Abstract
In the last 10 years, there has been a shift from a focus on the direct economic contribution of the creative industries to their innovation capacities and indirect economic contribution. Two main strands of literature have tried to capture this. The first strand looks at innovation characteristics and processes in the arts and the creative industries (sectoral perspective). The second strand concentrates on the way these industries cluster and directly contribute to local and regional economies (spatial perspective). However, there is little work focusing on the innovation outputs of creative industries and on how clustering really impacts their innovation performance and dynamic at the local and regional levels. This chapter tries to fill this gap by combining both sectoral and spatial perspectives. By using original data, the chapter discusses the Soho film cluster in London in order to examine the innovation dynamic of the film industry in a particular place. Innovations in the creative industries often differ from those in manufacturing or other sectors. As such, the particular nature of innovation in film industry is presented. The film industry can be highly innovative, both producing and adapting innovations. Our analysis of the Soho film cluster documents the impact of clustering on the innovation performance of firms in the sector and demonstrates the impact of geographical proximity on innovation performance through a high degree of embeddedness of the film industry in local and regional labour markets and in favouring local and international innovation linkages.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
The six American studios, i.e. Warner Bros, Walt Disney, Sony Pictures, 20th Century Fox, Universal and Paramount Pictures have controlled more than 75% in the distribution market share over the period 1995â2016 see: http://www.the-numbers.com/market/distributors.
- 2.
Local government spend is difficult to capture and is not included in this figure.
- 3.
For more information, go to http://www.skillset.org/film/training_and_events/.
- 4.
See http://directory.filmlondon.org.uk/facilities/facixget.asp for a list of firms and organisations.
- 5.
References
Acheson K, Maule CJ (2005) Understanding Hollywoodâs organisation and continuing success. In: Sedgwick J, Pokorny M (eds) An economic history of film. Routledge, London, pp 312â346
Aksoy A, Robins K (1992) Hollywood for the 21st century: global competition for critical mass in image markets. Camb J Econ 16(1):1â22
Baillieu B, Goodchild J (2002) The British film business. Wiley, Chichester
Bakker G (2005) Stars and stories: how films became branded products. In: Sedgwick J, Pokorny M (eds) An economic history of film. Routledge, London, pp 48â85
Bakker G (2008) Entertainment industrialised: the emergence of the international film industry, 1890â1940. Cambridge University Press, Cambridge
Bathelt H, Malmberg A, Maskell P (2004) Clusters and knowledge: local buzz, global pipelines and the process of knowledge creation. Prog Hum Geogr 28(1):31â56
Bennett B, Furstenau M, Mackenzie A (2008) Cinema and technology: cultures, theories, practices. Palgrave Macmillan, Basingstoke
BFI (2015) Film industry companies. Research and Statistics Unit, BFI, London
BIS (2010) Learning from some of Britainâs successful sectors: An historical analysis of the role of government. Department for Business Innovation and Skills, London
Blair H, Rainnie A (2000) Flexible films. Media Cult Soc 22:187â204
Bloore P (2013) The screenplay business: managing creativity and script development in the film industry. Routledge, Oxon
Boix R, HervĂĄs-Oliver JL, De Miguel-Molina B (2015) Micro-geographies of creative industries clusters in Europe: from hot spots to assemblages. Pap Reg Sci 94(4):753â772
British Film Institute [BFI] (2014) Statistical yearbook 2014. BFI, London
Chapain C, Cooke P, De Propris L, MacNeill S, Mateos-Garcia J (2010) Creative clusters and innovation: putting creativity on the map. Nesta, London
