melb.b5934791

2.       Creative City, City Marketing, Creative Industries and Cultural Policy: Challenges for Antwerp
 Annick Schramme and Katia Segers

3.       'Creative Governance' in Berlin? 
 Janet Merkel

4.       Brazzaville: A Global Village of African Culture
 Patrice Yengo

5.       Spectacularizing Fès
 Justin McGuinness

6.       Reshaping, Installing, Pioneering, Spearheading... Re-aalignment of Istanbul
 Asu Aksoy and Kevin Robins

7.       Johannesburg: Investing in Cultural Economies or Publics?
 Edgar Pieterse and Kim Gurney

8.       Rich but Divided ... the Politics of Cultural Policy in London
 Kate Oakley

9.       The Cultural Mapping of L'viv
 Ihor Savchak and Linda Knudsen McAusland

10.   MarseilleS-Provence 2013: Cultural Capital, but for What Kind of Europe and under Which Globalization?
 Ferdinand Richard

11.   Medellin: Tales of Fear and Hope
 Octavio Arbeláez Tobón

12.   Melbourne and Brisbane: The Claims of Suburbs 
 Terry Flew and Mark Gibson

13.   Mexico City: Cultural Policies, Governance and Civil Society
 Lucina Jiménez

14.   Mumbai: Historic Preservation by Citizens
 Abha Narain Lambah

15.   New York City: City Culture as Public Display
 David Halle and Louise Mirrer

16.   Paris: A Process of Metropolitanization
 Stephen W Sawyer and Mathias Rouet

17.   São Paulo: Rich Culture, Poor Access
 Maria Carolina Vasconcelos-Oliveira

18.   Shanghai: Images of Modernity
 Justin O'Connor and Xin Gu

19.   Torino: A Change of Skin and More
 Luca Dal Pozzolo

20.   Vancouver: The Enigmatic Emerging Cultural Metropolis
 Catherine Murray and Tom Hutton

21.   Venice, Reloaded? A Tale of Urban Life (and Death)
 Pier Luigi Sacco

50% of spending on culture by the French state goes to paris 

Build city brand 
It has long sat at the center of world cultural network, and held an overwhelming density of major cultural institutions such as Louvre, the Pompidou Center and the Sorbonne 

cultural resources transformed into export brands within France and abroad

Advantages: 

A large number of cultural products are exported to increase cultural exposure
This Formes a unique cultural brand of the city and develops the city tourism

Disadvantages:
Authority of culture and arts will affect the cultural diversity
50% of spending on culture to Paris makes the country's governments do not have much funding to other regions. 

Territorial inequality (Suburban Integration):

the suburbs benefit less directly from massive spending in culture while the distant provinces benefit far more from the other 50 percent of cultural spending in France. 

 

Advantages：
Shanghai has considered as China's most western city, mainly because its cultural policy is relatively capital-oriented. Especially compared with Beijing, which is a symbol of traditional culture, Shanghai has no burden to inherit the traditions. Therefore, Shanghai could pursue  the concepts around modernization.

Short-term and rapidly developing in culture and tourism, such as Shanghai World Expo, because of multilevel investment, the cultural events in Shanghai could be well-funded. 

Disadvantages:
Although Shanghai is a glamorous and modern city in China, the city is still highly controlled by the national government. Shanghai's cultural policy is  commercialized, but the content of arts, advertisements, entertainments are   still censored. In short, Shanghai as a modern, international city has not had completed "freedom" in arts and cultural industries.

The creative city model is a top down approach. It focuses higher value on certain class of people and subsequently creates a lot of inequality.  Inaccessibility of land, which is a ramification of support for home ownership promoted in the 1970s, creates "monocultures" as support of the affluent class encourages gentrification. Therefore, it creates a lot of spaces for people to enjoy the city who have a lot of money. It does not address the needs of people in lower socio-economic settings. Facilitates advantages for a certain class. 

Model: City as Attraction & Creative City combination 

 

Advantages: 

 

Disadvantages: 

 

1.     This Mediterranean municipality has rich cultural assets and an enviable geo-cultural position. 

2.     Face challenge in the context of globalization (notably migratory flows/worldwide trans-cultural connections)

3.     Facing strong competition

 

1.     A great number of creative talents with diversity ethnic origins and cultural background.

2.     Solid infrastructure of artistic provision

3.     Cultural exchanges with other countries

4.     Affluent cultural heritage

 

1.     After 1990s: a moderate decline in the arrival of European and non-european artist

2.     The industrial image obscures the city’s more attractive features

3.     Taking advantage of the blessing （becoming European Capital of culture）will depend on the city’s ability to harness its creative talents and this goal will not be attainable through local measures alone. 

 

1.     Investigate on and utilize the creative talents

 

1.     Global Creative industry：industrialise artistic production in ‘top-down’ flows. /in principle divergent from ‘cultural diversity’/ Works are mass (re-)produced, are highly entertaining, with a short life-span and low production costs, making them accessible to the resources of the private mass market. / The target is the world market.

 

2.     Proposes globalisation in the form of instantly multi-lateral, multi-level, multi-cultural production networks (therefore ‘bottom-up’): power is shared, equally or not, between different geographical extremes and varying weights./ Working within it, priority can be given to works of a more singular, lasting nature, which have a low turnover and a strong power of influence, clearly identified by their ‘territory’ of origin, possibly costly and unlikely to exist without public funding./ Every individual is a potential source of cultural production. / Targets appear through a fluctuating network of local markets, which are more or less interconnected.

