Creativity in the Lille metropolitan area : the example of the image sector

In France, the Paris region is the traditional centre for decision-making and creative functions. Unsurprisingly, it concentrates most cultural industries – cinema, multimedia, TV, etc. The aim of this paper is to study how other French cities, and more specifically regional medium-sized cities, can develop this type of activities. We will take the example of the multimedia industry in the Lille metropolitan area. Ann-Lee Saxenian (1994) has shown the importance of regional culture and heritage in the constitution of an economic trajectory. The pre-existence of links between film production, media or microelectronic industries, and of an intense cultural life can support the emergence of essential know-how for the development of an image sector (Sträter, 2000). Lille isn’t a traditional filming area and the weak presence of the television media didn’t facilitate the emergence of large regional production groups. But, the decline of textile factories has allowed the development of new activities, as mail-order selling, which have used multimedia and image technologies since the 1980s. Moreover, Lille metropolitan area has a broad training offering in the technical and creative fields which can have significant repercussions for the constitution of a creative class (Florida, 2002). But the emergence of start-up has been very limited since the 1990s and 2000s. In 2009, the Lille metropolitan area counts only 350 firms in the image sector and has not a critical mass. Cognitive diversity generated by a social group stimulates creative individual potential (Miliken, Bartel and Kurtzberg, 2003). This explains the choice made by public authorities to locate audiovisual and multimedia firms in three media districts, which accommodates schools, research centres, publics authorities and firms (thanks to free tax zones, cheap facilities and incubators) according to the Triple Helix principles (Etzkowitz and Leydersdorff, 1997). That projects aim to retain young graduates by offering an environment enable to developing their careers. But the national project for extending the Plaine Saint-Denis audiovisual cluster, located north of Paris, is likely to deter the settlement of firms in Lille, because of the weakness of both the sector and the networks.

Emergent multimedia clusters in the Lille, Lyon and Marseille metropolitan areas

The spatial, organizational and institutional proximity plays an important part in the geography of economic development (Boschma, 2005). It is therefore important to see what kinds of networks are being developed within the multimédia sector between the different actors of the Triple Helix (Etzkowitz and Leydersdorff, 1997): firms, training and R&D facilities, and public authorities. We will take for the example three French metropolitan areas: Lille, Lyon and Marseille. The dynamism of the social networks is supported by the development of a collective governance which associates public and private actors (Maillat and Kébir, 1999). So, initiatives have launched to facilitate strategic governance of emergent regional multimédia clusters. Three forms of governance (Tremblay and Rousseau, 2005) can be distinguished: public (Pole Images Nord-Pas-de-Calais in Lille), private (Imaginove in Lyon) and public-private partnership (Pole Sud Image in Marseille). These contrasted situations result from internal conflicts in the different industries of the multimedia sector. These structures have launched several similar actions in order to the constitution of social networks. Principles are inspired by the Competitivness Clusters and Michael Porter’s theories (2000). We can summarize them in the following way: - Interprofessional meetings, - Pooling of the human resources of the companies from the cluster, - Training programme for employees and executives, - Calls for collaborative projects which associate industrial and academic partners, - Support to firms willing to try out innovative business approaches, - Support programme for companies seeking to compete internationally. But, collaboration between different firms was generally low or nonexistent in spite of several regional projects (Einright, 1996). Collaborations are still very recent, rarely include a cross-media approach and hesitate to develop partnerships with research units. Similarly, the three metropolitan areas suffer from the poor adaptation of the regional training offer, which is far too rich and diverse compared to the actual capacities of the regional moving picture economy. Companies, mainly SMEs, cannot hire many people and they hesitate to embark on international missions.

