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The paper aims to examine the role of creative industries in general and the film industry in particular for place‐making, spatial development, tourism, and the formation of creative cities.

The article reveals the preliminary findings of two case studies from Beyoglu, Istanbul, and Soho, London.

The research found a relation between place and creativity and the positive contribution to creativity of being in a city center. Among the creative industries, the film industry plays an important role in the economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require.

The paper raises interesting questions about the importance of place to creativity, also questioning whether creative industries can be a driver for regeneration.

This chapter will use A Propos de Nice, filmed by Jean Vigo and Boris Kaufman in February and March 1930, as a case study to illustrate how city films created segmented views of quotidian urban life in both form and content. In terms of form, short clips are juxtaposed in a rapid montage to form a segmented portrait of the city. In terms of content, the segments in Vigo's film, and the city film genre as a whole, are full of everyday events such as drinking coffee, washing clothes, sunbathing, and playing boules. The portrait of Nice that emerges within the film, then, is one of quotidian segmentation. This chapter will conduct a visual analysis of the film as it progresses, situating it within the history of Nice, cinematic conceptions of the city prior to its production, the city film genre, and the French avant-garde.

This paper aims to analyze how strategizing practices can legitimate construction of public sector policy. The Porto Alegre Film Commission was set up as part of a strategy to increase the city’s competitiveness as a tourism destination. The municipal government engaged with private and public stakeholders and embarked on a collective process of policy construction.

The authors based their research on two theoretical lenses from business administration theory: strategy as practice (SaP) and neo-institutional theory (NIT), whereby SaP attempts to explain formation and implementation of strategy on the basis of a process that seeks a collective result, whereas NIT reveals the limits of this formation and implementation, attributing the process to influences of power and legitimacy. Thus, the authors get a more accurate view of the actors and the system of governance, considering the in-built reflexivity of these relationships and their capacity to change institutional arrangements. The authors conducted an in-depth case study with a qualitative approach, using semi-structured interviews, participatory observation and documentary analysis.

The results revealed the role played by the government and how practices used in the strategizing process ensured the legitimacy of public sector policy formulation and engaged private and public stakeholders.

The authors recognize limitations such as the investigation being set in a single country and responses based on the interviewees’ perceptions of momentum. It would be interesting to undertake cross-national comparisons using empirical data that allow comparison of film commissions with different relationships between strategizing, power and politics.

This case study analyzed the relationship between formal institutional agents and the strategies adopted to create and run the Porto Alegre Film Commission (PAFC), positioning Porto Alegre as a destination for film and video production and, reflexively, making it more attractive to tourists interested in getting to know the locations where publicity campaigns, films and soap operas were filmed. This formal institution agent was converted into a strategic catalyzer to influence the institutional issues in a creative industry in which trade associations and firms had encountered difficulties when they attempted to set up a film commission alone.

The evidence compiled showed that the practices, besides being strategic, were enacted in a specific context and directed toward results and survival of the PAFC. The practices shaped the results, because they were constructed together with other actors, achieving legitimacy through collaborative development of practices and targeting survival by establishing governance structures capable of riding out periods of political transition. In short, the collective construction of the PAFC policy, led by the public sector, legitimized it in the eyes of society.

This study furthers the discussion about strategizing in an organizational field marked by power relationships and how their consequences can affect society in general. There is a need to take a closer look at the implications of strategizing for power relationships and how the consequences can influence the organizational field.

According to Yubin et al. (2023), films serve as a medium for conveying visual representations of various elements such as landscapes, buildings, landmarks and monuments, which provide a contextual backdrop for the narrative. According to Vila et al. (2021), the number of global tourists visiting film locations exceeds 80 million. In addition, according to Yubin et al. (2023), the promotion of tourism is facilitated through the utilisation of films, which serve to create novel representations, counteract negative perceptions and enhance the portrayal of underdeveloped destinations. A significant number of individuals engage in the practise of visiting movie sets with the intention of re-experiencing the emotional impact of the film. The devaluation of film marketing has been observed. This method represents a highly indirect approach to enticing tourists. This chapter examines the comprehension of travellers' motivations and the perception of film-exposed locations in Bollywood films (Salnick, 2023). Film tourism provides a tailored and personalised experience for individuals. The difficulty in measuring this concept arises from factors such as the emotional responsiveness, personality traits, background and interpretive abilities of the viewers in relation to media images. According to Castro et al. (2023), the inclusion of a destination on a screen can serve as a means to enhance the diversity of a site's tourist offerings or mitigate the effects of seasonality by providing opportunities for experiential activities, showcasing notable landmarks or serving as a filming location. Film destinations have the potential to gain popularity and benefit from advertising and the perception of spectators.

