Developing the evidence base for UK film strategy: the research process at the UK Film Council

The UK Film Council established a Research and Statistics Unit in order to gather data relating to film to inform the development of UK Film Council strategy and to provide an information service to the industry, government, the arts and cultural sector and the wider research community. The Research and Statistics Unit draws data from both official and unofficial sources and commissions its own special-purpose studies to gather information relevant to the strategic objectives of the Council. Key tasks are the measurement of the size of the market for film and the various elements of the film value chain, the performance of films supported by the UK Film Council and the performance of UK films in general. Special-purpose research projects currently include a detailed survey of the film production workforce, a study of the economic impact of the UK screen industries and studies of the social impact of local cinemas and the experience of Black- and Minority-led film production companies. A range of industry and official partners are collaborating in these studies. The Research and Statistics Unit also provides statistical and policy analysis relating to the wider policy environment of UK film, including issues such as the future of film tax incentives. This analysis has been developed within the HM Treasury ‘Green Book’ framework with particular reference to understanding market failure in relation to film. Central to the market failure argument is the cultural value of film in both its qualitative and its quantitative aspects. UK Film Council research is placed in the context of the literature on hedonic pricing and contingent valuation. The industrial challenges of increasing cultural value are discussed. Finally, consideration is given to the potential of film to contribute directly to ‘public value’.     

Extending the cultural research infrastructure: The rise of the regional cultural consortiums in England

Two distinguishing features of the New Labour Government have been its focus on regionalism and the establishment of a department of state, the Department for Culture, Media and Sport (DCMS), explicitly dedicated to ‘cultural’ policy. This paper tracks the development of a new set of regional cultural organizations, the Regional Cultural Consortiums (RCCs). These were established to contribute to regional development and to deliver the DCMS's national policy goals. The paper examines the RCCs' remit, challenges, achievements and prospects, and locates these in wider debates about evidence-based policy and continuity and change in cultural and regional policy. Particular consideration is given to the RCCs' research and data collection activities and their role in developing a move towards improved capacity in regional cultural research and data collection.     

The Social Stratification of Cultural Consumption: Some Policy Implications of a Research Project

The paper briefly describes a recently completed research project on the social stratification of cultural consumption, presents some major findings from this project, and considers their implications for public policy in relation to the arts. A central theme is the inadequacy of the ‘homology’ argument, claiming that social hierarchies and cultural hierarchies map closely onto each other. This argument is shown to be empirically unsound and to underestimate the complexity of the relationship between social stratification and cultural consumption, as this is determined by the combined effects of income, education and social status. One question that then arises is what policy response, if any, is required by the fact that many individuals do not participate extensively in the arts even though they have the economic and cultural resources required to do so (self-exclusion rather than social exclusion). And a second is that of how far, in attempts at increasing participation, status-linked motivations might be exploited.     

The Golden Age of the Arts? Taking Part Survey Findings on Older People and the Arts

The UK has an ageing population, and this trend is likely to continue. This article uses data from a new survey called ‘Taking Part’ to analyse patterns of arts engagement among older people (defined as those aged 55 and over) and the reasons for and barriers to older people engaging with the arts. While levels of engagement generally decline among older groups, those aged 55–74 make up a substantial part of the audience for a number of arts events including classical music, opera and craft exhibitions. Indeed, the analysis shows that the 55–64 age cohort is among the most actively involved with the arts. Adults in older age groups also engage with the arts, participating in a range of activities including crafts, reading and watching arts programmes on TV. When analysed further, socio-demographic factors including gender, disability status and socio-economic status emerge as important predictors of arts engagement among older people. Data on motivations and attitudes show that older people engage in the arts for enjoyment, relaxation, to see a specific performer or event and for a sense of a social occasion. In terms of barriers to arts engagement, time is less of an issue for older people, while the impact of poor health (particularly among people with a limiting disability) and the lack of social networks and transport is intensified among older age groups. The article closes with a consideration of the implications for arts engagement among older people of a number of projected future trends, including continuing population ageing and increasing average number of years spent in poor health, increasing Internet use, the narrowing of gender inequalities in life expectancy, the growth in ethnic minority representation among older people and pension reform.     

