Goodbye Brigadoon examines the shifting role media production plays in the economic and cultural strategies of global cities in small market nations, specifically Glasgow, Scotland. In particular, this project focuses on the formation of a digital media village along the banks of the River Clyde to argue the site constitutes a logical component to Glasgow’s ongoing transformation into a cosmopolitan center. Yet, as the regional government’s economic strategies and policy directives work to transform the abandoned waterfront into a center of cultural activity, this project also underscores the contradictory cultural dynamics to emerge from media production’s new role in the post-industrial city. At its core, the media hub reveals a regional government more interested in the technology used to deliver “national” stories than the manner of the stories themselves or the cultural practices responsible for creating them. Indeed, Goodbye Brigadoon is most interested in how media professionals based at the emergent cluster negotiate a sense of cultural identity and creative license against the institutional constraints, policy matters, and commercial logic they also must navigate in their workaday rituals. Ultimately, the conclusions offered in this project argue for a more complicated conception of the global-local location where these professionals work. Glasgow’s digital media village, in other words, is much more than an innocuous site of competitive advantage, urban regeneration, and job growth. It is best understood as a site of intense social struggle and unequal power relations where local mediamakers often find the site’s impetus for multiplatform media production an institutionally enforced false promise at odds with the realities of creative labor in the city. / text

本研究以觀察台北兩所發展較成熟的街區：中山雙連街區與師大路街區。希望透過了解街區吸引創意階級的地理因素條件，和深入探訪聚集在街區中的創意階級，紀錄其生活與工作型態的轉變，解析街區中吸引創意階級的因素和群聚的效果。並且觀察中介團體(非營利組織)與政府在介入街區經營的活動後，創意階級之間的弱連結人際交流的變化與影響，並且為未來街區的經營找到適當的模式和作法。 亞里斯多德曾說過，「人們是因為不得已來到城市，但是是因為喜歡它才留下來。」創意街區是台北城市文化創意產業生態的重要環節，一方面它可以發揮產業群聚的經濟效益，另一方面可以讓創意產業的鑲嵌在地理環境中，形成無法取代的產業特色，並拉近與民眾和生活的距離。創意群聚的經營重要的是掌握地理要素，由區域自發形成的共識與力量，著手調整城市文化與經濟策略及實質運作，始能創造一個地方新的生活與經濟型態與新的競爭力。

The presented master thesis deals with the phenomenon of creative clustering in urban environment. The thesis is conducted in the form of a case study exploring a specific creative cluster on a micro level in order to gain insight into its dynamics, inner mechanisms and structure. The study's focus area is the neighborhood of Letna, Prague, Czech Republic where a cluster of designer and artist studios, galleries, centers for art education has formed in the last four years. Using primarily qualitative techniques, specific factors were identified as decisive for choosing this location by those individuals. The thesis focuses on inner functioning of the cluster through the insider perspective of its members and tries to identify the requirements and conditions for the emergence and development of a creative cluster. A lack of micro level research of creative clustering in the Czech Republic was a dominant motivation for conducting this thesis.

Orientador: Juliano Maurício de Carvalho / Resumo: A tese analisa o fenômeno dos hubs criativos e seus efeitos no desenvolvimento da Indústria de Jogos Digitais (IJD). O procedimento metodológico é a construção de teorias através de estudos de caso. A coleta de dados se faz por meio de pesquisa documental em websites e relatórios públicos dos 69 hubs criativos da IJD mapeados em todo o mundo. A coleta também envolve entrevistas semiestruturadas on-line e presenciais com gestores dos hubs, e pesquisa de campo com observações diretas. O estudo descreve a estrutura global da IJD e analisa suas implicações nos clusters criativos locais. Mapeia e sistematiza os hubs criativos da IJD, descreve e classifica as ações realizadas por esses hubs. Estuda o caso do hub Dutch Game Garden como exemplo destas iniciativas. A partir dos dados levantados e sistematizados, são formuladas hipóteses, analisadas à luz da literatura. Como resultado, é construída uma série de premissas teóricas a respeito dos hubs criativos da IJD. São elas: os hubs criativos podem ampliar a proximidade entre os agentes de um cluster; a colaboração é essencial para o sucesso de um hub criativo; a eficiência das ações realizadas pelo hub criativo está relacionada ao grau de maturidade do cluster em que ele está localizado; os hubs criativos ocupam o papel de intermediários nas cidades criativas; e as ações dos hubs são capazes de catalisar o desenvolvimento de clusters criativos da Indústria de Jogos Digitais. / Abstract: The thesis analyzes the phenomenon of creative hubs and their effects on the development of the Digital Games Industry (DGI). The methodological procedure is the construction of theories through case studies. Data collection was done through documentary research on websites and public reports of 69 creative DGI hubs mapped around the world. The collection also involves semi-structured online and in-person interviews with managers of the hubs, and field research with direct observations. The study describes the global structure of the DGI and analyzes its implications for local ecosystems. Maps and systematizes DGI's creative hubs, describes and classifies the actions carried out by these hubs. It studies the case of the Dutch Game Garden hub as an example of these initiatives. Based on the data collected and systematized, hypotheses are formulated and analyzed in the light of the literature. As a result, a series of theoretical assumptions are made about DGI's creative hubs. They are: creative hubs can expand the proximity between agents in a cluster; collaboration is essential to the success of a creative hub; the efficiency of the actions carried out by the creative hub is related to the degree of maturity of the cluster in which it is located; creative hubs play the role of intermediaries in creative cities; and the actions of the hubs are able to catalyze the development of creative clusters in the Digital Games Industry. / Doutor

