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Film and Media Clusters in European Cities

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Film and Media Clusters in European Cities 4Cities UNICA Euromaster in Urban Studies FILM AND MEDIA CLUSTERS IN EUROPEAN CITIES CASE STUDIES FROM COPENHAGEN, VIENNA AND MADRID Student: Silvia Cazzetta Supervisor: Jean-Michel Decroly Academic year of the defense: 2009/2010 Date of submission: September 1st , 2010 Acknowledgments I would like to thank my supervisor Prof. Jean-Michel Decroly, for all advice and constructive critics. Thanks also to the other advisors, the interviewees and all participants in the surveys. Special thanks are due to (in chronological order) Trine Bille, Marie Ørum Schwennesen, Niels Bald, Noemi Ferrer, Kristina Wrohlich, Thomas Berndt and Fernando de Garcillán, for the extra time they dedicated to me. Finally I would like to thank my family, to whom I own everything, and my friends Jon, Jake and Jaime, who besides offering their help in the compilation and proofreading of the thesis, greatly supported and encouraged me in the moments of difficulty. This research was partly financed by the University of Vienna (KWA Mobility Program). Part of the thesis was presented at the 16th International Conference on Cultural Economics by the ACEI, Copenhagen, 11 June 2010. Cover illustration: La nuit américaine (film frame), François Truffaut, 1973 2 Table of contents List of figures and tables ····································································································································· 5 Abstract ········································································································································································· 6 Background ································································································································································· 7 CHAPTER 1 1.1 Culture, the Economy and the City ········································································ 9 1.2 Working definitions ···························································································· 11 1.2.1 Culture as sector and cultural-product industries ····················································· 11 1.3 Domain of the inquiry ························································································· 13 1.3.1 Audiovisual sector ······························································································· 13 1.3.2 Film and the city ································································································· 14 1.3.3 Hollywood, the celluloid city ················································································· 15 1.3.4 The 21st Century global audiovisual industry ··························································· 16 1.4 Research question ······························································································ 17 CHAPTER 2 2.1 Cultural economics ····························································································· 19 2.1.1 Short-run effects ············································································································································ 20 2.1.2 Long-run effects ············································································································································· 20 2.2 The economic geography of cultural product industries ······················································· 21 2.2.1 Early practices and concepts ····················································································································· 22 2.2.2 The cultural economy ··································································································································· 22 2.3 Research framework ··································································································································· 23 CHAPTER 3 3.1 The concept of industrial clustering ··································································································· 25 3.2 Cultural clusters ············································································································································· 27 3.3 Cultural-products industrial clusters ································································································· 28 3.3.1 Agglomeration economies and location of cultural industries ······················································· 28 3.3.2 Industry structure ·········································································································································· 29 3.3.3 Sectors ······························································································································································· 30 3.4 Conclusion ························································································································································· 33 CHAPTER 4 4.1 Research design and methodology ····································································································· 35 4.2 Data collection ················································································································································ 36 4.3 Data analysis ···················································································································································· 37 4.4 Sample selection and limitations ········································································································· 39 CHAPTER 5 5.1 Cultural industries in Copenhagen and the experience economy approach ·············· 40 5.2 Film in the Danish experience economy ·························································································· 42 5.3 Cluster analysis: Filmbyen, Hvidovre ································································································ 43 3 CHAPTER 6 6.1 Vienna: a cultural capital ·························································································································· 52 6.2 Film and media in Vienna's creative economy ············································································· 54 6.3 Cluster analysis: Media Quarter Marx ······························································································· 55 CHAPTER 7 7.1 Cultural/creative industries in Madrid ····························································································· 65 7.2 The audiovisual industry in Madrid ····································································································· 66 7.3 Cluster analysis: Ciudad Audiovisual ································································································· 68 CHAPTER 8 8.1 Definitions and figures ······························································································································· 74 8.2 Film and media in urban development strategies ······································································ 75 8.3 Analysis of audiovisual clusters ··········································································································· 76 8.4 Comparative analysis of survey results ··························································································· 79 8.4.1 Location patterns············································································································································ 80 8.4.2 Between the local and the global ············································································································· 82 8.4.3 Institutional framework and lesson learned ························································································ 83 CHAPTER 9 9.1 Final remarks ··················································································································································· 88 References ································································································································································· 89 APPENDIX 1 ······························································································································································ 95 APPENDIX 2 ···························································································································································· 103 APPENDIX 3 ···························································································································································· 108 4 List of figures and tables Figure 1.1 Model of cultural industries Figure 1.2 Scott’s schematic representation of a hypothesized global production landscape in the audiovisual industries Figure 1.3 Research framework I Figure 2.1 Research framework II Figure 3.1 Cluster categories Figure 3.2 Diversity of territorialized cultural activities Figure 3.3 Taxonomy of cultural-products industrial districts Figure 3.4 Positioning of the research Figure 5.1 The Culture and Experience Economy Figure 8.1 Clusters evolution I Figure 8.2 Clusters evolution II Figure 9.1 Position of the audiovisual sector in the model of cultural industries Figure 9.2 Audiovisual industry model Table 4.1 Guideline for the analysis of the clusters Table 8.1 Definitions and figures Table 8.2 Survey
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