Distinction on the box: Cultural capital and the social space of broadcasting

The literature on cultural capital has had relatively little to say about television viewing, except insofar as television has served as a negative point of reference in relation to which other cultural practices register their distinctiveness. This article, by contrast, examines the respects in which practices of distinction are operative within the space of broadcast television. Looking first at the ‘internal economy’ of television as expressed in the relations between genre, programme and channel preferences, it then examines how these preferences are related to occupational class, gender, level of education and ethnicity. While showing that divisions within the space of broadcasting are most powerfully articulated in terms of age and gender, the article also shows that occupational class and level of education play important roles in stratifying television audiences along traditional ‘high’/‘low’ lines. A closer analysis of the relations between these variables reveals more complex patterns of distinction, particularly in the place occupied by ‘new drama’ and ‘new comedy’ in the preferences of younger, well-educated viewers.     

Access,efficiency and excellence: Measuring non‐economic performance in the English subsidised cultural sector

The requirement to evaluate policies and measure performance in the publicly funded cultural sector in the UK has become increasingly pressing since the early 1980s. This chapter reviews the various attempts to do that. It demonstrates how economic and other quantifiable measures have tended to be emphasised whereas the qualitative aspects of cultural provision, which are more difficult to measure, have tended to be neglected.

The chapter presents the first overview of the subject. It covers developments within what is referred to as the ‘cultural framework’ ‐ the infrastructure associated with the Department for Culture, Media and Sport, which includes the ‘arts funding framework’. It also looks at developments affecting local authorities’ provision of cultural services.

The chapter draws on various published and unpublished policy documents, and accounts, as well as interviews with individuals involved in the development of performance management in the cultural sector. Their views are presented throughout the chapter to illustrate the points raised.

The chapter opens by examining the history of performance indicators in the sector, and maps the current requirements to measure performance. The second section considers the resistance to measuring the performance of arts organisations and museums. In doing so, it examines critical inheritance of former attempts to measure performance, and the issues raised in relation to current aspirations to do so. The third section presents attitudes to future developments, and is based on speculations by those currently involved in museums, galleries, the arts funding system and the introduction of Best Value as to the kinds of impact that the introduction of performance measurements might have. The fourth and final section draws together a series of observations about the introduction of non‐economic performance in the English subsidised cultural sector.     

A cultural map of the United Kingdom, 2003

This paper employs Multiple Correspondence Analysis (MCA) to map cultural participation and taste in the UK. It constructs what Bourdieu calls a space of lifestyles from evidence collected in a national random sample survey of the British population in 2003. MCA constructs the space relationally on the basis of similarities and differences in responses to questions about a large number of cultural items in several sub‐fields including music, reading, TV and recreational activity. These items are mapped along two axes and their clustering indicates affinities between tastes and practices across sub‐fields. The cultural patterns are described. We then superimpose socio‐demographic variables, including class, educational qualifications and age, the distribution of which indicates tendencies for certain categories of person to have shared tastes. The analysis reveals meaningful, socially differentiated patterns of taste. The space of lifestyles proves to be structured primarily by the total volume of capital (resources) held by respondents and by age. Strong oppositions are revealed. An older, educated middle class shares ‘legitimate’ established cultural preferences. The repertoire of a younger middle class group contains more contemporary and ‘popular’ items. Less well‐educated, working class groups are characterised often primarily by lack of cultural participation, but also, especially among the young, by an aversion to ‘legitimate’ culture.     

Determinants of Impact: Towards a Better Understanding of Encounters with the Arts

The article argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and socio-cultural dynamics that govern the aesthetic experience. It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people. Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the article draws attention to the gaps in our current understanding of the responses to art. It proposes a classification and exploration of the factors—social, cultural and psychological—that contribute to shaping the aesthetic experience, thus determining the possibility of impact. The ‘determinants of impact’ identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and ‘environmental factors’, which are extrinsic to both the individual and the artwork. The article concludes that any meaningful attempt to assess the impact of the arts would need to take these ‘determinants of impact’ into account, in order to capture the multidimensional and subjective nature of the aesthetic experience.     

