Many scholars and practitioners consider culture an essential ingredient of sustainability that is often underrepresented in the mainstream discourse on sustainability. However, in the last decade, the idea of culture as an agent of transformation capable of driving urban sustainability has gained momentum. New movements for urban sustainability tend to focus on the socio-spatial benefits and try to improve and activate the public realm by fostering socially innovative cultural practices as strategies for urban regeneration to create open, accessible, engaging public spaces for collective uses and cultural production. In many European cities, local authorities, civil representatives and citizens are experimenting with cultural production in the public sphere, driven by co-creation and governed collaboratively. As the public, private, and citizen spheres become more interlinked, the governments and urban and cultural actors are mobilising large networks to support organisations, collectives, grassroots movements, innovation labs, cultural innovators, and community representatives of marginalised groups to co-create and co-govern the city. This thesis investigates the different mobilisations of socially innovative governance arrangements for cultural practices that enhance urban sustainability and how these governance arrangements are being organised. To this aim, cultural governance forms the theoretical underpinning and several cultural practices in Berlin are analysed. Analysis of documents and semi-structured interviews were conducted, providing comprehensive results.  Findings revealed the various interactions between actors and sectors, the motivation and context behind the practices, and the kind of sustainable cultural practice they want to pursue. A dynamic range of mobilisations can be found within Berlin, where some were driven by activism or solidarity, and others were self-driven. Some were top-down arrangements, some self-organised, and others were bottom-up or grassroots which the government later adopted. Irrespective of how and why they were initiated, they are all underpinned by the aim of collaboration- both as co-production of the cultural practices and the governance of such practices. Furthermore, several common themes concerning cultural governance, such as the central role of the government, multiscalar collaborations, networks, and the cultural discourse, emerged as key aspects to consider for mobilisations for cultural governance.  Furthermore, the investigation also presents key aspects to consider when mobilising cultural practices. Finally, the authors call for further research and empirical evidence regarding the different aspects of CG to further its theoretical and practical advancements in cultural governance.

本研究主要以文化治理切入分析影展，並以台北電影節作為研究個案。台北電影節與政府的緊密關係則為本研究選擇文化治理之因。本研究先梳影展與文化治理的概念，並回溯台北電影節十八年來的歷史，最後透過田野研究與深度訪談聚焦於影展工作者。 影展研究的特殊來自其場域的高度複雜性，從多重行動者，到與產業的關係。同時影展高度受限於時空條件，例如：舉辦時間、地點、台北電影節在全球電影產業分工下的角色。全台唯一針對台灣電影設立的台北電影獎也成了其特殊之處，受惠於此的同時也深受其牽制。 台北電影節的設立與大方向訂定與政府／文化局的政策緊密扣連。然而在人事浮動和台灣政治環境下，除了「以文化作為治理方法」，也產生「文化成為被治理對象」的現象。台北電影節有過半經費來自台北市文化局，行政體系上又隸屬財團法人台北市文化基金會，必須遵守嚴格的公文、核銷請款流程。 然而卻與影展工作者特質相互矛盾，影展工作者多半愛好自由、對工作有相當執著等，也因此更容易對繁瑣行政體系產生反彈，同時影展工作常見的短聘制度更是不利公文體系的運作和經驗傳承。原以方便管理、防弊為出發的行政流程，卻吻合Foucault 談論的治理性，治理並不特定指涉國家機器，而是由不同論述推砌。除了由外向內，更同時進行主體化，成為由內向外的規訓。 / This study aims to analyze film festival through the concept of cultural governance. Due to the perceived close relationship between Taipei Film Festival and Taipei government, this festival has been chosen as the case study. It will begin by exploring the concepts of “film festival” and “cultural governance”, and the history of Taipei Film Festival and will focus on the workers through field study as well as in-depth interview. The field of film festival is highly complex. Its diversity of actors, close relationship with film industry, limited time and space, and the global situation concerning film industry all play parts in the performance of a film festival. Taipei Film Awards, a competition specialising in Taiwanese films, also makes Taipei Film Festival more confined in its creativity while brining it much resources. The close relationship Taipei Film Festival has with Department of Cultural Affairs, Taipei City Government makes its cultural aspect gets oppressed with endless administrative procedures to follow in order to gain financial and administrative support. Culture, in this case, has turned into a tool of administration; while on the other hand is ruled over by political decisions as well. The strict administrative procedures pose strong contrast to the nature of film festival workers as they often develop a system on their own to deal with the tons of work that befall on them. They therefore tend to oppose onerous oversight. On the other hand, the short-term contracts, which are common in film festival, also keeps the system from working fluidly. Administration is now coherence with what Foucault called “governance”. Instead only refer to government, governance is about different discourses. Governance is a process of subjectification, not only from to inside, also become the discipline which works from inside to outside.

This thesis uses the case study of the Fallas festival in the city of Valencia (Spain), to assess the value of intangible cultural heritage. Within this framework the thesis explores a number of different issues: for example how social agents frame different qualities and benefits of cultural heritage in order to describe the value and claims for funding the arts. It finds that value assessment for claiming funds presents many challenges such as: identifying the values of the heritage in question; describing them; and ranking them according to their contribution to the public welfare. It examines the methodological techniques for assessing heritage values and goes on to discuss a number of tools that are, or could be, used for assessment. The thesis also explores how public bodies legitimise cultural funding. It examines the role of non-government arts organisations in supporting the arts. It proposes the analysis of donor decisions through a multi-attribute technique where donors state their importance to donor situations under specific conditions or attributes. Finally, it describes how the stakeholder approach can be applied for searching new ways of funding festivals. It also considers how intangible cultural heritage goods can be assessed within the process of cost-benefit evaluation. It also analyses how public bodies, as the principal supporters of culture, deal with the problem of valuing intangibles on social investments. The study uses the Fallas festival to test the research hypothesis. It uses a number of economic and statistical techniques to evaluate the Fallas Festival, these include Contingent Valuation, Choice Experiment and Descriptive and Multiatribute Statistics. The statistical techniques reveal that historical benefits are intrinsically valuable in the Fallas festival. The historical value that the members of the neighbourhood associations place on the Fallas festival justify that local social agents should support this festival. / Sánchez Royo, B. (2011). AN APPROACH TOWARDS HOLISTIC ASSESSMENT OF SOCIO-ECONOMIC IMPACTS [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/12269