Creativity in the Lille metropolitan area: the example of the image sector

In France, the Paris region is the traditional centre for decision-making and creative functions. Unsurprisingly, it concentrates most cultural industries - cinema, multimedia, TV, etc. The aim of this paper is to study how other French cities, and more specifically regional medium-sized cities, can develop this type of activities. We will take the example of the multimedia industry in the Lille metropolitan area. Ann-Lee Saxenian (1994) has shown the importance of regional culture and heritage in the constitution of an economic trajectory. The pre-existence of links between film production, media or microelectronic industries, and of an intense cultural life can support the emergence of essential know-how for the development of an image sector (Sträter, 2000). Lille isn't a traditional filming area and the weak presence of the television media didn't facilitate the emergence of large regional production groups. But, the decline of textile factories has allowed the development of new activities, as mail-order selling, which have used multimedia and image technologies since the 1980s. Moreover, Lille metropolitan area has a broad training offering in the technical and creative fields which can have significant repercussions for the constitution of a creative class (Florida, 2002). But the emergence of start-up has been very limited since the 1990s and 2000s. In 2009, the Lille metropolitan area counts only 350 firms in the image sector and has not a critical mass. Cognitive diversity generated by a social group stimulates creative individual potential (Miliken, Bartel and Kurtzberg, 2003). This explains the choice made by public authorities to locate audiovisual and multimedia firms in three media districts, which accommodates schools, research centres, publics authorities and firms (thanks to free tax zones, cheap facilities and incubators) according to the Triple Helix principles (Etzkowitz and Leydersdorff, 1997). That projects aim to retain young graduates by offering an environment enable to developing their careers. But the national project for extending the Plaine Saint-Denis audiovisual cluster, located north of Paris, is likely to deter the settlement of firms in Lille, because of the weakness of both the sector and the networks

The development dynamics of the Paris region multimedia cluster

In France, the Paris region is the traditional centre for decision-making and creative functions. Unsurprisingly, it respectively concentrates 75% and 90% of audiovisual producers and technicians, and 52% of video games employees (IAURIF, 2010). The aim of this paper is to analyse if the Parisian media sector has developed a clustering dynamics. Following the rediscovery of Alfred Marshall's academic publications during the eighties, a widening number of research papers - mainly draft in Europe and United-States - concentrates on explaining the ins and outs of the spatial and relational proximities. The unsettled notion of cluster popularized from 1990 by Michael Porter had a coronation within the academic community, instead of the substantial conceptual limits underline by various schools of thought. Consequently, the concept of innovation cluster blows in the communications of the spatial economists achieving scientific works on high-tech sector. Unlike the classical approach, innovative clusters assert at least three new features: - The regional scale (Enright, Dodwell et Scott, 1996), - The collaborative process of governance (Ehlinger, Perret and Chabaud, 2007 ; Den Hertog and Roelandt, 1999) which gathers the Triple Helix actors Etzkowitz and Leydersdorff, 1997): firms, training and R&D facilities, and public authorities. - The non-immediately-marketable aspect of the relationships undertook within the cluster (Glon, 2007). The Paris region concentrates 10.000 multimedia firms, including a great number of SME which sometimes have established networks with some multinational media groups. However, the relations are extremely limited with the regional schools and research laboratories. The economic situation of SME remains very fragile. That's explain the launching in 2005 by the Ile de France Regional Council of a cross-media professional association, Cap Digital, labellized competitiveness cluster. On the regional scale, this association gathers 450 firms, 50 schools or universities and 170 research laboratories in audiovisual, video games, software, Internet and telecommunications industries. In spite of a rapid growth of the sector and 150 projects labellized on the regional scale, collaborations within the cluster still remain very recent, rarely include a cross-media approach and hesitate to develop partnerships with research units. According to J-C Daumas (2007), clusters are characterized by several phases: emergence, growth, decline and rebirth. We can consider that the Parisian multimedia cluster as a growth and structuring cluster

The development of the image sector in the Marseille metropolitan area: Historical factors, creative resources and difficulties

The aim of this paper is to study in what respect historical legacies and creative resources have determined the settlement of multimedia companies in the Marseille metropolitan area, the third multimedia cluster after the Paris and Lyon regions. Ann-Lee Saxenian (1994) has shown the importance of regional culture and heritage in the constitution of an economic trajectory. The pre-existence of links between the media, microelectronic or photographic industries, and of an intense cultural life can support the emergence of essential know-how for the development of a multimedia sector (Sträter, 2000). Marseille is a traditional filming area: in 1895, one of first cinematographic films was shot in La Ciotat. The sunny climate and splendid landscapes made it the setting for Marcel Pagnol's films in the 1930s. However, the weak presence of the press and television media didn't facilitate the emergence of large regional production or post-production groups. Yet the presence of major schools in the technical and creative fields can have significant repercussions for the constitution of a creative class (Florida, 2002). Thus, the fact that major national art schools are located in Marseille allows for the training of young talents who are initially tempted to remain within the metropolitan area thanks to good communication infrastructures (TGV, broad-band connections) and locations for start-ups (the Belle de Mai media cluster). Moreover, technical know-how, such as microelectronics or telecommunications, involve creativity, innovation and the adaptation of multimedia firms to technological changes. But, cognitive diversity generated by a social group stimulates creative individual potential (Miliken, Bartel and Kurtzberg, 2003). This explains the choice made by public authorities (the Euroméditerranée program) to locate audiovisual and multimedia firms in the Belle de Mai media cluster, which accommodates Parisian firms in search of pleasant surroundings, free tax zones and cheap facilities more than local companies. But the national project for extending the Plaine Saint-Denis audiovisual cluster, located north of Paris, is likely to deter the settlement of firms in Marseille, because of the weakness of both the sector and the networks

