Research bibliography
• Andres L. and C. Chapain, (forthcoming) The integration of cultural and creative industries into local and regional development strategies in Birmingham and Marseille: towards an inclusive and collaborative governance? Regional
Studies
• Department for Business, Innovation and Skills [BIS] (2010) Learning from some of Britain’s successful
sectors: An historical analysis of the role of government. Economic Paper No. 6.
• Braden, S. (1978). Artists and People. London: Routledge and Kegan Paul.
• British Film Institute [BFI](2012) Statistical Yearbook 2012, London: BFI.
• Chapain, C. & Comunian, R. (2009). Creative Cities in England: Researching Realities and Images. Built
Environment, 35(2), 212-229.
• Chapain C., P. Cooke, L. De Propris, S. MacNeill and J. Mateos-Garcia, 2010, Creative clusters
and innovation, London: NESTA. Available online at:
http://www.nesta.org.uk/events/assets/features/creative_clusters_and_innovation_report
• Comunian, R. (2011). Rethinking the Creative City. Urban Studies, 48(6), 1157-1179.
• Comunian, R. (2012). Exploring the role of networks in the creative economy of North East England:economic and cultural dynamics. In B. Warf (Ed.), Encounters and Engagement between Economic Cultural Geography (pp. 143-157): Springer
• Department for Business, Innovation and Skills [BIS] (2010) Learning from some of Britain’s successful sectors: An historical analysis of the role of government. Economic Paper No. 6.
• Desrochers, P.(2001) Local Diversity, Human Creativity and Technological Innovation. Growth and Change, 32, 369- 394.
• Durrer, V., & Miles, S. (2009). New perspectives on the role of cultural intermediaries in social inclusion in
the UK. Consumption Markets & Culture, 12(3), 225-241.
• Florida, R. (2002). Bohemia and economic geography. Journal of Economic Geography, 2, 55-71.
• Grabher, G. (2004). Learning in projects, remembering in networks? Communality, sociality and connectivity in project ecologies. European Urban and Regional Studies, 11(2), 99 -119.
• Grugulis, I. & Stoyanova, D. (2009). ‘I don’t know where you learn them: skills in film and TV’. In Creative
Labour: working in the creative industries. Smith, C. & McKinlay, A. Houndsmills: Palgrave
Macmillan.135–155.
• Hill, J. (2004) ‘UK Film Policy, Cultural Capital and Social Exclusion’, Cultural Trends, 13 (2): 29-39.
• Lee N. and Nathan M. (2010) ‘Knowledge workers, cultural diversity and innovation: evidence from
London.’International Journal of Knowledge-Based Development, (1/2): 53-78.
• Malik, S. (2010) ‘The dark side of hybridity: contemporary black and Asian British cinema’ In: Berghahn, D.
and Sternberg, C. eds. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe.
Palgrave: 132-151.
• Mercer, K. (1988) (ed.) Black Film, British Cinema, London: Institute of Contemporary Arts.
• Pines, J. and Willemen, P. (1989) Questions of Third Cinema. London: British Film Institute.
• Pratt, A. C. and G. Gornostaeva (2009). ‘;The governance of innovation in the Film and Television
industry: a case study of London, UK.’ in Creativity, innovation and the cultural economy. A. C. Pratt and P. Jeffcutt (Eds.). London, Routledge: 119-136.
• Shand R. (2008) ‘Theorizing Amateur Cinema: Limitations and Possibilities’, The Moving Image, 8(2): 36-60.
• Smallbone, D., Bertotti, M., & Ekanem, I. (2005). Diversification in ethnic minority business: The case of
Asians in London's creative industries. Journal of Small Business and Enterprise Development, 12(1), 41-56.
• Tryon C. (2007) New Media Studies and the New Internet Cinema, Ann Arbor, MI: MPublishing, University
of Michigan Library, Essay, Vol. 5( 1) Available online at:
http://quod.lib.umich.edu/p/postid/pid9999.0005.102?rgn=main;view=fulltext
• Wenger, E. (1998). Communities of Practice: Learning, Meaning and Identity. MA: Cambridge University Press.
• Wenger, E. C., & Snyder, W. M. (2000). Communities of Practice: The Organizational Frontier. Harvard
Business Review, January - February 2000, 139 - 145.