Cross-country comparisons of cultural statistics: Issues and good practice

Cross-country comparisons are popular in cultural policy. This paper looks at how cultural statistics are used in the making of such comparisons. Analysts have identified a general ‘sloppiness’ in current cultural statistics comparisons. Some of the major problems in both data production and data presentation are documented, and a ‘checklist’ of good practice is provided. The paper aims to provide guidance and ideas for anyone making cross-country comparisons of cultural statistics.     

Same or different? The “cultural entrepreneurship” and “arts entrepreneurship” constructs in European and US higher education

“Arts entrepreneurship” is beginning to emerge from its infancy as a field of study in US higher education institutions. “Cultural Entrepreneurship”, especially as conceived of in European contexts, developed earlier and on a somewhat different but parallel track. As Kuhlke, Schramme, and Kooyman [(2015). Introduction. Creating cultural capital: Cultural entrepreneurship in theory, pedagogy and practice. Delft: Eburon] note, “In Europe, courses began to emerge in the late 1980s and early 1990s?…?primarily providing an established business school education with an industry-specific focus on the new and emerging creative economy.” Conversely, the development of “arts entrepreneurship” courses and programmes in the US have been driven as much or more from interest within arts disciplines or even from within the career services units of arts conservatories as a means toward supporting artist self-sufficiency and career self-management. This paper looks at the conceptual development of “arts entrepreneurship” in the US as differentiated from “cultural entrepreneurship” in Europe and elsewhere. Its intention is to uncover where the two strands of education (and research) are the same, and where they are different. In addition to a review of existing literature on European cultural entrepreneurship, US data is drawn from a new survey and inventory of US arts entrepreneurship programmes developed for the Alliance for the Arts in Research Universities (a2ru).     

The social stratification of theatre,dance and cinema attendance

In current sociological literature the relationship between social inequality and patterns of cultural taste and consumption is the subject of a large and complex debate. In this paper the primary aim is to examine, in the light of empirical results from a research project in which the authors are presently engaged, three main, and rival, positions that have been taken up in this debate, here labelled as the ‘homology’, the ‘individualization’ and the ‘omnivore–univore’ arguments. Elsewhere, we have concentrated on musical consumption in England, and find evidence that is broadly supportive of the omnivore–univore argument. Here we ask whether such findings are confirmed in the case of theatre, dance and cinema attendance. A secondary aim of the paper is to bring to the attention of practitioners in the field of cultural policy and administration the need to address the issues that arise through the use of more powerful methods of data analysis than those often applied in the past. We explain how indicators of theatre, dance and cinema attendance derived from the Arts in England survey of 2001 can be subject to analysis so as to reveal two distinctive patterns of attendance and, in turn, two distinctive types of consumer—who can, it turns out, be regarded as omnivores and univores, even if with some qualification. The former have relatively high rates of attendance at all kinds of the events covered, including musicals and pantomimes as well as plays and ballet, while the latter tend to be cinema-goers only, that is, non-consumers of theatre and dance. A range of measures of social inequality are then introduced into the authors' analyses, including separate measures of social class and social status and also of educational level and income, and it is further shown that, again in conformity with the omnivore–univore argument, these two types of consumer are socially stratified. Omnivores are of generally higher social status than univores and also have usually higher levels of education and higher income than do univores (the latter finding marking the main difference with musical consumption, which was unaffected by income once other stratification variables were controlled). In sum, our results for theatre, dance and cinema attendance lend, overall, further support to the omnivore–univore argument as against its rivals, but also indicate that different aspects of social inequality impact on different forms of cultural consumption in varying degrees and probably through largely separate processes.     

Local cultural strategies: a strategic review

The development of Local Cultural Strategies was recommended to all local authorities in England through the publication of a guidance document, Creating Opportunities, by the Department of Culture Media and Sport (DCMS, 2000). Although not a statutory duty, by the end of 2002 Local Cultural Strategy development was strongly encouraged by the government, and the adoption of a strategy became part of performance review for local authorities under Best Value Performance Indicator BVPI 114. This recommendation encouraged local authorities to formalize and publish plans for the strategic development of their cultural and culture-related services. These used a broad definition of culture and recognized of the value of partnership working within localities, regions and sub-regions in which local authorities were taking the ‘lead’. It also reflected the advocacy of a cultural planning approach by central government for local government.