Emergent multimedia clusters in the Lille, Lyon and Marseille metropolitan areas

The spatial, organizational and institutional proximity plays an important part in the geography of economic development (Boschma, 2005). It is therefore important to see what kinds of networks are being developed within the multimédia sector between the different actors of the Triple Helix (Etzkowitz and Leydersdorff, 1997): firms, training and R&D facilities, and public authorities. We will take for the example three French metropolitan areas: Lille, Lyon and Marseille. The dynamism of the social networks is supported by the development of a collective governance which associates public and private actors (Maillat and Kébir, 1999). So, initiatives have launched to facilitate strategic governance of emergent regional multimédia clusters. Three forms of governance (Tremblay and Rousseau, 2005) can be distinguished: public (Pole Images Nord-Pas-de-Calais in Lille), private (Imaginove in Lyon) and public-private partnership (Pole Sud Image in Marseille). These contrasted situations result from internal conflicts in the different industries of the multimedia sector. These structures have launched several similar actions in order to the constitution of social networks. Principles are inspired by the Competitivness Clusters and Michael Porter's theories (2000). We can summarize them in the following way: - Interprofessional meetings, - Pooling of the human resources of the companies from the cluster, - Training programme for employees and executives, - Calls for collaborative projects which associate industrial and academic partners, - Support to firms willing to try out innovative business approaches, - Support programme for companies seeking to compete internationally. But, collaboration between different firms was generally low or nonexistent in spite of several regional projects (Einright, 1996). Collaborations are still very recent, rarely include a cross-media approach and hesitate to develop partnerships with research units. Similarly, the three metropolitan areas suffer from the poor adaptation of the regional training offer, which is far too rich and diverse compared to the actual capacities of the regional moving picture economy. Companies, mainly SMEs, cannot hire many people and they hesitate to embark on international missions

Industrie du jeu vidéo et construction de clusters innovants

Dans les aires métropolitaines de Lille, Lyon et Marseille, l’industrie du jeu vidéo n’était quasiment pas structurée. Les entreprises ne se connaissaient pas et ne collaboraient pas entre elles. À la fin des années 2000, trois associations professionnelles transmédia regroupant entreprises, écoles, centres de recherche et institutions publiques ont été lancées : Imaginove à Lyon, Pictanovo à Lille et le Pôle Régional de l’Image, du Multimédia et de l’Internet (PRIMI) à Marseille. Ces structures ont développé des actions d’animation et de médiation incitant aux collaborations entre les acteurs du jeu vidéo : création de plates-formes emploi/formation, lancement d’appels à projets collaboratifs, accompagnement au développement international des entreprises. Les premiers résultats montrent que les entreprises productrices de contenus vidéoludiques coopèrent activement avec les écoles et les laboratoires de recherche, principalement à l’échelle locale et régionale.In the Lille, Lyon and Marseille metropolitan areas, the video games industry isn’t really structured. Collaborations between firms are nonexistent. To improve this problematic situation, three cross-media professional associations have been created in the end of the 2000s : Imaginove in Lyon, Pictanovo in Lille and the Regional Image, Multimedia and Internet Cluster (PRIMI) in Marseille. These associations that aim at launching a cluster dynamic have developed several actions for animation and mediation : employment/training websites, calls for collaborative projects, international development missions. The first results show networks and collaborations between video games firms, schools, research centres and public authorities, primarily at the local and regional level

Les équipements culturels de la vallée de l’Emscher (Ruhr, Allemagne) : de la régénération urbaine au développement d’une économie culturelle et créative