Christopherson S, Storper M (1986) The city as studio; the world as back lot: the impact of vertical disintegration on the location of the motion picture industry. Environ Plan D Soc Space 4(3):305â320
Coe NM (2000) The view from out west: embeddedness, inter-personal relations and the development of an indigenous film industry in Vancouver. Geoforum 31(4):391â407
Coe NM (2001) A hybrid agglomeration? The development of a satellite-Marshallian industrial district in Vancouverâs film industry. Urban Stud 38(10):1753â1775
Coe NM, Jones JL (2005) Beyond production clusters. Towards a critical political economy of networks in the film and television industries. In: Power D, Scott AJ (eds) Cultural industries and the production of culture. Routledge, Abingdon
Cook DA (2004) A history of narrative film. Norton, New York
Cook G, Pandit NR (2008) Clustering in the broadcasting industry. In: Karlsson C (ed) Handbook of research on cluster theory. Edward Elgar, Cheltenham, pp 274â291
Crane D (2014) Cultural globalization and the dominance of the American film industry: cultural policies, national film industries, and transnational film. Int J Cult Policy 20(4):365â382
Currah A (2003) Digital effects in the spatial economy of film: towards a research agenda. Area 35(1):64â73
Dargis M, Scott AO (2012) Film is dead? Long live movies: how digital is changing the nature of movies The New York Times
Davis CH (2008) Screen-based media industry cluster: dimensions of performance and competitiveness. Prepared for the Ontario Ministry of Culture. School of Radio and Television Arts and Ted Rogers School of Management, Ryerson University, Toronto, Ontario
Davis CH (2011) The Toronto media cluster: between culture and commerce. In: Karlsson C, Picard RG (eds) Media clusters: spatial agglomeration and content capabilities. Edward Elgar, Cheltenham, pp 223â250
Davis CH, Creutzberg T, Arthurs D (2009) Applying an innovation cluster framework to a creative industry: the case of screen-based media in Ontario. Innov Manag Policy Pract 11(2):201â214
De Propris L, Chapain C, Cooke P, MacNeill S, Mateos-Garcia J (2009) The geography of creativity. Nesta, London
DIUS (2008) Innovation modes and productivity in the UK. Department for Innovation, Universities and Skills, London
Elsaesser T (2008) Afterword â digital cinema and the apparatus: archaeologies, epistemologies, ontologies. In: Bennett B, Furstenau M, Mackenzie A (eds) Cinema and technology: cultures, theories, practices. Palgrave Macmillan, Basingstoke, pp 226â240
Eriksson S (2011) Promotion of company and local economic growth through clusters. In: Karlsson C, Picard RG (eds) Media clusters: spatial agglomeration and content capabilities. Edward Elgar, Cheltenham, pp 30â43
Fleming Tom Creative Consultancy (2015) Cultural and creative spillovers in Europe. Report on a preliminary evidence review. http://www.artscouncil.org.uk/advice-and-guidance/browse-advice-and-guidance/cultural-and-creative-spillovers-europe. Accessed on 16 Feb 2016
Goldsmith B, OâRegan T (2005) The film studio: film production in the global economy. Rowman & Littlefield, Lanham
Gornostaeva G (2009) The wolves and lambs of the creative city: the sustainability of film and television producers in London. Geogr Rev 99(1):37â60
Greater London Authority [GLA] (2008) Cultural metropolis. The Mayorâs priorities for 2009â2010. GLA, London
Hall P (2004) Creativity, culture, knowledge and the city. Built Environ 30(3):256â258
Hartley J, Potts J, Cunningham S, Flew T, Keane M, Banks J (2013) Key concepts in creative industries. Sage, London
Hellbrun J (1993) Innovation in art, innovation in technology, and the future of the high arts. J Cult Econ 17(1):89â98
House of Lords 2010 The British film and television industries. First report, Communication Committee. http://www.publications.parliament.uk/pa/ld200910/ldselect/ldcomuni/37/3702.htm. Accessed 1 June 2016