Cultural planning encourages a culturally sensitive approach to local cultural development, focusing on a diverse range of ‘cultural resources’, including leisure and sports facilities, qualities of natural and built environment, youth and ethnic communities and communities of interest, as well as the need for different local authority service departments and private, voluntary and other public sector partners to be involved early on in strategic development. According to this approach, culture is broadly defined as a ‘way of life’, and DCMS's guidance states that Local Cultural Strategies should promote cultural well-being and the quality of life in their designated areas.

As a result, Local Cultural Strategies have been developed at all tiers of English local authorities, including district and borough, metropolitan and unitary authority, county and regional levels. This article discusses the development of Local Cultural Strategies in England and reviews information on those strategies that have been developed. It examines the different approaches local authorities have taken towards this task, the methodologies for consultation employed, the frameworks for monitoring and the evaluation of cultural provision they offer. It considers the benefits and problems associated with the production of Local Cultural Strategies as strategic development frameworks for local culture, and questions the future of this process following their ‘subsumption’ into Community Strategies as part of a broader package of reforms for local government. In doing so, it examines how these documents offer an opportunity to examine local approaches to cultural planning.     

Distinction through visual art

Visual art is one of the fields where, according to Bourdieu, culture is used to reproduce the class structure. Like other items in the cultural repertoire, paintings, as major examples of visual art, imply social divisions in how they are engaged with by artists, critics and audiences. Within the Bourdieusian framework, cultural engagements with paintings are interpreted as indicators of social position, since appreciation depends on a trained capacity in the family and the educational system, which is often inaccessible to less powerful sections of the population. This would imply that the sorts of paintings favoured by working-class people differ from those preferred by the middle or upper classes. More recent studies have contested the view that a gulf exists between the art tastes of different classes in ways that reproduce the class structure. The argument of the omnivore thesis that distinctions between more popular and legitimate tastes have become blurred has predominantly been based on empirical references in the field of music. This article explores this thesis on the basis of data about visual arts in the Cultural Capital and Social Exclusion project. While some differences continue to be connected to social divisions of income, education and occupational groups, important similarities are found across the board, and certain significant differences appear to relate to factors other than social class, such as ethnicity, age and gender. It is also significant that some people appear disconnected from and disinterested in paintings.     

Cultural History’s Absent Audience

ABSTRACT

This article reconsiders Peter Mandler’s essay ‘The Problem with Cultural History,’ and the complexities of locating evidence of culture’s impact upon ordinary people, or ‘throw.’ A brief examination of the history of market research and public opinion surveys in the 20th century offers important lessons for the cultural historian faced with locating and interpreting evidence of audience response that is either rarely there, or more disturbingly, rarely meaningful by our current standards of interpretation. Ultimately this paper asks of my fellow cultural historians: Does culture matter as much as we cultural historians want it to?     

‘America’ as desire and violence: Americanization in postwar Japan and Asia during the Cold War

Abstract

Reflecting on a personal experience of ‘pre‐professional’ university education and reluctant engagement with Cultural Studies as an academic project, this article examines the now ambiguous role of undergraduate education under neo‐liberal management regimes. Arguing that a ‘new class politics in knowledge’ is emerging with the transnational policy‐sharing and international student exchange schemes with which diverse governmental cultures are responding to globalization, Morris suggests that the undergraduate classroom is becoming a ‘frontier’ of struggle over the future. Teaching cultural studies to undergraduates in a liberal arts environment is one way in which the discipline's emphasis on local knowledge can be put to institutionally creative uses.     

Include Us Out—Economic Development and Social Policy in the Creative Industries

While Government claims about the UK as a ‘global creative hub’ continue to be made (Purnell, 2005), the contradictions and tensions in New Labour's policy in the creative industries have become more apparent. These include the tensions between a set of policies for global media businesses versus the support for small firms in local economic development (Gilmore, 2004; Hesmondhalgh & Pratt, 2005), and the tension between citizens and consumers in media and cultural policy (Hesmondhalgh, 2005). Equally apparent are the tensions between economic development of these sectors and social inclusion. In the UK, arguably more than other countries, the rhetoric of Creative Industries has been tied into political ideas about the links between economic competitiveness and social inclusion. The stated aims for creative industry development have thus been twofold—to increase jobs and GDP, while simultaneously ameliorating social exclusion and countering long-standing patterns of uneven economic development. Research, however, suggests that supporting the creative industries is, at best, a problematic way of tackling the issues of economic and social exclusion. The effects of gentrification on creative industry working and living space (Evans & Shaw, 2004); the patterns of informal hiring and career progression in these sectors (Leadbeater & Oakley, 2001) and the concentration of much economic activity in London and the South East, all suggest that the development of these sectors might exacerbate rather than address patterns of economic inequality.     

