Relevant bibliographies by topics / INDUSTRIE CULTURALI E CREATIVE

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'INDUSTRIE CULTURALI E CREATIVE'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "INDUSTRIE CULTURALI E CREATIVE"

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Di Giorgio, Sara, and Claudio Prandoni. "Il progetto inDICEs: misurare l’impatto della cultura digitale." DigItalia 15, no. 2 (December 2020): 59–73. http://dx.doi.org/10.36181/digitalia-00014.

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inDICEs è un progetto di ricerca e innovazione finanziato dalla Commissione Europea nell'ambito del programma Horizon 2020, e coordinato dall'ICCU. La ricerca condotta da inDICEs permetterà di sviluppare una metodologia scientifica per misurare e valutare l’impatto economico della digitalizzazione del patrimonio culturale, analizzando le modalità di accesso ai beni e ai servizi culturali in Europa. A partire da questo, il progetto elaborerà delle raccomandazioni rivolte ai responsabili del settore dei beni culturali e delle industrie culturali e creative, per fornire loro strumenti utili ad affrontare le sfide poste dall'avvento del mercato unico digitale al fine di far prosperare e diffondere la cultura europea. Infine, il progetto svilupperà una piattaforma partecipativa e un sistema di autovalutazione, utile agli istituti culturali per migliorare il proprio posizionamento strategico nel mercato unico digitale, favorendone perciò la trasformazione digitale.
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Degrassi, Lidianna. "«Le industrie culturali e creative»: una formula fortunata, ma ancora in cerca di identità (giuridica)." RIVISTA ITALIANA DI DIRITTO DEL TURISMO, no. 22 (November 2018): 7–31. http://dx.doi.org/10.3280/dt2018-022001.

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Inquadrare concettualmente la formula «CCI - Industrie culturali e creative» è un'operazione di cui si è occupata principalmente la dottrina economica della cultura. Il presente contributo offre alla comunità scientifica alcuni spunti di riflessione da un punto di vista giuridico, in particolare in relazione al diritto dell'UE e al diritto interno. Ciò che rende la definizione un unicum nel panorama del diritto pubblico multilivello è la specificità del CCI, che, allo stesso tempo, indaga i profili di «cultura», «creatività» e di «industria/economia». Ciò acquista rilevanza anche nell'ordinamento giuridico italiano, perché la Costituzione repubblicana non conosce questa nozione, il che fa sì che gli studiosi ne diano un'interpretazione sistematica. Oltre a questo, avendo a che fare con una forma di stato regionale, occorre rendersi conto di come sono distribuite le competenze tra Stato e Regioni, a causa dell'eterogeneità del settore del CCI. L'incertezza della nozione di diritto costituzionale ha permesso al legislatore statale di introdurne una simile, ma non identica: quella di «imprese culturali e creative», su cui, nel paragrafo finale, questo lavoro cerca di riflettere in prima battuta
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DELLA LUCIA, MARIA and SEGRE, GIOVANNA. "Il perimetro di industrie culturali, creative e turismo: specializzazioni e implicazioni di policy in Italia." Sinergie Italian Journal of Management, no. 104 (2018): 115–34. http://dx.doi.org/10.7433/s104.2017.06.

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Kolotouchkina, Olga. "Creatividad y la identidad cultural urbana: Experiencias destacadas en las ciudades contemporáneas. / Creativity and urban cultural identity: Best practices in contemporary cities." Revista Internacional de Cultura Visual 5, no. 1 (July 11, 2018): 1–8. http://dx.doi.org/10.37467/gka-revvisual.v5.1524.

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This research paper is a reflection on the role of innovation and creativity in the urban landscape. Based on the analysis of the prominence of cities in the context of globalisation and the essential role of culture for urban regeneration and competitive advantage, the paper illustrates a series of innovative urban cultural practices implemented in different cities around the world. The focus on iconic architecture, the creative transformation of urban spaces as well as the hosting of mega-events reaffirm the urban cultural identity on account of new urban narratives, innovative dynamics of cultural consumption and entertainment, creative talent attraction and boost to the creative industries. In addition, those innovative practices become the catalyst for citizen engagement and activism. El artículo ofrece una reflexión sobre el papel de la innovación y la creatividad en el entorno urbano. Partiendo del análisis del protagonismo de las ciudades en el contexto de la globalización y el papel esencial de la cultura para la competitividad y la regeneración urbana, se ilustra una serie de innovadoras prácticas culturales en diferentes ciudades alrededor del mundo. La apuesta por la arquitectura icónica, la transformación creativa del espacio urbano, así como la celebración de mega-eventos culturales reafirman la identidad cultural urbana a través de la creación de nuevas narrativas urbanas, innovadoras dinámicas de ocio y consumo cultural, la atracción del talento creativo y el estímulo a las industrias creativas. Por otro lado, estas prácticas innovadoras se convierten en el catalizador del activismo y la participación ciudadana.
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Salone, Carlo, and Francesco Arfò. "Città e grandi eventi: il programma Matera Capitale Europea della Cultura 2019 nella percezione dei residenti." RIVISTA GEOGRAFICA ITALIANA, no. 3 (September 2020): 5–29. http://dx.doi.org/10.3280/rgi2020-003001.

