On Hollywood: The Place, the Industry

By Peter Davis. 2005

196 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/9247bfed3065af47eb8b49667fcc9ead9eea6514

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Citations in the corpus

Do Creative Industries Cluster? Mapping Creative Local Production Systems in Italy and Spain (2008, background): “According to some authors, creative districts represent an evolution of cultural districts (OECD, 2005), while others consider them only for their typical specialization in creative industry in a strict sense; for example, Hollywood as a classical district of the film industry (Scott, 2005).”
Cultural economy and the creative field of the city (2010, background): “…have dramatic effects on aesthetic and semiotic archetypes – and hence on creative expression – as illustrated by the impact of sound recording on the Hollywood motion-picture industry in the 1930s, or the transformative influence of digital visual effects on the making of films today (Scott 2005).”
Matching opportunities with resources: A framework for analysing (migrant) entrepreneurship from a mixed embeddedness perspective (2010, background): “One can also refer to the immigrant firms that build stage sets for the movie industry in Hollywood (Scott 2005) and to the South-Asian immigrants in Birmingham producing bhangra music (McEwan, Pollard, and Henry 2005).”
Reasons for Clustering of Creative Industries in Italy and Spain (2012, background): “Creative firms and creative jobs are characterized by their tendency to concentrate in space (Scott, 2005; Lange et al., 2008), forming geographical clusters and creative cities (Florida, 2002), nourished by “situated creativity” and creative networks (Staber, 2008).”
How Art and Culture Happen in New York (2007, background): “Art and culture have been a big part of this shift, becoming important parts of economic development strategy (Clark, 2004; Florida, 2002a; Glaeser, Kolko, & Saiz, 2000; Markusen & Schrock, 2006; Molotch, 1996; Scott, 2000, 2005; Zukin, 1995).”
A World in Emergence: Notes Toward a Resynthesis of Urban-Economic Geography for the 21st Century (2011, background): “centers to satellite nodes in Eastern Europe and Asia (see, for example, Saxenian, 1994; Scott, 2005; Bair, 2006; Scott and Zuliani, 2007).”
Art Spaces in Community and Economic Development: Connections to Neighborhoods, Artists, and the Cultural Economy (2011, background): “Examples abound from Hollywood film (Scott 2005) to New York fashion (Rantisi 2004) in which schools, unions, trade associations, and various interestbased organizations advocate on behalf of their constituents and provide opportunities for networking, education, training, and other support…”
Rethinking Human Capital, Creativity and Urban Growth (2008, background): “There were certainly a few small innovative firms and their employees in Silicon Valley in the 1950s and 1960s, just as there was a small cluster of temporary studios and associated workers in Los Angeles some time between 1905 and 1915 (Scott, 2005).”
Location, Control and Innovation in Knowledge-Intensive Industries (2008, background): “Firms implementing a specialized strategy are likely to use modularization as a crucial basis of competitive advantage and to develop more sophisticated external networks as noted in the example of the US motion picture industry (Scott, 2005).”
Mapping Knowledge Space and Technological Relatedness in US Cities (2013, background): “…clusters are still readily identified today, especially where products are not standardized, where demand is unstable, where labour markets are built around project-specific contracts, and where the production system relies strongly on inter-personal exchanges of tacit knowledge (Scott, 2004).”
Beyond the Self-expressive Creative Worker (2008, background): “This vertically disintegrated production organization is an inheritance of the industry production organization that emerged from the 1950s through the early 1980s, following the break-up of the ‘studio system’ (Schatz, 2008; Scott, 2005).”
The Motion Picture Industry: Critical Issues in Practice, Current Research, and New Research Directions (2006, background): “It can be defined as the activities needed to produce one copy (or, in industry terms, one “print”) of the movie.”