The Gramppian Hills: An Empirical Test for Rent-Seeking Behaviour in the Arts

To remind cultural policy practitioners that rent-seeking theory exists (in recently published cultural economics reference books the theory is hardly mentioned), and to encourage theoreticians further to develop their models of personal and institutional behaviour predicting and explaining it, this article suggests a simple graphical test for rent-seeking behaviour in the non-profit art world. The author hopes to reinvigorate debate about arts rent seeking and about its good and ill effects, about possible diagnostic techniques and about possible control measures.     

Murakami Haruki and the historical memory of East Asia

Abstract

In this article, I would like to focus on an analysis of internal logic of the ‘Haruki phenomenon’ as a symptom in current East Asian public culture. In particular, I will discuss how Haruki searches for the healing method for the ‘60s complex’ among Japan’s ‘Sixties’ Kids,’ including Haruki himself, through an analysis of his novels Norwegian Wood (2000[1987]) and Kafka on the Shore (2005[2002]). In the process of analysis, we can witness that Haruki abandoned his task of ‘reconciliation with the 1960s’ through faith, rather than facing it directly, and fiznally stripped the 1960s of historicity and reality. He regarded the ‘reconciliation with the 1960s’ as something beyond an individual’s ability. Transforming the 1960s from a history of postwar Japan into an object of abstract and universal nostalgia, which is closed to the present, Haruki effectively met the latent desire of the East Asian people, who were experiencing the dissolution of their ideologies, at the right time. This is the essence of the Haruki phenomenon that emerged in East Asia over the last decade. I use the phrase ‘nostalgia that lost its nationality’ to describe the uncanny cultural phenomenon of East Asian readers longing for the 1960s pictured in Haruki’s novels as if this were their own past, despite their very different national memories. Nostalgia, a cultural symptom of the postmodern society, where remembering the nation’s past totally is impossible, is a blank imitation deprived of its original source. In short, the substance of the Haruki phenomenon is nostalgia that developed from a desire to forget the traumatic memories of the national histories in individual East Asian countries.     

Cultural adaptation and societal context: The role of historical heterogeneity in cultural adaptation of newcomers

In today’s global world, it has become increasingly important for individuals moving to a different country for work, study, or permanent relocation to successfully adapt to this new culture. Responding to recent calls in the literature for more ecological approaches to the study of cultural adaptation, we examine the effect of host country historical heterogeneity—or, the extent to which a country’s current inhabitants descended from a diverse pool of ancestors—on newcomers’ cultural adaptation to that country. Across two studies, we find that higher levels of host country historical heterogeneity predict higher rates of cultural adaptation among newcomers. This relationship persists even when accounting for individual characteristics of the newcomers and sociocultural/economic characteristics of the home and host countries. These results suggest that a country’s historical levels of diversity may contribute to the successful adaptation of newcomers above and beyond their personal characteristics, their home country environment, or current conditions in the host country, including current levels of diversity. These results have practical implications for facilitating newcomers’ successful cultural adaptation.     

‘Envisioning the Past: Art,Historiography and Public History’*

Abstract

This essay considers the role that art and history might play together in public history projects. It discusses public history not in terms of ‘learning lessons’, ‘public debate’ and ‘transferable skills’ but instead in terms of creative thinking in the public sphere. The essay draws upon the author’s experiences of working with artists on a series of exhibitions themed around the history of an arts centre’s late Georgian and Victorian buildings and their inhabitants in Sheffield. It explores the synergies between artistic and historical ways of knowing and argues that collaborations with artists provide an opportunity for academic historians to reengage the imaginative aspects of professional academic history. It also explores the value of art’s expressive power and its potential to pose new questions and suggest new answers for both public and historians’ understanding of the past.