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L'adozione di politiche di sviluppo urbano focalizzate sulla cultura, sia dal lato dell'offerta (realizzazione di infrastrutture e sostegno alle industrie culturali e creative) sia da quello della domanda (campagne di promozione turistica, programmazione di eventi) e prassi corrente nel capitalismo cognitivo. Intorno al nesso tra cultura e sviluppo economico si e coagulato un vasto dibattito scientifico che fa da sfondo e giustificazione per l'adozione di politiche pubbliche conseguenti, in particolare, ma non solo, alla scala urbana. In realta, la produzione e il consumo di cultura sono pero spesso associati a fenomeni tra loro molto diversi e non di rado conflittuali. Secondo alcuni autori (Bridge, 2006; Kaasa e Vadi, 2010; Scott, 2000), lo sviluppo del settore culturale contribuisce soprattutto alla crescita economica e al vantaggio competitivo urbano, attraverso la generazione di nuova conoscenza per l'innovazione e la creativita ma, anche, effetti positivi su altre attivita economiche correlate. Altri ne enfatizzano le potenzialita inclusive, adatte alla costruzione dei diritti di cittadinanza e alla promozione di una societa piu giusta e coesa (Stern e Seifert, 2007), altri ancora assumono una posizione intermedia, attribuendo alla cultura sia un vantaggio competitivo che un beneficio per l'inclusione sociale, senza pero riuscire a chiarire appieno il rapporto tra queste due dimensioni dello sviluppo (Sacco e Segre, 2009). In questo articolo si inquadra e analizza il caso di Matera 2019 all'interno del progetto di Capitale Europea della Cultura ed alla luce delle teorie legate allo sviluppo urbano trainato dalla cultura. L'analisi del caso di Matera 2019 si pone l'obiettivo di misurare gli impatti attualmente osservabili nella citta sotto il profilo socio-spaziale e di indagare le modalita con cui i cittadini materani hanno interagito con l'evento, attraverso un'analisi della loro opinione circa il percorso svolto e le possibilita future della citta.
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Bernaschina, Diego. "La cuestión de la industria cultural-creativa chilena en tiempos de COVID-19." Sapienza: International Journal of Interdisciplinary Studies 3, no. 1 (February 14, 2022): 585–92. http://dx.doi.org/10.51798/sijis.v3i1.242.

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El presente artículo ofrece un acercamiento de carácter reflexivo-analítico sobre los trabajadores de las industrias culturales-creativas para indagar en los problemas sociales y sus valores personales, tanto del capitalismo como de la socialización. Así, nos permite enfocarnos en la cultura chilena a través de una triple crisis (sanitaria, económica y social) de la institucionalidad cultural. Nuestro objetivo de investigación cualitativa es analizar el impacto de la industria cultural-creativa sobre la experiencia relacionada con la pandemia del coronavirus y el estallido social. En distintos procedimientos metodológicos, tanto para los artistas y gestores culturales en Chile como la institucionalidad cultural del Estado para discutir y proponer el debate sobre los trabajadores a través de las industrias culturales-creativas. Por tanto, se concluye que la necesidad de obtener la participación de los trabajadores en el sector cultural. Así como la estabilidad económica por la ausencia de apoyo de institucionalidad cultural del Estado hacia la inclusión social. Asimismo, la mayor necesidad de repensar el bienestar humano en un mundo para desarrollar y promover el trabajo de la industria cultural-creativa en Chile.
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Bárcenas Curtis, César, Roberto Bárcenas Curtis, and María Consuelo Lemus Pool. "Evaluación de las industrias culturales y creativas en Tamaulipas." Economía Creativa, no. 14 (2021): 38–74. http://dx.doi.org/10.46840/ec.2020.14.03.

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El objetivo de este artículo es presentar una construcción metodológica de un índice de potencialidad para las industrias culturales y creativas en el estado de Tamaulipas. La metodología, de orden cuantitativo, propone un índice compuesto por tres dominios de análisis: a) base cultural y creativa, b) política cultural y c) industrias culturales y creativas, incluyendo variables relacionadas con el desempeño de los indicadores de industrias culturales y creativas durante el año 2019 en Tamaulipas. Los resultados muestran que el primer dominio es el más importante al incluir un mayor número de variables y ejercer una significativa dinámica económica, fortaleza del ambiente académico y capacidad en el flujo de recursos humanos, de talento y conocimiento. Por último, este análisis expone que en Tamaulipas se requiere de la generación de políticas de desarrollo sobre la base cultural y creativa, para fortalecer y adquirir mayor competitividad a nivel regional y nacional.
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Rodríguez-Ferrándiz, Raúl. "From Cultural Industries to Entertainment and Creative Industries. The Boundaries of the Cultural Field." Comunicar 18, no. 36 (March 1, 2011): 149–56. http://dx.doi.org/10.3916/c36-2011-03-06.

