The drowned and the saved: the determinants of success in the Italian temporary art and cultural exhibitions market

This paper develops an empirical analysis of the determinants of the length of temporary art and cultural exhibitions. Using a sample of 659 exhibitions that took place in Italy in the period 2001–2010, a generalized linear model with a logit link and the binomial family was estimated. We also focus on the subsample of prolonged exhibitions, using a logistic accelerated failure time model. The empirical evidence supports the relevance of the subject, location and timing of the exhibition on duration; however, differences in the estimated impact of explanatory variables seem to suggest alternative marketing strategies for prolonged exhibitions.     

Designing a business model for financial products for cultural heritage in the Korean market

There are many contingent valuation (CV) studies to estimate the economic benefits of cultural heritage, but few provided advice on the design of financial products for cultural heritage assets. This paper conducted conjoint and willingness-to-pay (WTP) analyses for providing the design implication of these financial products. We calculated WTP for each attribute. The result of conjoint analysis shows that people prefer a short period of investment, high-expected rate of return and small amount of money invested. Only the amount invested and the rate of return on investment are significant to estimate WTP for these financial products.     

Cultural goods creation, cultural capital formation, provision of cultural services and cultural atmosphere accumulation

The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.

Cross-border circulation of films and cultural diversity in the EU

This paper explores new data sources on multilateral trade in films among EU countries and with the USA in offline cinema and in online video-on-demand distribution. We observe variations in trade patterns across countries and films and explore how they affect cultural diversity. We find that the EU film market is highly fragmented and cross-border film availability in cinema is low. We explore different aspects of the cultural discount hypothesis by means of a standard Helpman and Krugman (Market structure and foreign trade. Increasing returns, imperfect competition, and the international economy, MIT Press, Cambridge, 1985) trade model with economies of scale and a two-stage Heckman (Econometrica 47(1):153–161, 1979) estimation procedure. Our results show that cultural distance, success in the home market and the size of the film budget influence trade of films between countries. US films have a lower propensity to get into export markets, relative to their success in the home market. Consumer demand for imported films is relatively smaller in large EU economies, except for films imported from the USA that are only marginally affected. We also show that trade patterns in online film distribution are not fundamentally different. As online distribution occurs downstream from theatrical release, online distributors can benefit from cinema market experience to make a better selection of films. This results in a lower impact of domestic market shares on online trade patterns.     

Innovation and diversity in the digital cultural and creative industries

Journal of Cultural Economics - The cultural and creative industries (CCIs) are increasingly being recognised in South Africa, as in other countries, as wealth-creating, given appropriate...     

People-based marketing and the cultural economies of attribution metrics

This article examines People-Based Marketing (PBM) to theorize the cultural economies of attribution metrics. Through an analysis of marketing discourses, acquisition patterns, and marketing collaborations, it examines how platform capitalism is increasingly directed towards developing cross-device identity standards that consolidate performance metrics across digital markets. PBM extends the processes of platform capitalization across media properties, and the ways that claims of value and relevance are imbricated with the metricization of behavioral change in digital markets. The imperative of PBM to standardize techniques of identification and to make media increasingly measurable across markets has been a catalyst for new forms of data resolutions through strategic acquisitions and identity resolution consortiums. Moreover, emerging regulatory changes such as GDPR may in effect further reinforce trends towards the consolidation of data management and analytics platforms necessary to resolve identity across markets.     

The cultural entrepreneur and the creative industries: beginning in Vienna

In this paper on the creative industries and cultural entrepreneurship I take my point of departure in Richard Caves’ Creative Industries [Caves, R. (2000). Creative industries: Contacts between art and commerce. Cambridge, MA: Harvard University Press.]. While Caves draws heavily on economic analysis and contemporary sociology in his excellent analysis of these two topics, he does not use the sociological classics at all. The main purpose of the paper is an attempt to remedy this, by drawing attention to the possible contribution that the works of Max Weber, Emile Durkheim, and Georg Simmel can make to our understanding of the creative industries and cultural entrepreneurship. Since this paper was prepared as a keynote address for the 2006 conference of the Association for Cultural Economics International in Vienna, I also discuss Schumpeter’s ideas on art and entrepreneurship, ideas which grew out of Viennese culture.