D’un point de vue économique, social et environnemental, la vallée de l’Emscher est à la fin des années 1980 le secteur le plus sinistré de la Ruhr. Pour assurer la reconversion et renverser l’image négative du territoire, le Land de Rhénanie du Nord-Westphalie a notamment misé sur la culture en lançant une exposition internationale d’architecture. Créés sur d’anciennes friches industrielles, les équipements culturels ont développé une architecture iconique et se sont inscrits dans le cadre de vastes programmes de régénération urbaine. Toutefois, les retombées territoriales de ces nouveaux équipements culturels sont limitées. S’ils contribuent fortement à stimuler l’économie touristique régionale, ils demeurent financièrement déficitaires, ce qui pousse le Land de Rhénanie du Nord-Westphalie à diversifier leurs activités, notamment par le développement d’expositions temporaires, de festivals ou la mise en place d’une stratégie en direction des industries créatives.From an economic, social and environmental point of view, the Emscher Valley was at the end of the 1980s the more sinister area of the Ruhr. To ensure conversion and improve the negative image of the territory, the Land of North Rhine-Westphalia has used launched an international architecture exhibition. Created on former industrial wastelands, cultural facilities have developed an iconic architecture within the framework of urban regeneration programs. However, the territorial impact of these new cultural facilities is limited. If they strongly contribute to boost regional tourism economy, they are structurally in deficit. The Land of North Rhine-Westphalia must diversify their activities with the development of temporary exhibitions, festivals or the launch of a strategy into the creative industries

Pôles transmédia, actions d’intermédiation et construction de liens au sein de l’industrie du multimédia des aires métropolitaines de Lille, Lyon et Marseille

Dans les aires métropolitaines de Lille, de Lyon et de Marseille, l’industrie du multimédia n’est quasiment pas structurée. Les entreprises ne se connaissent pas et ne collaborent pas entre elles. À la fin des années 2000, trois associations professionnelles transmédia regroupant entreprises, écoles, centres de recherche et institutions publiques, ont été lancées: Imaginove à Lyon, le Pôle Images Nord-Pas de Calais à Lille et le Pôle Régional de l’Image, du Multimédia et de l’Internet (PRIMI) à Marseille. Ces structures ont développé des actions d’animation et de médiation incitant aux collaborations, telles que la création de plates-formes emploi/formation, l’accompagnement au développement international des entreprises ou le lancement d’appels à projets collaboratifs. Les premiers résultats montrent que les entreprises commencent à coopérer avec les écoles et les laboratoires de recherche, principalement à l’échelle locale et régionale, témoignant de l’émergence de clusters du multimédia.In the Lille, Lyon and Marseille metropolitan areas, the multimedia industry isn’t really structured. Collaborations between firms are nonexistant. To improve this problematic situation, three crossmedia professional associations have been created in the end of the 2000s: Imaginove in Lyon, the Nord-Pas de Calais Images Cluster in Lille and the Regional Image, Multimedia and Internet Cluster (PRIMI) in Marseille. These associations that aim at launching a cluster dynamic, have developed several actions for animation and mediation: employment/training websites, international development missions, calls for collaborative projects. The first results show emergent collaborations between firms, schools, research centres and public authorities, primarily at the local and regional level. In the Lille, Lyon and Marseille metropolitan areas, multimedia clusters can thus be considered emergent

Patrimonialisation et greffes culturelles sur des friches issues de l’industrie minière

À partir de la confrontation des expériences menées dans les bassins charbonniers du Nord-Pas de Calais et de la Ruhr, l’objectif de cet article est d’analyser les modalités de la transformation des infrastructures minières en lieux culturels. Si dans la Ruhr les populations et les villes se sont très rapidement réappropriées ces anciens « phares » de l’économie régionale, les collectivités territoriales de l’ex-bassin minier du Nord-Pas de Calais ont en revanche largement détruit leurs friches industrielles. Toutefois, un changement dans la perception du patrimoine industriel s’est effectué à partir de la fin des années 1980. Diverses mesures ont favorisé la réhabilitation et la patrimonialisation de ces friches minières dans le cadre de vastes périmètres de régénération urbaine. Ces infrastructures abritent désormais des équipements culturels, des activités créatives et, le cas échéant, des festivals.From the confrontation of the experiences implemented in the Nord-Pas de Calais and the Ruhr coalfields, the aim of this paper is to analyze the transformation of coal pits in cultural places. In the Ruhr area, populations and cities themselves re-appropriated very quickly these old "flagships" of the regional economy. In the Nord-Pas de Calais, public authorities have rather dismantle the derelict lands. However, political philosophy has changed since the end of the 1980s, making possible the cultural regeneration of some wastelands inherited from mining industry throughout new cultural facilities, creative industries and festivals