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This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El artículo analiza la tendencia actual a la dilución del concepto de «industrias culturales» en fórmulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografía reciente especializada, acotamos el alcance y los solapamientos entre los términos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», íntimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnológicas de los productos culturales, a cambios en la titularidad de sus proveedores, así como de los roles de autor, actor y espectador. Para entender esta mutación recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clásico a la maleabilidad y convertibilidad que permiten las nuevas tecnologías, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentación participante, en constante circulación, mancomunada y lúdica; 3) de una aspiración a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones más ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomía de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (más placentero que el primero y más trascendente y esforzado que el segundo), también alcanza a borrar los límites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).
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Podestá-Correa, María Paola, María Cristina Hernández-Monsalve, and Beatriz E. Bedoya Velásquez. "Haciendo florecer el ecosistema. Análisis del apoyo a las industrias culturales y creativas en Colombia y el mundo." Economía Creativa, no. 13 (2020): 36–67. http://dx.doi.org/10.46840/ec.2020.13.03.

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La importancia de la Economía Creativa (EC) y de las Industrias Culturales y Creativas (ICC) hoy en día no puede ser subestimada. Esto ha llevado al surgimiento de ecosistemas de emprendimiento cultural y creativo que configuran una oferta de servicios de formación y apoyo para fortalecer el sector. Este artículo presenta resultados de una investigación sobre el estado de dicha oferta en el mundo, Iberoamérica y Colombia. Para el mundo e Iberoamérica se revisaron en línea 238 instituciones. Para el contexto colombiano, la información se recopiló mediante entrevistas estructuradas a 25 representantes de diferentes organismos. El artículo presenta un mapeo de organismos constituyentes de ecosistemas y un inventario de la oferta de este tipo de servicios identificados. Los hallazgos presentados permiten identificar oportunidades de crecimiento y fortalecimiento para el emprendimiento cultural y creativo en el mundo, y señala aspectos críticos para el ámbito colombiano, en relación con referentes internacionales.
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Sulaiman, Diyana Binti. "Cultural and Creative Industries and Value Creation: An Analysis on Malaysian Copyright Laws." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 12 (December 31, 2022): e001951. http://dx.doi.org/10.47405/mjssh.v7i12.1951.

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The strategic and economic importance of cultural and creative industries that are supported by intellectual property laws has been duly acknowledged. They are instrumental to propel the growth of Malaysia during the 4th Industrial Revolution. The 12th Malaysian Plan (2021-2025) that was deliberated by the 9th Prime Minister of Malaysia, Dato’ Sri Ismail Sabri bin Yaakob in October 2021 has identified the creative industry as one of the strategic and high-impact industries for the country. The Malaysian government has also agreed in approving the intellectual property fund as one of the programs or main projects to be implemented in the 12th Malaysian Plan to improve the strategic industries. The aim of becoming a high-income nation has been envisioned much earlier with the establishment of Vision 2020 for Malaysia. This article aims to review copyright laws in Malaysia, with a focus on provisions pertaining to ownership and authorship of copyright, and dealings of copyright. The rationale for this approach is due to the fact that ownership, authorship, and dealing of copyright are essential for value creation at the individual and institutional levels, which then could translate to the success of the creative industries at the national level.
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Dissertations / Theses on the topic "INDUSTRIE CULTURALI E CREATIVE"

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Pagotto, Giorgia <1988&gt. "Le industrie culturali e creative: la cultura come fattore di ripresa economica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3682.

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La tesi, dopo un'ampia rassegna del dibattito teorico sul ruolo delle industrie culturali e creative nello sviluppo economico, presenta un confronto della situazione del settore in Italia e nei principali Paesi avanzati. Vengono analizzati gli effetti del settore sull'economia, con particolare riferimento al superamento della crisi. Il lavoro si completa con una verifica empirica sugli effetti di alcune iniziative culturali intraprese nell'ambito della regione Veneto.
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Leprotti, Benedetta <1996&gt. "Analisi delle industrie culturali e creative: il caso Tessitura Luigi Bevilacqua." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19159.

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La tesi si propone di descrivere nel dettaglio le industrie culturali e creative. Nel primo capitolo viene trattato il contesto in cui si origina la discussione su cosa siano effettivamente "industrie culturali e creative" e come le teorie accademiche si evolvono nei decenni, fino a descrivere la questione terminologica e le evoluzioni delle espressioni utilizzate per parlare dell'argomento. Vengono poi delineate le peculiarità del settore culturale e l'impatto di questo in termini di numero di occupati e imprese in Italia, oltre che del suo effetto moltiplicatore sul turismo. Il secondo capitolo tratta di un caso specifico di industria creativa veneziana, ossia la Tessitura Luigi Bevilacqua, e viene discusso come tale realtà aziendale è riuscita a migliorare i propri risultati economici e a consolidare la propria immagine negli anni di attività più recenti. Il capitolo finale illustra le problematiche gestionali comuni del settore creativo e propone alcune soluzioni per sopperire alle complicazioni dell'ambiente culturale. Infine, si illustrano i motivi per cui il settore creativo è importante a livello sociale ed economico, e si suggeriscono alcuni spunti di sviluppo per il futuro.
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Astore, Anna <1996&gt. "Il posizionamento dell'artigianato artistico nel sistema delle Industrie Culturali e Creative." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19164.