Municipal elections and cultural expenditure

The aim of this paper is to analyze the effect of electoral timing on municipal public cultural spending. We use a panel sample of all municipalities from the Spanish Region of Murcia for 1995–2008. Our results reveal that mayors adopt an opportunistic behavior, increasing cultural spending in the election year and reducing it in the second year after the election. We also investigate whether the electoral cycle in cultural spending is influenced by mayors’ ideology, political strength, willingness to run for re-election, and electoral competitiveness. In this regard, our study shows that when mayors expect close elections, political budget cycles’ size is greater. Concerning political leadership, the magnitude of the electoral cycle is influenced by mayors’ political ideology rather than mayors’ political strength and re-election willingness. Additionally, we seek to shed some light on the determinants of public cultural spending. We find that income and upper-level governments’ transfers have a positive impact on cultural spending. Finally, unemployment, young people’s proportion and elderly people’s proportion negatively influence cultural spending.     

历史文化名镇名村声景营造研究

历史文化名村名镇建设除了景观保护与建设外,还应关注名村名镇的声景营造。声景营造对当地历史文化的传承保护有着特殊的作用和意义。声景大致分为自然声景和社会人文声景。对社会人文声景的主要层面、现状以及创新实践手段进行探讨,归纳出历史文化名镇名村声景营造的可行路径。     

Understanding Hollywood's organization and continuing success

Integrated international marketing of films and related merchandise and close financial ties between distributors and roducers have evolved to cope with the risks of piracy, cost containment, opportunism, and revenue uncertainty. Our reading of the evidence is that this system has dominated because of its efficiency. In search of an explanation of why America remains the centre of this institutional and contractual web, we examine the impact of two world wars, the rapid commercialization of new technologies in the United States by aggressive managers, an open financial system and the ethnic diversity, language homogeneity, and size of the domestic market.We are grateful to Elizabet Filleul, Simon Grant, Peter Harcourt, Ian Jarvie and Janet Staiger for their comments but absolve them of any responsibility for the views presented.     

Rational addiction and cultural goods: the case of the Italian theatregoer

This paper tests whether demand for theatre in Italy is consistent with the model of rational addiction presented in Becker and Murphy (J Polit Econ 96(4):675–700, 1988). Data from a novel 34-year panel on regional annual theatre attendance are used to estimate market demand. Four models are applied to investigate the demand function, and all of these also include per capita income and other control variables as regressors. The first two models are estimated to check whether theatregoers are myopically addicted to theatre. The results suggest that the theatre is an addictive good because past consumption (and prices) significantly raises the marginal utility of current consumption. The third model tests the rational addiction hypothesis, which assumes that future attendance also influences current attendance, whilst past and future prices influence current attendance only indirectly through their impact on past and future attendances. However, our most highly specified model, introducing past and future prices, demonstrates that Italian theatregoers are not myopic but fully rational as outlined in Becker and Murphy (1988). The results demonstrate that the rational addiction hypothesis is applicable not only to “harmful” addictions such as alcohol, cigarettes and drug consumption, but also to “beneficial” addictions, such as theatre attendance. This result has important policy implications because theatre is one of the most subsidised performing arts in Italy; if theatregoers are fully rational, policy makers can influence theatre attendance using alternative policy instruments (price and income), thereby reducing government expenditure on theatre subsidies.     

Subjective well-being in cultural advocacy: a politics of research between the market and the academy

This paper responds to a trend of contracting out subjective well-being econometrics to demonstrate social return on investment (SROI) for evidence-based policy-making. We discuss an evolving ecology of ‘external’ research taking place ‘between’ the academy and commercial consultancy. We then contextualise this as waves of research methodologies and consultancy for the cultural sector. The new model of ‘external between’ consultancy research for policy is not only placed between the University and the market, but also facilitates discourse between policy sectors, government, the media and the academy. Specifically, it enables seductive but selective arguments for advocacy that claim authority through academic affiliation, yet are not evaluated for robustness. To critically engage with an emergent form of what Stone calls ‘causal stories’, we replicate a publicly funded externally commissioned SROI model that argues for the value of cultural activities to well-being. We find that the author’s operationalisation of participation and well-being are crucial, yet their representation of the relationship problematic, and their estimates questionable. This case study ‘re-performs’ econometric modelling national-level survey data for the cultural sector to reveal practices that create norms of expertise for policy-making that are not rigorous. We conclude that fluid claims to authority allow experimental econometric models and measures to perform across the cultural economy as if ratified. This new model of advocacy research requires closer academic consideration given the changing research funding structures and recent attention to expertise and the contracting out of public services.