Creative Cities and Economic Development

By P. Hall. 2000

728 citations recorded by the source corpus.

Subfields: Information Systems and Management, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/8f1d424991392c0e6182cca7bd0d32d47dde0dcd

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Citations in the corpus

From Museum to Mass Entertainment (2002, background): “Hall (2000) believes that the urban economy is becoming increasingly dependent on the production and consumption of culture, speaking in that regard of ‘creative cities’.”
Reasons for Clustering of Creative Industries in Italy and Spain (2012, background): “The territorial contexts are multifarious, and the fundamental role of forms of clustering is emphasized: from cultural districts (Frost-Kumpf, 1998 ) to cultural clusters (Mommaas, 2004 ), to creative cities and, lastly, to cultural quarters (Hall, 2000 ).”
Smart and Digital City : A Systematic Literature Review (2014, background): “…optimize its resources, plan its preventive maintenance activities, and monitor security aspects while maximizing services to its citizens” Hall [36] “Smart City is a city in which it can combine technologies as diverse as water recycling, advanced energy grids and mobile communications in…”
Do Creative Industries Cluster? Mapping Creative Local Production Systems in Italy and Spain (2008, background): “While originally creative cities were basically associated to creative industries (Hall 2000), now they are also seen as the poles of attraction for the creative class (Florida 2002a), and conversely the driving force behind the development of a city turns out to be its ability to attract and retain”
The creative countryside: Policy and practice in the UK rural cultural economy (2010, background): “25), or arguing that it is urban culture which is staid and conventional, with the countryside the true site of innovation (Hall, 2000).”
Cities, Clusters and Creative Industries: The Case of Film and Television in Scotland (2003, background): “Bluntly stated: “Culture is now seen as a substitute for all the lost factories and warehouses, and as a device that will create a new urban image” (Hall, 2000, p. 640).”
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”
Cities and National Economic Growth: A Reappraisal (2005, neutral): “Closer to our epoch, an abundant literature has accumulated demonstrating the sensitivity of innovation and technologically advanced activities to agglomeration (Audretsch and Feldman, 1996; Braczyk et al., 1998; Hall, 2000; Maillat, 1998).”
Mobility Environments and Network Cities (2003, background): “appears to be true in the emerging cultural industries (Hall, 2000; Landry, 2000).”
Creative economy policy in developing countries: The case of Indonesia (2017, methodology): “…America, Australia and Europe, the creative economy is mainly used as a tool for regenerating the economy and revitalising derelict neighbourhoods, especially in de-industrialised regions, as well as for developing innovation strategies (Gibson and Homan, 2004; Hall, 2000; Pratt, 2008a, 2009b).”
Post-industrial Trajectories of Mediterranean European Cities: The Case of Post-Olympics Athens (2009, background): “), new media and ICTs have become the growth engines of the post-industrial city (see Zukin, 1991 and 1995; Bianchini, 1993; Lash and Urry, 1995; Castells, 1996; Scott, 1997 and 2000, Clarke, 1997; Hall, 2000).”