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L’oggetto della presente tesi è il settore dell’artigianato artistico. All'interno dell'elaborato se ne tratta l’evoluzione storica, per poi focalizzarsi su un’attenta analisi delle peculiarità che ne definiscono il ruolo all’interno della Industrie culturali e creative. Vengono messi in risalto i valori racchiusi nell’artigianato dal punto di vista economico, sociale e culturale. La ricerca inizia con lo studio dei modelli di classificazione delle Industrie culturali e creative, che hanno permesso di valutare il coinvolgimento del settore artigianale all’interno di quello economico. Per quanto concerne i contenuti sociali e culturali, l’analisi parte dalla gestione italiana del settore esponendo norme e convenzioni, in particolare la Convenzione di Faro, cui lo Stato ha aderito per garantirne salvaguardia, protezione, tutela e valorizzazione. Successivamente si allarga la ricerca a livello europeo presentando la Carta internazionale dell’artigianato artistico, documento che definisce le linee guida, condivise dagli stati firmatari, per una corretta valorizzazione del settore. A livello italiano le decisioni delle singole regioni giocano un ruolo fondamentale in materia poiché l’artigianato riveste un ruolo più o meno centrale all’interno dei sistemi economici regionali a seconda delle diverse politiche di gestione. Questa particolarità è descritta tramite il confronto delle norme legislative, in ottemperanza alle direttive europee e nazionali, a tutela e valorizzazione dell’artigianato per la Regione Veneto e la Regione Lazio. Infine, viene riportato il progetto della Rete delle città creative dell’UNESCO per chiarire i motivi alla base del concetto di città creativa per la categoria di artigianato e arte popolare, riportando gli esempi italiani delle città di Fabriano, Biella e Carrara.
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Bultrini, Michela <1993&gt. "Valutazione della performance delle industrie culturali e creative: la metodologia DEA applicata al settore cinematografico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12689.

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L’elaborato ha lo scopo di valutare la performance delle industrie culturali e creative mediante l’applicazione della metodologia DEA (Data Envelopment Analysis) al settore della produzione e distribuzione cinematografica. Nel primo capitolo della trattazione ci si sofferma sulla difficile delimitazione dei confini del settore culturale e creativo attraverso lo studio delle definizioni formulate da diversi enti nazionali e internazionali. Nel secondo capitolo viene analizzata la letteratura empirica relativa alla misurazione della performance di tale settore, grazie alla quale è stato possibile identificare quali siano gli indicatori per la valutazione della performance delle industrie culturali e creative più comunemente utilizzati dalla comunità scientifica. Sulla base dei risultati di tale ricerca, viene costruito un modello di analisi che prevede l’impiego della metodologia DEA applicata al settore della produzione e distribuzione cinematografica. Il modello è finalizzato alla valutazione dell’efficienza di un campione di film prodotti e distribuiti dalle più importanti case di produzione e distribuzione cinematografica statunitensi. Nel corso del terzo capitolo si descrivono le caratteristiche e le criticità relative al processo di produzione delle industrie cinematografiche, mentre il quarto capitolo è dedicato all’analisi empirica e alle osservazioni sui relativi risultati.
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Stea, Giusy <1997&gt. "Industrie Culturali e Creative a supporto del turismo: il caso della Mappa Parlante di Aquileia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19804.

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La seguente tesi analizza il tema delle Industrie Culturali e Creative (ICC) a servizio del turismo. In seguito ad una prima parte esplorativa sulla letteratura esistente attinente al Sistema Culturale e Creativo e al suo funzionamento e andamento negli ultimi anni, il secondo capitolo analizza la relazione tra queste ultime ed il turismo. È stato, quindi, elaborato un modello che dimostra come le ICC, che costituiscono una ricchezza, vadano a valorizzare il patrimonio, che è bellezza, e come sia fondamentale creare una sinergia tra i vari attori per ottenere benefici a livello economico, culturale e di idee in tutto il territorio. La tesi si concentra, poi, sul territorio del Friuli-Venezia Giulia, identificando le best practices per la realizzazione di un turismo sostenibile grazie al sostegno delle industrie culturali e creative, analizzando ciò che è emerso dal progetto “Creatures” della regione Adriatico – Ionica. Gli ultimi due capitoli, infine, si focalizzano sul caso della Mappa Parlante di Aquileia, realizzata dalla Fondazione Radio Magica, una delle buone pratiche del Friuli-Venezia Giulia, spiegando come quest’ultima abbia risposto alla crisi pandemica rinnovandosi e proponendo, in breve tempo, dei servizi online per le scuole, sviluppando anche una strategia di pricing e di promozione che potesse dare visibilità al progetto. Il progetto si conclude con un’analisi della costumer satisfaction sulla base della rielaborazione dei dati raccolti dal questionario di valutazione delle gite online e con un’analisi SWOT che permetta di comprendere i punti di forza, di debolezza, le minacce e le opportunità di questo progetto.
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Santin, Erika <1996&gt. "Può la filiera del gioco da tavolo appartenere al sistema delle Industrie Culturali e Creative? Osservazioni sul settore." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21207.

