Berlin Case Study - Cities Institute

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The DIW did not highlight particular Creative Industries clusters but suggested that where many artists live, creative enterprises are also located (see Figure 3). It is furthermore suggested that 25% of creative enterprises are located in Prenzlauer Berg, Kreuzberg, Friedrichshain, and Mitte districts. One reason given is that renting property in these areas has been cheaper than in so-called prestige areas in West Berlin such as Kurfuerstendamm (DIW, 2005). In November 2005, the IHK Cultural Index was published. It provides data on how CI enterprises (who are members of IHK) assess their situation, and how the situation of creative industries has changed over time. The results of the most recent report, recording change between May and November 2005, suggest that private cultural enterprises and organisations look more optimistically on the future than public institutions. 2.3 Creative clusters The media and related cluster is evident in inner East Berlin, with multimedia firms co-locating at building and street level (e.g. Chausee-Street, ‘Silicon Allee’). This ‘eco-system’ can generate cross-fertilisation across the creative production/value chain, creating what Kratke coins, a “space of opportunities” (2004: 518). Table 9. Cultural Index (Business Confidence), November 2005 Sector Overall Individual Museums 53 (+5) 58 (+5) Galleries/Auction Houses 65 (+8) 66 (-1) Performing Arts 41 (+7) 55 (+/- 0) Orchestra/Music 28 (-6) 50 (+/- 0) Cultural Institutes etc. 42 (+5) 42 (-3) Libraries 35 (+1) 49 (+4) Publishers (Book) 44 (+4) 49 (+3) Music Industries 60 (+13) 61 (+7) Live-Entertainment (e.g. Cabaret) 31 (+/- 0) 40 (+2) Overall 43 53 Non-profit sector 50 (+2) 56 (-1) Profit sector 43 (+1) 53 (+5) Data as at November 2005 – change from May 2005 Scale 0-100: 50+ positive, 50- negative Number of questionnaires returned from profit sector: 39 Number of questionnaires returned from non-profit sector: 45 Source: www.ikm.fu.de/kulturindex (11/2005) 20 Berlin Case Study/part two
Berlin aims to become Germany’s media metropolis. Leading companies in the communication and media sector are relocating to the German capital. For many young and creative media experts Berlin is the sought after location. Berlin’s largest media location, the MEDIACITY Adlershof, is playing an increasingly important role in this cluster – see Projects & Initiatives (Appendix A). The city-region’s media cluster is evident from Figure 8, with larger and smaller firms concentrated in inner urban area districts. Table 10. Film industry in Berlin/ Brandenburg (1997) Activity Duplication of recorded film Production of technical photo, projection and cinema equipment Film & Video production Film & Video programme-making Production of TV & Radio programmes Self-employed stage, film and TV artists No. of firms % Turnover DM 000s % 17 11.6 26 14.5 10 3.6 62 1.8 815 20 1,138 12.8 131 6.5 117 5.3 39 17.6 48 1.7 946 16.9 136 14.5 Total 1,958 15.9 1,529 8.3 City Regional Film/TV The Film/TV production cluster is also evident at a regional scale in Berlin and in the surrounding Brandenburg region. Whilst Berlin had 11% of German film companies – second only to Munich with 13.2% – and 13.4% of employment, its national share of turnover was only 7.9% compared with 42.8% in Munich and 19.8% in Hamburg. In the city-region (Berlin/Brandenburg) however, nearly 16% of German firms are located, with a high concentration of film & video production, film/TV programme-making and in consequence supporting a self-employed artists and crafts community. Unlike other regional centres, this region does not host a major TV station. The majority of media companies in the wider region are located in Potsdam/Babelsburg – with Union Film, and Studio Babelsburg having been a film and production location since 1912. The number of staff employed in this media city in 1999 were estimated to be 1,500 in 125 companies. These city and regional clusters therefore support a range of production activity and employment with strong national and international networks and communication links (Kratze 2002). Investment capital in film development has flowed into the area from public and private sources, e.g. Filmboard Film Fund, Sony Fund, and the Berlin Film Festival. Source: German VAT data, in Kratke (2002) Berlin Case Study/part two 21
Page 1 and 2: Strategies for creative spaces Berl
Page 3 and 4: Introduction This case study is one
Page 5 and 6: 1. Economic, political and demograp
Page 7 and 8: Figure 1. Relative concentration of
Page 9 and 10: Berlin has also improved its positi
Page 11 and 12: 1.4 Labour market and investment Be
Page 13 and 14: As a cultural tourism destination,
Page 15 and 16: 2. Creative industries Berlin has b
Page 17 and 18: The number of people working the Cr
Page 19: In terms of employment in Berlin, t
Page 23 and 24: In contrast, Kreuzberg had been the
Page 25 and 26: eginning. In contrast, the federal
Page 27 and 28: 4. Success factors The foregoing ca
Page 29 and 30: 5. References www.berlin.de www.blc
Page 31 and 32: Appendix A - Projects and initiativ
Page 33 and 34: • digital light equipment (bar li
Page 35 and 36: A location for events Künstlerhaus
Page 37 and 38: More than 10,000 visitors have seen
Page 39 and 40: TRO Artists’ Group In 2002, the a
Page 41 and 42: Appendix B - Classification of crea
Page 43 and 44: Literature, Print and Publishing 22
Page 45: London Development Agency Palestra

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