Creative Cities:: An Introduction
Creative Cities:: An Introduction
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创意城市：：简介
DOI：
10.4337/9781847209948.00007
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发表时间：
2007
期刊：
影响因子：
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通讯作者：
L. Lazzeretti
中科院分区：
文献类型：
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作者：
P. Cooke;L. Lazzeretti
什么是创意城市？这并不是最近第一本调查这一重要且日益严重的问题的书。 Power 和 Scott（2004）最近的一个合集在文化产业和文化生产的标题下探索了类似的领域。虽然我们很高兴这种质量和范围的书籍可供学习和研究，但我们在本书中的目的是要明确一件事。这个新兴领域的大多数治疗方法倾向于交替使用“文化”和“创意”这两个术语。正如史密斯和沃菲尔德在第 12 章中对温哥华案例所阐述的那样，在本书中以及在本引言中，我们将文化经济和创意产业区分开来。这是因为——正如这本书的一本关注创意区域的姊妹书（Cooke and Schwartz，2007）所示——两者有着几乎完全不同的生产模式、制度基础和审美内容。因此，到目前为止，人们对这些重要差异的认识还不够充分，这可能有点令人担忧。这并不是说，这两家公司不会像《哈姆雷特》或《卡门》中的“朋克”服饰或极简布景设计那样相互接触、互动和启发，但值得注意的是，古驰和普拉达这两家全球定义风格的服装公司在达芬奇的故乡佛罗伦萨保留了其职能基地。然而，从根本上来说，这些明显的矛盾概括了文化经济与创意产业之间在理念和现实上存在的重要裂痕。正如上面提到的歌剧插图所示，前者往往会因市场而失败，并且通常必须由工业界补贴或赞助。尽管一些国家正在努力“私有化”，但它被视为各国愿意提供缓冲的公共利益。因此，进入某些公共文化经济设施，如博物馆和艺术画廊，可能会定期免费，或者根据政治意识形态，定期付费。即使在最后一种情况下，单靠门票收入也不足以支付所有管理费用，更不用说收购了。因此，经济的文化部分具有
What is the creative city? This is not the first recent book to investigate that important and growing question. A relatively recent collection by Power and Scott (2004) explored similar territory under the rubric of cultural industries and the production of culture. While we are delighted that books of this quality and range are becoming available for study and research, we aim in this book to be clear about one thing in particular. Most treatments in this burgeoning field tend to use the terms ‘cultural’ and ‘creative’ interchangeably. As articulated with great precision for the case of Vancouver by Smith and Warfield in Chapter 12, in the book generally and in this introduction specifically we distinguish cultural economy and creative industries. This is because – as shown in a companion book to this one focusing upon Creative Regions (Cooke and Schwartz, 2007) – the two have almost totally distinctive modes of production, institutional bases and aesthetic content. Thus it can be a little alarming to see, as yet, inadequate recognition of these important differences. That is not to say that the two do not engage, interact and inspire each other as represented in ‘punk’ regalia or minimalist set design gracing presentations of Hamlet or Carmen, while it is notable that two of the globally style-defining costumier companies, Gucci and Prada, retain their functional bases in the adopted home town of Leonardo da Vinci in Florence. Nevertheless, fundamentally, those apparent contradictions sum up the important fissure that exists in conceptual and real terms between cultural economy and creative industries. The former, as displayed by the operatic illustration noted above, tends to be failed by the market and is perforce usually subsidized or sponsored by industry. It is seen as a public good that states are willing to cushion, efforts to ‘privatize’ in some countries notwithstanding. Accordingly, entrance to certain cultural economy facilities like museums and art galleries, where publicly owned, may be periodically free or, depending upon political ideology, periodically to be paid for. Even in the last case, ticket revenue alone is seldom sufficient to cover all overheads, not to mention acquisitions. So the cultural part of the economy has an