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Può il settore del gioco da tavolo essere considerato parte di quel macro insieme di attività denominate Industrie Culturali e Creative? A quale titolo? Il settore del gioco da tavolo non si trova inserito nei principali modelli di Industrie Culturali e Creative, i quali nella maggior parte dei casi includono invece il videogioco, ma presenta alcune peculiarità che ne potrebbero giustificare un futuro riconoscimento. Attraverso una ricognizione storica sull'evoluzione dell'industria di giochi (da tavolo, di ruolo e di carte), l'utilizzo di casi studio e interviste ad alcuni game designer, si cercherà in questa tesi di individuare il generale funzionamento e le principali caratteristiche della filiera industriale dei giochi tabletop.
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Lefevre, Bruno. "Entrepreneurs musicaux et territoires : Les clusters culturels sous l'emprise des politiques publiques et des acteurs locaux." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCD093/document.

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Depuis les années 2000, des clusters culturels, ou grappes d'entreprises du secteur culturel,se développent sur les territoires des métropoles et grandes villes françaises. Parallèlement,ces territoires urbains se transforment, s'aménagent, se construisent, tant dans le cadre depolitiques de renouvellement urbain que de projets de quartiers culturels créatifs. Cette thèsepose l'hypothèse que la rencontre de ces deux types de phénomènes, notamment si elle faitl'objet d'un pilotage dominé par les institutions locales, constitue majoritairement uneressource pour le développement territorial et la valorisation des espaces urbains, au dépensde la structuration des acteurs culturels. Sur la base de données de terrain issues d'entretienset d'un corpus de publications et supports de communication, huit clusters musicaux françaisont été observés dans leur contexte territorial et politique local. Les pratiques, stratégies etmodes d'organisation des acteurs mis en situation d'inter-dépendance via ces clustersconstituent un faisceau d'hétérogénéités que les équipes des clusters ne parviennent quedifficilement à mettre en concordance.Trois idéaux-types des conditions d'émergence de ces clusters culturels sont proposés. Ilsposent les différentes représentations de ces dispositifs que développent les entrepreneurs,les acteurs publics et les acteurs locaux
Since the 2000's, many cultural clusters have emerged and have been developped in Frenchcities and urban areas. At the same time, these local territories have been physically andsymbolically re-shaped, re-configured, through social development or creative cities policies.The statement of this thesis is that the encounter of these two phenomena, especially whenthey are dominated by local institutions, mostly enhances territorial development andvalorization, at the expense of cultural workers' economic structuration. Eight Frenchmusical clusters have been studied in relation with their own local political context. Practices,strategies and modalities of the organization of the inter-dependent actors of these clustersare constitutive of a range of material and symbolic heterogeneities that clusters' teamshardly manage to match.We propose three ideal types related to the emergence of such cultural clusters. Each of themspecifies the representations of the cluster that cultural entrepreneurs, politics and localsconjure up
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Díaz, Munizaga Paz Loreto. "Industrias culturales e industrias creativas, evolución histórica y conceptual, confluencias y divergencias : El caso de Santiago creativo, plataforma para la exportación de la industria creativa." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115940.

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Licenciada en artes con mención en teoría e historia del arte
El concepto de Industria Creativa es relativamente reciente y su origen, ciertamente, se debe a la necesidad de establecer e implementar nuevas áreas de producción y creación de bienes culturales en la sociedad posmoderna. Comprender qué se entiende por bien cultural y cómo este actúa en una doble dimensión; por una parte como bien social al servicio de las condiciones de identidad y ciudadanía, y por otra como bien de consumo o mercancía, busca abrir nuevas perspectivas de análisis. Se revela así, una nueva forma de entender la relación entre cultura, economía y creatividad, poniendo en tensión el concepto más tradicional de Industria Cultural. En consecuencia, los conceptos y categorías existentes deben ser analizados críticamente para dar cuenta de estas transformaciones. Por este motivo, se pretende revisar la evolución conceptual de las Industrias Culturales y su desplazamiento hacia las Industrias Creativas, a partir de una revisión teórica que inicia en las primeras décadas del siglo pasado con Walter Benjamin y llega hasta nuestros días a través de George Yúdice, desde los primeros debates hasta llegar a los actuales, se busca replantearlos críticamente con el fin de iluminar los problemas teóricos y sus alcances prácticos.
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Yang, Haihuan, and 杨海寰. "Creative industries, creative industrial clusters and urban regeneration : a case study in Shanghai, China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/194615.