Isaacs B (2013) The orientation of future cinema: technology, aesthetics, spectacle. Bloomsbury Academic, New York
Johns J (2010) Manchesterâs film and television industry: project ecologies and network hierarchies. Urban Stud 47(5):1059â1077
Kapur J, Wagner KB (2011) Neoliberalism and global cinema: capital, culture, and Marxist critique. Routledge, New York
Karlsson C, Picard RG (2011) Media clusters: what makes them unique? In: Karlsson C, Picard RG (eds) Media clusters: spatial agglomeration and content capabilities. Edward Elgar, Cheltenham, pp 3â29
Kehoe K, Mateer J (2015) The impact of digital technology on the distribution value chain model of independent feature films in the UK. Int J Media Manag 17(2):93â108
Kerrigan F (2010) Film marketing. Butterworth-Heinemann, Oxford
Kindem GA (2000) The international movie industry. Southern Illinois University Press, Carbondale
Leadbeater C, Oakley K (1999) The independents: Britainâs new cultural entrepreneurs. Demos, London
Lorenzen M (2007) Internationalization vs. globalization of the film industry. Ind Innov 14(4):349â357
Margolis H, Cubitt S, King B, Jutel T (2008) Studying the event film: the Lord of the rings. Manchester University Press, Manchester
Marich R (2009) Marketing to moviegoers: a handbook of strategies and tactics. Southern Illinois University Press, Carbondale
Markusen A (1996) Sticky places in slipery space: a typology of industrial districts. Econ Geogr 72(3):293â313
Miller T, Govil N, McMurria J, Maxwell R, Wang T (2005) Global Hollywood 2. British Film Institute, London
Mitchell AJ (2004) Visual effects for film and television. Focal Press, Oxford
Moran A (1996) Film policy: international, national and regional perspectives. Routledge, London
Mossig I (2004) The networks producing television programmes in the Cologne media cluster: new firm foundation, flexible specialization and efficient decision-making structures. Eur Plan Stud 12(2):155â171
MĂŒller K, Rammer C, TrĂŒby J (2009) The role of creative industries in industrial innovation. Innov Manag Policy Pract 11(2):148â168
Nachum L, Keeble D (2003a) MNE linkages and localised clusters: foreign and indigenous firms in the media cluster of Central London. J Int Manag 9(2):171â192
Nachum L, Keeble D (2003b) Neo-Marshallian clusters and global networks: the linkages of media firms in Central London. Long Range Plan 36(5):459â480
NESTA (2009) Soft innovation: towards a more complete picture of innovative change. Nesta, London
OECD (2005) Oslo manual: guidelines for collecting and interpreting innovation data. OECD, Paris
OECD (2008) Remaking the movies: digital content and the evolution of the film and video industries. OECD, Paris
Oxford Economic Forecasting (2005) The economic contribution of the UK Film post production and visual effect industry. Oxford Economic Forecasting, Oxford
Power D (2011) Priority sector report: creative and cultural industries. European Commission, Luxembourg
Pratt AC (2011) Microclustering of the media industries in London. In: Karlsson C, Picard RG (eds) Media clusters: spatial agglomeration and content capabilities. Edward Elgar, Cheltenham, pp 120â135
Pratt AC, Gornostaeva G (2009) The governance of innovation in the film and television industry: a case study of London, UK. In: Pratt AC, Jeffcutt P (eds) Creativity, innovation and the cultural economy. Routledge, London, pp 119â136
Salt B (2009) Film style and technology: history and analysis. Starword, London
Scott AJ (1998) From silicon valley to hollywood: growth and development of the multimedia industry in California. In: Braczyk H-J, Cooke P, Heidenreich M (eds) Regional innovation systems: the role of governances in a globalized world. UCL Press, London, pp 136â162
Scott AJ (1999) The cultural economy: geography and the creative field. Media Cult Soc 21(6):807â817
Scott AJ (2000) The cultural economy of Paris. Int J Urban Reg Res 24(3):567
Scott AJ (2002) A new map of Hollywood: the production and distribution of American motion pictures. Reg Stud 36(9):957â975