- Architectural projects:  the Dutch firm Neutelings Riedijk Architects was awarded the assignment after an international competition. The building’s concept refers to the history of Antwerp as a port city 

- Creative knowledge economy, tourism, and urban regeneration

1.Currently Erratic French Cultural Policy
2.In this context, it requires considerable daring on the part of a French city to seek to become a European Capital of Culture and is bound to create innumerable pitfalls. If the political elites have the vision and the courage

 

Advantage

1.

Therefore the French State will soon have to harmonize its international commitmentsUNESCO’s 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions

 

2. This city-region must finally accept the reality of its own patterns of immigration

 

3.Accepting the internal diversity。

The moral contract which should link MP13 to its inhabitants will operate within this delicate balance : trust artistic innovation, trust the people, because, in Marseille, the one should not prevail over the other.

Background and examples

The European project increasingly calls the country’s established models of cultural policy into question. These inward-looking models have aimed traditionally to achieve national prestige and influence, to propagate an official state culture. Until now the prerogative of the central state, the making of official cultural policy followed a single model, possibly reproducible at the local level 

 

Marseille’s polyglot population. But France’s cultural diplomacy remains a domain reserved for a ‘diplomacy of influence’, essentially aimed at strategic goals which have little to do with cultural rights. This is a strikingly incoherent position

 

 in other words from a model of cultural ‘democratisation’ to that of cultural ‘democracy’

Convention on the Protection and Promotion of the Diversity of Cultural Expressions

have to harmonize its international commitments

---no clear and transparent public mechanisms for the generation of new forms of funding or incentives/no sponsorship laws and sole funding strategy that of direct or indirect subsidies (not succeeded in generating permanent and transparent strategies of civil society connection and participation) 

---the lack of coherence among the different levels of government involved 

---the lack of a contemporary and participative vision within institutions 

---have inherited the musty old structure of a system 

 

2. It is very interesting, attracting cultural enterprises, restaurants, bars and so on

 

3. all of these strategies are based on global positioning in a city to enhance their brand image.

1。它不能被推广到全国各地，其影响是有限的固定区域。

2。这更多的演奏方法进一步疏远的文化部门和组织模式的性质恶化，使真正的参与和合作生产几乎是不可能的。

3，城市的艺术、文化和遗产部门不是这些计划的合作伙伴。

 

London is home to the majority of the UK’s cultural and creative industries, hence had national implications, a good deal of focus was placed on creating a new administrative geography for London, a series of localized ‘hubs’ which concentrated support for cultural enterprises.

The hub strategy was also an attempt to cut across existing administrative boundaries-the hub at King ‘s Cross in north London, for instance, lay on the boundary of two London boroughs-Camden and Islington. Rather than place creative industry funding-programmes support within these boroughs, and hence within existing local government structures, an attempt was made to bring new actors into delivery of public services.

 

It became clear that such employment offers generally poor prospects for young people lacking relevant social contacts or unable to support long periods of unpaid work. IN fact women, ethnic minorities and the working class were strongly under-represented in the labour force. Thus public policy continues to struggle with questions of representation in cultural labour markets, amid rising concern in some Western countries about declining social mobility.

 

While the financial crisis and its aftermath are still having an effect on London and the UK’s economy, evidence has emerged that even during the boom, London’s cultural economy had not perhaps been quite as healthy as sometimes potryed.

evidence that creative industry polices could ‘deliver’ on social inclusion, and pressure from

the sectors for a more industrial policy, focused on more promotion and exports and less on

social inclusion and regeneration, led to a rapid change of direction.
-   Instead of the 

focus on entrepreneurial start-ups and new policy actors that had dominated the early years of 

New Labour, larger firms and cultural institutions were increasingly the trusted vehicles of 

public policy.  Instead of hoping for 

an economic miracle from independents, regional economies were seen to need a boost from 

the big players. 

Advantages:

（European culture& Muslim culture）

eg. Public campaigns through schools to ensure eradication pf all kinds of prejudices based on cultural identities of individuals and communities.

eg. Beyoglu district     

Disadvantages:
-There are a number of challenges of cultural governance within its jurisdiction. 1.The question of the rich but decaying historical legacy.
2.A consequence of the historical legacy of the district,  namely its non-Muslim character and lifestyle, which one translated into its distinctive 'west-End' ethos.
3.Contemporary artistic and cultural creativity, for this is also, in the rapidly transforming Istanbul context.
4.About Identity.
5.The most decisive aspect of the new urban cultural governance agenda.

Model: “cultural” cluster formula

The government aims to change Beyoglu from cultural and heritage installations through to shopping centers and cultural leisure spaces to attract more tourists and consumers.

                                                                                                                                                                                                                       

 

l  nobody in this city dares to question the sometimes-stifling clause of a kind of obligatory ‘Mediterraneanism’, which would tend to suggest that there could be no justification for deploying the cultural expertise of MP13 outside the Mediterranean.

l  There is another painful problem: the lack of coordination - even the competition - among the Cultural Council of the Union for the Mediterranean, the Anna Lindh Foundation and the initiatives of the Spanish International Cooperation Agency (AECID). every player plays its pawns according to its own interests. The image given by this diplomatic confusion is abysmal, and hardly let us to see MP13 will be a Cultural Capital.

 

merits：

l  Because the competition is fierce, they enhance the visibility of MP 13 in the world, well beyond the Mediterranean (but not without it), through certain specific attributes and skills that our geo-cultural region possesses more fully than others do. These include the range of cultural activities: places of artistic creation, public sector support for culture, integration of contemporary creation with local heritage, gradual improvement of a formerly devastating cultural tourism, interdisciplinary cross-fertilisation, decentralised cultural cooperation, etc.