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Under the transformation from “rural China” to “urban China”, cities in this country are confronting with the increasingly complicated problems of urban decline, not just physical decay as well as functional deterioration. The approach prevalently adopted, however, is of tearing down the old and starting the new from scratch, which relies on immediate measures of physical construction but neglects the objectives of social inclusion and heritage protection. For Chinese cities, it is necessary to reconsider the issue on urban regeneration from a more holistic and multidimensional perspective. Since the late 1990s, a new concept—creative industries—has attracted interest over the world. In recent years, many big cities in China, such as Beijing, Shanghai, Guangzhou and Shenzhen, have clearly seen a rapid growth of this new industrial sector; a variety of creative industrial clusters (CICs) have emerged in these cities, showing wide potentials for promoting urban regeneration. The recent rise of creative industries and CICs may provide us a new perspective to rethink the issue on urban regeneration in Chinese cities. This study tries to explore the relationships between creative industries, CICs and urban regeneration in Shanghai. Through the exploration, it expects to find an effective approach to promote comprehensive urban regeneration in Chinese cities under the transformation context. As “creative industries” is a relatively fresh concept and the boom of creative industries and clusters just happened in China in recent years, there is a big lack of research related to creative industries in the Chinese context. The research that links creative industries with urban regeneration is much less. This study is an effort to fill this research gap. Around an analytical framework developed from the understanding of three key concepts—creative industries, CICs and urban regeneration, this study conducts two-level analyses. Firstly, it discusses some key issues on urban regeneration, creative industries and clusters respectively at the municipal level. Secondly, it carries out the case study of M50—a CIC in Shanghai—at the local level, based on questionnaire survey and deep interviews. Through the two-level analyses on Shanghai, this study suggests that the policy makers in Chinese cities should recognize the complexity of urban decline problems and view the issue of urban regeneration from a more comprehensive, holistic and multidimensional perspective. Considering the significant implications of the creative industries and CICs for urban regeneration, this study also suggests that the policy makers should adopt the creative industries and CICs as an important strategy to promote urban regeneration, and produce an integrated and systematic plan specifically on CICs that is oriented to urban regeneration and incorporated in the city’s master plan.
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Urban Planning and Design
Doctoral
Doctor of Philosophy
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ALIBERTI, DANIELA. "Le dinamiche di social evaluation di individui ed organizzazioni nei field istituzionali culturali e creativi." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/96133.

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Questa tesi di dottorato ha l’obiettivo di analizzare i processi attraverso cui individui ed organizzazioni costruiscono la loro posizione e la loro valutazione nel contesto di field istituzionali culturali e creativi. La tesi contiene tre capitoli che rappresentano tre distinti lavori di ricerca. Le analisi empiriche svolte sono incentrate sui settori del cinema (primo capitolo), della quality television (televisione ‘di qualità’, serie televisive) e della musica indipendente negli Stati Uniti. In tutti i lavori di ricerca sono stati utilizzati database longitudinali e metodi quantitativi e qualitativi. Nel primo capitolo, si analizza come gli scandali personali (di natura sessuale e non sessuale) influenzino la costruzione della peer recognition. Si prendono anche in considerazione gli effetti degli stereotipi legati al genere e dei comportamenti orientati alla valorizzazione delle diversità (solidarietà femminile), per comprendere come questi influiscano sulla peer recognition, insieme agli scandali, nell’ambito della valutazione degli attori di Hollywood (candidatura all’Oscar), nel lasso temporale 2003-2018. Nel secondo capitolo, viene teorizzato il processo di nascita e di consolidamento di un field interstiziale (interstitial issue field), attraverso l’analisi del caso del field nato tra la musica indipendente e la quality television negli Stati Uniti, dal 2003 al 2018. Si delineano le caratteristiche della infrastruttura istituzionale del field emerso, si definisce il ruolo lavoro degli attori istituzionali (institutional work) e degli spazi interstiziali (interstitial spaces). Nel terzo capitolo, i field istituzionali della musica indipendente e della quality television sono ulteriormente esaminati, tra il 2013 e il 2018, attraverso una indagine della collaborazione tra i due field, nell’ utilizzo di un album indipendente nella soundtrack di episodi di una serie televisiva. La ricerca mira a comprendere gli effetti della collaborazione sulla valutazione di un prodotto del field della musica indipendente (album indipendenti) che collabora con un field più ‘commerciale’ (quality television).
This doctoral thesis aims at shedding light on the processes by which individuals and organizations negotiate their structure, position, and evaluation, within the context of creative and cultural fields. It contains three chapters that represent three research studies. The empirical analyses undertaken throughout the research pieces are focused on the fields of cinema (first chapter), quality television, and independent music (second and third chapter) in the United States. For all of them, longitudinal databases are employed, and both quantitative and qualitative methodologies are utilized. In the first chapter, the role of personal (sexual and non-sexual) scandals for peer recognition is investigated. The research focuses on how scandals, gender stereotypes, and engagement in diversity-valuing behaviors (female solidarity) affect peer recognition for Hollywood actors (nomination of actors for an Oscar), in the time frame 2003-2018. In the second chapter, the process of emergence and consolidation of an interstitial issue field is theorized, by exploring the case of the field that emerged between indie music and the quality television in the United States from 2003 to 2018. In the analysis, the features of the institutional infrastructure of the emerged field, with the role of institutional actors and of interstitial spaces, are taken into consideration. In the third chapter, the fields of independent music and quality television in the US are further examined, between 2013 and 2018, by focusing on the patterns of evaluation of one field’s products (independent music, independent albums) when this field interacts with the other (quality television) – that is, when independent albums are featured in quality television episodes.
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Books on the topic "INDUSTRIE CULTURALI E CREATIVE"

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Peris-Ortiz, Marta, Mayer Rainiero Cabrera-Flores, and Arturo Serrano-Santoyo, eds. Cultural and Creative Industries. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99590-8.

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Klasik, Andrzej. Kreatywne przemysły, kreatywne aglomeracje: Creative industries, creative agglomerations. Warszawa: Komitet Przestrzennego Zagospodarowania Kraju PAN, 2011.

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1948-, Hartley John, ed. Creative industries. Malden, MA: Blackwell Pub., 2005.

