Crossing Boundaries - BFI - British Film Institute

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Creative Place-Making The venues’ contribution to creative place-making in each of their cities and regions is an ongoing story, reaching back over twenty years and more. They have been pioneers in the culture-led regeneration of city centre environments and are integral to future regeneration initiatives such as the Oxford Road Corridor in Manchester or the ongoing Cultural Industries Quarter in Sheffield. Their brand strength and audience-pull make a real contribution to a wider set of agendas including inward investment and cultural tourism. The venues’ traditional strength in providing specialised or ‘non-mainstream’ film programming and developing new audiences is also a real value-adder to their places, bringing international attention and artistic integrity. Creative Economy The venues operate as vital, dynamic, cross-boundary spaces where different disciplines and sectors, such as science and art, can collide and collaborate. This is critical to their role in the creative economy. Research into the drivers of success and productivity for places and the economy shows that vital are spaces which encourage interaction between individuals from sectors that don’t normally mix. This Study shows that the venues’ active facilitation and brokering of new forms of knowledge transfer and exchange is making a real impact. Whether it is through exploring cutting-edge technology, as in the collaboration between Watershed and Hewlett Packard Labs, or managing collaborative cross disciplinary action research between different academic institutions in Nottingham, the venues are breaking down barriers and exploring the value of new interfaces and spaces. Sometimes this is proactive: they provide skills and capacity for the creative industries through non-formal learning that contributes to business knowledge and sustainability. Sometimes they simply provide space, in an environment that helps incubate and grow new ideas and business concepts. Perhaps the strongest contribution of all made by the venues to the creative economy is through their work in showcasing and supporting new talent. For example, each of the venues has a justly strong reputation for running film festivals with international reach and status, ranging from Tyneside’s Northern Lights to Sheffield’s International Documentary Film Festival. These festivals, with their commitment to innovative and new film making, as well as other forms of media, act as real catalysts: sparking debate, increasing knowledge, developing new collaborations, spreading good practice and putting their cities on the cultural map. Executive Summary 8 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council
Creative Infrastructure The venues’ contribution to new models of creative infrastructure is perhaps their least understood and publicised role. This Study shows that the venues offer and curate those porous, connected and flexible spaces which are vital to a rich creative ecology and dynamic creative economy. They operate as critical brokers, commissioners and connectors, generously linking activity, both physically and digitally, in a way that gives them a role akin to that of a curator: making experiences, using facilities, mixing collaborators and content in a way that virtually no other part of the cultural infrastructure can. The venues go some of the way to ensuring that in each of the cities there is an organisation which consistently seeks to build new and strong relationships, to cross boundaries, introduce new ideas, and ensure that those with the ideas have the platform upon which they can be expressed. Looking Forward In looking to the future, the Study starts by conceptualising the venues as offering a mix of ‘Infrastructure for You’ and ‘’Infrastructure by You’: - ‘Infrastructure for You’ is a way of defining the traditional role of the venues as providers of experience for an audience, through cinema, art or their other facilities such as bars, cafes and restaurants. It describes the way that the venues, utilising new technology and new work practices, are to a degree (and more crucially can) become places that blur traditional boundaries between consumption and production, broadening their base and reach with an emphasis on connectivity and engagement. They crowd-in creativity in to all their activities. Their ability to deliver this is linked to their understanding of their role as dynamic cultural brands. - ‘Infrastructure by You’ refers to the ways the venues can and indeed must embrace new types of relationships with audiences, businesses, and a wider set of stakeholders. This is where audiences play a more proactive and influential role in programming, in defining meaning, and in co-designing the infrastructure of the physical and digital footprints offered by the venues. This is where ‘open source’ is adopted as a culture and ethic, with the venues actively encouraging citizens to influence the digital and physical footprints, whether this be through new content or shaping the overall visitor experience. Executive Summary 9 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council
Page 1 and 2: Crossing Boundaries The role of cro
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Page 17 and 18: Introduction 17 tom fleming / creat
Page 19 and 20: 1.1.2 Creative Economy How the venu
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2.2.2 Business Support and Mentorin
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partners in exploring whether the c
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economy. Collaboration is not achie
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project in 2007. This is a web- and
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2.2.4 Showcasing and Engaging: Supp
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image. This process attracted a dif
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social space that exists to serve t
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presentation of specialised film ar
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More research is required to explor
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The six venues have extensive progr
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Figure 3.Public Policy Map for Cros
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3. Broadening the Value Range and C
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- As reflectors of changes in lifes
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edevelopment and redesign of Broadw
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Tyneside Cinema pre-redevelopment B
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There are three critical questions
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- The extent to which the end user
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- The venues currently lack the req
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Manchester Cornerhouse Fit-for-Purp
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2. Manchester & Liverpool: Cornerho
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5. Sheffield: Showroom Ian Wild - D
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Appendix 2 - Venue Structure All si
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Crossing Boundaries - BFI - British Film Institute

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