Scott AJ (2004) Hollywood and the world: the geography of motion-picture distribution and marketing. Rev Int Polit Econ 11(1):33â61
Scott AJ (2005) On Hollywood: the place, the industry. Princeton University Press, Princeton
Scott AJ (2012) Finding drama in newfangled filmmaking. The New York Times
Sito T (2013) Moving innovation: a history of computer animation. The MIT Press, Cambridge
SĂžrensen IE (2012) Crowdsourcing and outsourcing: the impact of online funding and distribution on the documentary film industry in the UK. Media Cult Soc 34(6):726â743
Stachowiak K (2017) Geografia ekonomiczna filmu (Economic geography of the film industry). Bogucki Wydawnictwo Naukowe, PoznaĆ
Stoneman P (2010) Soft innovation: economics, product aesthetics, and the creative industries. Oxford University Press, Oxford
Storper M, Christopherson S (1987) Flexible specialization and regional industrial agglomerations: the case of the U.S. motion picture industry. Ann Assoc Am Geogr 77(1):104â117
Storper M, Harrison B (1991) Flexibility, hierarchy and regional development: the changing structure of industrial production systems and their forms of governance in the 1990s. Res Policy 20(5):407â422
Thompson K, Bordwell D (2003) Film history: an introduction. McGraw-Hill, Boston
Tomczak P, Stachowiak K (2015) Location patterns and location factors in the cultural and creative industries. Quat Geochronol 34(2):7â27
Tryon C (2009) Reinventing cinema: movies in the age of media convergence. Rutgers University Press, New Brunswick
Tschang FT (2007) Balancing the tensions between rationalization and creativity in the video games industry. Organ Sci 18(6):989â1005
UK Film Council (2003) Post-production in the UK. UK Film Council, London
UK Film Council (2009a) Film in the UK: a briefing paper. Version 3. Research and Statistics Unit, UK Film Council, London
UK Film Council (2009b) 2009 statistics yearbook. UK Film Council, London
UK Film Council (2011) Film production in the UK. Full production report. UK Film Council Research and Statistics Unit, UK Film Council, London
UK Film Council and Skillset (2003) A bigger future. The UK film skills strategy. UK Film Council and Skillset, London
UNESCO (2016) Diversity and the film industry: an analysis of the 2014 UIS survey on feature film statistics. UNESCO, Montreal
Vang J, Chaminade C (2007) Cultural clusters, global-local linkages and spillovers: theoretical and empirical insights from an exploratory study of Torontoâs film cluster. Ind Innov 14(4):401â420
Villarejo A (2007) Film studies: the basics. Routledge, London
Wasko J (2008) Financing and producing: creating the Hollywood film commodity. In: McDonald P, Wasko J (eds) The contemporary Hollywood film industry. Blackwell, Malden, pp 43â62
Wasko J, Erickson M (2008) Cross-border cultural production: economic runaway or globalization? Cambria Press, Amherst
Zhu K (2001) Internet-based distribution of digital videos: the economic impacts of digitization on the motion picture industry. Electron Mark 11(4):273â280
Acknowledgement
The research presented in this chapter was supported financially by NESTA under the research conducted for the project creative cluster and innovation in 2009â2010 as well as by the Polish National Science Centre funding granted by decision no. DEC-2011/03/D/HS4/01662.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2017 Springer International Publishing AG
About this chapter
Cite this chapter
Chapain, C., Stachowiak, K. (2017). Innovation Dynamic in the Film Industry: The Case of the Soho Cluster in London. In: Chapain, C., Stryjakiewicz, T. (eds) Creative Industries in Europe. Springer, Cham. https://doi.org/10.1007/978-3-319-56497-5_4
Download citation
DOI: https://doi.org/10.1007/978-3-319-56497-5_4
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-319-56495-1
Online ISBN: 978-3-319-56497-5
eBook Packages: Social SciencesSocial Sciences (R0)