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Creative economy, creative industries: Des notions à traduire. Saint-Denis: Presses universitaires de Vincennes, 2012.

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Mal'shina, Nataliya, and Andrey Garnov. Culture and creative industry: the control of flow processes. ru: INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1158704.

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The cultural industry should become attractive for capital investment through the development of project activities, organizational and economic support mechanisms in the form of integrated structures, as well as through the development of mechanisms for its financing: multi-channel cultural financing systems and public-private partnerships that would create prerequisites for the emergence and implementation of new ideas and projects in the field of culture, contributing to its formation as a full-fledged source of state income. As a result of the implementation of this project, original new fundamental theoretical positions and empirical data in the field of the cultural and creative industries were obtained. The research focuses on the analysis of the fundamental foundations of the functioning of the cultural and creative industries, solves the scientific problems of evaluating its effectiveness and justifying the directions of support and financing, develops strategies and mechanisms for the development of the Russian cultural industry in accordance with the specifics and needs of regional economies. For a wide range of readers interested in the development of the cultural industry.
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Walmsley, Ben, Emilee Simmons, and Michelle Wright. Fundraising in the Creative and Cultural Industries. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429057427.

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Xiang, Hardy Yong, and Patricia Ann Walker, eds. China Cultural and Creative Industries Reports 2013. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-38157-7.

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The creative industries: Culture and policy. Los Angeles, Calif: SAGE, 2012.

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Kīatnākhin, Sakchai. Thun khwāmkhit sētthakit sāngsan =: Creative capital for creative economy. Krung Thēp: Samnakphim Wailāi, 2010.

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Keegan, Robin. Creative New York. New York: Center for an Urban Future, 2005.

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Book chapters on the topic "INDUSTRIE CULTURALI E CREATIVE"

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Handke, Christian. "Cultural Policy and Development." In Creative Industries in India, 23–39. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003129370-3.

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Santagata, Walter. "The Cultural and Creative Industries." In The Culture Factory, 75–83. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-13358-9_9.

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Luckman, Susan. "Cultural policy and creative industries." In The Routledge Handbook of Global Cultural Policy, 341–54. New York: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315718408-22.

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Wessels, Bridgette. "The Creative and Cultural Industries." In Exploring Social Change, 127–45. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47142-0_8.

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Rudgard, Frances, and Phloeun Prim. "Negotiating cultural industries." In Routledge Handbook of Cultural and Creative Industries in Asia, 362–71. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315660509-27.

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Moeran, Brian. "Creative worlds." In Creative and Cultural Industries in East Asia, 38–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003177074-4.

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Luckman, Susan. "Conclusion: A ‘Slow Creative Industries’ Movement?" In Locating Cultural Work, 167–74. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283580_7.

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Campbell, Miranda. "Inclusive Spaces for Small-Scale Cultural Production." In Reimagining the Creative Industries, 173–93. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003031338-7.

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Gu, Xin. "Creative Industries, Creative Clusters and Cultural Policy in Shanghai." In Cultural Policies in East Asia, 174–92. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137327772_11.

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Iwabuchi, Koichi. "Creative Industries and Cool Japan." In Global Game Industries and Cultural Policy, 33–52. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40760-9_3.

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Conference papers on the topic "INDUSTRIE CULTURALI E CREATIVE"

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Chen, Yi-Wen. "Value creation in cultural and creative industry." In 2012 IEEE 3rd International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2012. http://dx.doi.org/10.1109/icsess.2012.6269521.

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Lin, Shuao. "Creative Industry: Cultural Production or Cultural Control?" In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.044.

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Yanyan Liu, Yanling Li, and Xianli Xue. "Exploring Beijing cultural and creative industries." In 2011 International Conference on Computer Science and Service System (CSSS). IEEE, 2011. http://dx.doi.org/10.1109/csss.2011.5975040.

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Lin, Rungtai, and Chun-Liang Chen. "Constructing Service Innovation Model for Cultural and Creative Industries - A Case Study of NTUA Cultural and Creative Industry Park." In 2011 International Conference on Information Management, Innovation Management and Industrial Engineering (ICIII). IEEE, 2011. http://dx.doi.org/10.1109/iciii.2011.370.

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"Upgrading Path of Cultural and Creative Industry Talents Based on Value Creation." In International Conference on Education, Management, Computer and Society. Scholar Publishing Group, 2021. http://dx.doi.org/10.38007/proceedings.0001754.

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Sheng, Lei. "New Thought on Traditional Chinese Industrial Art in Cultural Creative Industry." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.71.

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Santamaría, Jorge Luis, and Manuel Ramón Lecuona López. "El Diseño adaptado al entorno de la Industria Cultural y Creativa." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3331.

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Las Industrias Culturales y Creativas (ICC) para su desarrollo deben surgir en entornos fértiles, donde las políticas, los profesionales especializados, el acceso a la tecnología, la innovación, líneas de financiamiento y el mercado sean los adecuados; el paso a un camino positivo va de la mano de los integrantes del entorno de la industria y sus características. Los modelos tradicionales son limitados ante la realidad y posibilidades actuales donde las nuevas tecnologías y sus usos flexibilizan los procesos y los transforman, por lo que es necesario definir las características de una visión de mercado e industria que se proyecte a futuro, y donde el diseño desarrolle, coordine y gestiones los proyectos de diseño en emprendimientos de carácter cultural y creativo.DOI: http://dx.doi.org/10.4995/IFDP.2016.3331
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Liu, Han Fang, and Wei Jie Li. "Research on the Protection of Industrial Heritage under the Cultural and Creative Industries." In 5th International Conference on Civil Engineering and Transportation. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/iccet-15.2015.26.