• Andres L. and C. Chapain, (forthcoming) The integration of cultural and creative industries into local and regional development strategies in Birmingham and Marseille: towards an inclusive and collaborative governance? Regional
Studies
• Department for Business, Innovation and Skills [BIS] (2010) Learning from some of Britain’s successful
sectors: An historical analysis of the role of government. Economic Paper No. 6.
• Braden, S. (1978). Artists and People. London: Routledge and Kegan Paul.
• British Film Institute [BFI](2012) Statistical Yearbook 2012, London: BFI.
• Chapain, C. & Comunian, R. (2009). Creative Cities in England: Researching Realities and Images. Built
Environment, 35(2), 212-229.
• Chapain C., P. Cooke, L. De Propris, S. MacNeill and J. Mateos-Garcia, 2010, Creative clusters
and innovation, London: NESTA. Available online at:
http://www.nesta.org.uk/events/assets/features/creative_clusters_and_innovation_report
• Comunian, R. (2011). Rethinking the Creative City. Urban Studies, 48(6), 1157-1179.
• Comunian, R. (2012). Exploring the role of networks in the creative economy of North East England:economic and cultural dynamics. In B. Warf (Ed.), Encounters and Engagement between Economic Cultural Geography (pp. 143-157): Springer
• Department for Business, Innovation and Skills [BIS] (2010) Learning from some of Britain’s successful sectors: An historical analysis of the role of government. Economic Paper No. 6.
• Desrochers, P.(2001) Local Diversity, Human Creativity and Technological Innovation. Growth and Change, 32, 369- 394.
• Durrer, V., & Miles, S. (2009). New perspectives on the role of cultural intermediaries in social inclusion in
the UK. Consumption Markets & Culture, 12(3), 225-241.
• Florida, R. (2002). Bohemia and economic geography. Journal of Economic Geography, 2, 55-71.
• Grabher, G. (2004). Learning in projects, remembering in networks? Communality, sociality and connectivity in project ecologies. European Urban and Regional Studies, 11(2), 99 -119.
• Grugulis, I. & Stoyanova, D. (2009). ‘I don’t know where you learn them: skills in film and TV’. In Creative
Labour: working in the creative industries. Smith, C. & McKinlay, A. Houndsmills: Palgrave
Macmillan.135–155.
• Hill, J. (2004) ‘UK Film Policy, Cultural Capital and Social Exclusion’, Cultural Trends, 13 (2): 29-39.
• Lee N. and Nathan M. (2010) ‘Knowledge workers, cultural diversity and innovation: evidence from
London.’International Journal of Knowledge-Based Development, (1/2): 53-78.
• Malik, S. (2010) ‘The dark side of hybridity: contemporary black and Asian British cinema’ In: Berghahn, D.
and Sternberg, C. eds. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe.
Palgrave: 132-151.
• Mercer, K. (1988) (ed.) Black Film, British Cinema, London: Institute of Contemporary Arts.
• Pines, J. and Willemen, P. (1989) Questions of Third Cinema. London: British Film Institute.
• Pratt, A. C. and G. Gornostaeva (2009). ‘;The governance of innovation in the Film and Television
industry: a case study of London, UK.’ in Creativity, innovation and the cultural economy. A. C. Pratt and P. Jeffcutt (Eds.). London, Routledge: 119-136.
• Shand R. (2008) ‘Theorizing Amateur Cinema: Limitations and Possibilities’, The Moving Image, 8(2): 36-60.
• Smallbone, D., Bertotti, M., & Ekanem, I. (2005). Diversification in ethnic minority business: The case of
Asians in London's creative industries. Journal of Small Business and Enterprise Development, 12(1), 41-56.
• Tryon C. (2007) New Media Studies and the New Internet Cinema, Ann Arbor, MI: MPublishing, University
of Michigan Library, Essay, Vol. 5( 1) Available online at:
http://quod.lib.umich.edu/p/postid/pid9999.0005.102?rgn=main;view=fulltext
• Wenger, E. (1998). Communities of Practice: Learning, Meaning and Identity. MA: Cambridge University Press.
• Wenger, E. C., & Snyder, W. M. (2000). Communities of Practice: The Organizational Frontier. Harvard
Business Review, January - February 2000, 139 - 145.