Sweden, with a 3.4 million labour force, 45 per cent of it in commerce, transport and the service industries, tackles the problem of re‐training in a thoroughly imaginative way, as a film Investment in Manpower (col, 30 min) shows. Their National Labour Board deals with it in the round, fitting the men to the jobs, and treating its material throughout as human beings with modern human needs. There are no age limits, and prejudices about being too old to learn are firmly squashed. Rail fares to attend interview are paid, moving costs met, and grants given to keep the home going while training.

This volume of Research in Urban Sociology derives from the conference ‘Everyday life in the segmented city’ held in July 2010 in Florence, and is composed of a selection of papers originally presented on this occasion. Starting from the epochal assumption that for the first time in human history the majority of the world's population lives in urban environment, the conference gathered a set of presentations dealing with issues of global urbanization, showing a multiplicity of approaches and points of view which we tried to preserve within the limits of this publication. Urbanization is a phenomenon inscribed into globalization process with enormous consequences in the transformation of urban space and the everyday life of citizens: a dynamics which is reflected also in a flourishing analytical discourse that increasingly transcends the boundaries of established urban disciplines. The progressive extension of the urban domain beyond the limits of the city, and across diverse scales, has its corollary in the progressive segmentation of the urban dimension along multiple lines of material, social, economic, cultural and ethnic nature. Here we have chosen the perspective of the everyday to analyse how practices and policy can overcome the spin towards fragmentation and anomy and reinforce social cohesion for a more just and liveable city, endorsing the ‘right to the city’ as postulated by the seminal work of Henri Lefebvre. Although not specifically focused on his work, this collection clearly reveals the fundamental influence of the French philosopher over the knowledge and critique of late modern spatial production (Lefebvre, 1991b), and the net of Lefebvre's concept which connect different papers constitutes an evident subtext to this volume of Research in Urban Sociology. The original structure of the conference foresaw five distinct thematic sections, entitled ‘Right to the city’, ‘Cinematic urbanism’, ‘Governance and planning’, ‘Re-appropriation of urban spaces,’ and ‘Suburbanization and post urban cities’. Ultimately, in composing this volume we decided not to adopt those thematic areas as distinct sections, as many papers demonstrated the interdependence of these topics, escaping a strong separation of the arguments. On the contrary, the five topics recur all along this volume as transversal issues connecting almost all contributions. In the Introduction we aim at retracing those connections, starting from the dialectic evocated by the title between ‘everyday life’ practices of the inhabitants and what has been named here ‘segmented city’ as an epitome of the contemporary city in the age of globalization.

Moving images represent a category of material which has historically received short shrift in most libraries and archives. Film, video, and now digital images form a significant part of many library and archival collections, however, and can be found in many formats and genres. Despite the ubiquity of such media in cultural institutions, the majority of libraries and archives owning collections of moving images have neglected these holdings—with the specific exception of those few archives devoted primarily to the care and preservation of moving images.

It's not enough to simply acquire alternative and small‐press materials. They must also be made easily accessible to library users by means of accurate, intelligible, and thorough cataloging.

Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes. Hong Kong cinema is described to be dying, lacking creative space and losing local distinctiveness. A decade later, the rise of Hong Kong – China coproduction cinema under CEPA has been normalized and changed the once pessimism in the industry. The purpose of this paper is to demonstrate how Hong Kong cinema adjusted its production and creation in the first 10 years of CEPA.

Beginning with a review of the overall development, three paradigmatic cases are examined for reflecting upon what the major industrial and commercial concerns on the Hong Kong – China coproduction model are, and how such a coproduction model is not developed as smooth as what the Hong Kong filmmakers expected.

Collectively, this paper singles out the difficulties in operation and the limit of transnationality that occur in the Chinese context for the development of Hong Kong cinema under the Hong Kong – China coproduction model.

This is the author’s research in his five-year study of Hong Kong cinema and it contributes a lot to the field of cinema studies with relevant industrial and policy concern.