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QU, MUZI. "Research on Digital Transformation in Cultural and Creative Industries to Realize Industry 4.0." In EBEE 2021: 2021 3rd International Conference on E-Business and E-commerce Engineering. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3510249.3510264.

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Signore, Stefano, Aurora Rimini, and Mariangela Lazoi. "Evaluating Process Maturity in creative and cultural Industries." In 2021 IEEE International Conference on Engineering, Technology and Innovation (ICE/ITMC). IEEE, 2021. http://dx.doi.org/10.1109/ice/itmc52061.2021.9570242.

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Reports on the topic "INDUSTRIE CULTURALI E CREATIVE"

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.
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Azuara Herrera, Oliver, Kayla Grant, Matteo Grazzi, Diego Herrera, Alejandra Luzardo, Jesús Navarrete, Estrella Peinado-Vara, et al. Primer Diálogo Regional de Política de Industrias Culturales y Creativas con Enfoque Intersectorial: el rol de las industrias culturales y creativas en la reactivación económica de América Latina y el Caribe. Inter-American Development Bank, February 2022. http://dx.doi.org/10.18235/0004013.

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El presente documento recopila las memorias del “Primer diálogo regional de política” de industrias culturales y creativas con enfoque intersectorial, con el propósito de reunir las experiencias y las mejores prácticas disponibles del sector público y privado. Las discusiones giraron en torno a 4 ejes temáticos: Estrategias de desarrollo urbano y local a través de la cultura y la creatividad; Acciones para fortalecer la competitividad del sector creativo a través de la digitalización; Oportunidades para los trabajadores independientes de los sectores creativos; Mecanismos financieros para fomentar la economía creativa.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Wollongong. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206965.

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Wollongong’s geographic proximity to the southern sprawl of Sydney, accessible transport and cultural diversity have been an attractor for many inward bound creative migrants, helping it diversify away from its industrial past. Wollongong City Council, understanding the importance of the creative industries, has been very proactive in ensuring that the heart of the city has been well and truly activated by sectors of these industries, while the University of Wollongong and its Innovation Campus have also proved a boon to both specialist and embedded creatives. Wollongong maintains a balance between traditional creatives and newer tech-oriented operatives, most with local, national and international suppliers and clients.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Triguboff, Matías, Juan Manuel Zanabria, Simone Sasso, Alison Cathles, Adriana Benzaquen, Maximiliano Bautista, Juan Nicolás Séligmann, Lara Decuzzi, Ana Mines Cuenya, and Alfonso Castellanos Ribot. Evaluación del impacto del COVID-19 en las industrias culturales y creativas. Inter-American Development Bank, December 2021. http://dx.doi.org/10.18235/0004015.

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En América Latina, la pandemia del Covid-19 ha tenido efectos dramáticos sobre las industrias culturales y creativas (ICC), tradicionalmente ligadas a trabajadores autónomos con escasa protección social y económica. Al mismo tiempo, estos sectores han experimentado una acelerada digitalización de sus bienes y servicios y la introducción de nuevos modelos de negocio, que les han permitido fortalecer su resiliencia. Con el propósito de lograr un mejor análisis de la situación de las ICC durante la pandemia, el BID, la UNESCO, la SEGIB, la OEI y el MERCOSUR Cultural aunaron recursos y esfuerzos y se embarcaron en una iniciativa conjunta de análisis del impacto del Covid-19 en estas industrias. Esta publicación presenta los resultados principales de este proyecto. Incluye una estimación macroeconómica y microeconómica del impacto de la pandemia en las empresas y los trabajadores culturales y creativos, así como un análisis de las políticas públicas desarrolladas por ministerios y organismos nacionales de Cultura ante la emergencia. Los hacedores de políticas, economistas, trabajadores culturales y creativos, emprendedores, inversores privados, así como investigadores encontrarán en este estudio datos confiables y un análisis en profundidad de las principales tendencias que han caracterizado estos sectores durante la pandemia. Este estudio proporciona una perspectiva regional, que es clave para identificar nuevas oportunidades y fortalecer la cooperación regional en los sectores culturales y creativos
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Cunningham, Stuart, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis - Innovation Precincts in Adelaide. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206903.

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There is a fraught history to the relationship between creative industries on the one hand and innovation and entrepreneurship policy and programs on the other. Such policy and program frameworks have rarely been inclusive of creative industries... This is, however, what we see happening in South Australia.
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Hearn, Greg, Mark Ryan, Marion McCutcheon, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.

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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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9

Murciano Martínez, M., and C. González Saavedra. The cultural and creative industries in the Spanish regions: The case of Catalonia. Revista Latina de Comunicación Social, January 2018. http://dx.doi.org/10.4185/rlcs-2018-1250en.

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10

Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Abstract:
Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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