The main aim of this study is to examine the interrelationship of finance and government intervention in explaining the rise of co-productions in the international film industry in the time period between 1997 and 2004. Mainstream economic geography literature presents the film industry typically as a case study for embeddedness and agglomeration effects, with successful industry clusters drawing their strength from process knowledge, networks and local interaction. However, there is an increasing disparity in the literature between what mainstream theory suggests, and what empirical studies find with respect to the importance of cluster-external relations and dynamics. This, as I will argue, is particularly evident when looking at the picture of the whole film industry production system that emerges from the literature, which fails to include the alternative and complimentary pattern of co-productions. Co-productions are collaborations between film producers from at least two different countries, pooling their resources across distance to produce a feature film project. In the past fifteen years, the number of films made as co-productions has risen continuously in Europe, with co-productions accounting for more than 30 per cent of European film production activity. As a mode of production based on temporary, cross-border collaboration that is supported in its coordination by temporary clusters, such as trade fairs and industry events, the coproduction phenomenon poses a conundrum to economic geography literature and challenges its explanatory framework. As I will argue, in order to arrive at a satisfactory understanding of the phenomenon, it is necessary to look beyond social factors associated with locality, and to examine instead dynamics impacting on the industrial organization of the whole production system. I will argue that in the context of the pervasive demand uncertainty characterizing the film industry, the analytical focus should be on financial dynamics, as production activity and its organizational form are ultimately dependent on finance as an enabling force. Based on a description of the film financing process as the primary process in which the relationship between the economic categories of financial and production capital are played out, I propose that in order to explain the growth of co-productions empirically, it is necessary to examine changes in the film financing environments of the increasingly interrelated European and US film industries. As the State is the most important provider of financial capital in the European film industry through the provision of public aid, the focus will lie in particular on the consequences of a paradigm change in the rationale of State intervention in Europe moving away from funding film for cultural reason, to supporting the industry on economic grounds since the mid 1990s. As will be shown, the most important consequence of this paradigm change has been the introduction of tax incentives to encourage investment into film in a number of European and international countries within a short period of time. As will be demonstrated, this has led to the formation of significant, locally confined capital pools that can dis-embed production; and to the emergence of a distinct capital cycle in international film financing, which has strongly impacted on the productive system of the film industry. Finally, a dynamic explanation for the growth of co-productions in Europe in the time period between 1997 and 2004 will be provided. I will argue that co-productions have firstly grown in order to overcome a lack of finance, but have in the context of a capital cycle based on tax incentives from Germany and the UK, increasingly become driven by the opposite dynamic, namely an abundance of financial capital seeking profitable investment opportunities. The study will conclude with a discussion of policy implications, a summary of contributions to the literature and a brief overview of future research opportunities.

台北市近年萌發了許多從巷弄中由下而上發展的「創意街區」，因為其蓬勃發展而逐漸受到政府重視。本研究以其中發展最為成熟的中山雙連創意街區為研究標的，探討其成功原因，並和國外兩個個案作比較，統整出讓此種創意產業群聚成功的共同要素，進而探討創意街區引導都市區域再生的方法和如何維持永續發展。 　　研究發現，中山雙連街區內的創意群聚因為其在空間中的密集性和頻繁接觸，加上其他空間環境的幫助，使其產生了創意氛圍。此外，街區的創新特色、歷史文化和街區成員共同推廣的共識，塑造了中山雙連街區的地方品牌。創意氛圍是以培養源源不絕的創意對都市區域文化上的提昇；地方品牌是藉由形成對拜訪者和旅客的拉力形成都市區域經濟上的提昇。因此，文化和經濟的重新活絡，便是都市再生的核心，而創意群聚也已經成功地帶動了中山雙連街區的重新發展。 　　最後，以「都市與產業共生模型」理出創意產業群聚和街區成員及整個都市空間互動的脈絡；再從街區成員所表達出的深層情感面而衍生出的「永續發展策略三角」。兩個模型，一個是以具體觀察得到的元素，另一個是以情感層面的要素，共同對街區再生機制的永續發展做出驗證和評估。 / There are so many creative clusters that are cultivated within streets blocks blossoming these years and catching the public’s eyes. In this research, one most maturely developed cluster is taken as an example, that is, ZhongShan – Shuanglian street district. The cluster is compared with two other foreign cases and some factors that enable their success would be derived. In the end, how creative clusters result in urban regeneration and keep it sustainable development is the final issue of this thesis. It is found that the cluster in ZhongShan – Shuanglian street district produce its creative milieu due to spacial concentration, frequent contact among the members and any other positive assistance from the environment. Also, as a result of its historical culture, consensus of members, and characteristics, the place branding, however, forms. Speaking to creative milieu and place branding, the former promotes regional culture and the latter boosts regional economy, both of which bring about urban regeneration. Anyway, the cluster surely improves the regional redevelopment successfully. What is the last but not the least part of this thesis is this research applies “Industry and City Symbiosis Model” and conducts “Strategy Triangle” to the cluster, in order to figure out some theoretical methods which provide verifications or suggestions for sustainable development of the clusters in street district.