, local labor markets and localized learning processes is especially critical here (Cooke and Morgan 1998; Scott 2000; Storper 1997).”
How Do Cultural Producers Make Creative Decisions?: Lessons from the Catwalk (2009, background): “While sociologists have noted the prevalence of this “aesthetic” (Aspers 2001; Entwistle 2002), “creative” (Currid 2007) or “cultural” (Scott 2000) economy, they have yet to understand the minute social processes involved in the making of creative decisions which market actors face daily.”
The Economic Impact of Cultural Events (2006, background): “See in this respect the experiences collected in Scott (2000) and Dziembowska and Funck (2000).”