No abstract

The discussion presented in this paper originates from the identification of three development potentials of cities: innovation-based, culture-based and education-based. The paper tackles the problem of determining the importance of primary, secondary and higher education for the development of cities. The main objective of the paper is to create a method for the measurement of education-based potential for development in Polish urban communes. To that end, five development factors encompassing 12 diagnostic variables were identified and a City Education Potential (CEP) index was constructed and its values calculated for 303 urban communes in Poland between 2013 and 2016. The CEP index was then used to:(1) prepare city rankings, (2) identify differences between small, medium-sized and large cities as well as (3) determine the significance of each diagnostic variable in each of the analysed size categories. The last part of the article also highlights the differences between regions in terms of the education-based potential of urban communes.

The discussion in this article concerns the identification of the culture-based development potential of cities, and the aim of the study, is to classify urban communes (boroughs) in Poland in terms of their culture-based development potential. A multidimensional comparative analysis was used to build a measurement tool and to create rankings of cities. The proposed measure includes five groups of diagnostic variables referring to the cultural infrastructure, cultural events, creative sector, tourist base and public finances. Data from 306 urban communes in Poland from 2013-2016 were collected for the study. The article presents selected research results, such as rankings of cities with the highest City Culture Potential index. This is due to the visibly differentiated strategies for building a competitive advantage, which result in different intensities and the importance of factors assumed as explanatory variables in measuring the potential of culture.

Dystrybutor filmowy jest bardzo ważną figurą w cyklu życia filmu. To on angażuje własne środki w rozpowszechnianie oraz promocję utworu i wraz z producentem podejmuje decyzję o tym, kiedy film ma trafić do kin, w jaki sposób będzie prowadzona kampania marketingowa, a także do kogo będzie adresowana. Jako że rynek dystrybucji kinowej w Polsce jest wciąż słabo rozpoznany przez badaczy akademickich, celem niniejszego artykułu jest uzupełnienie tej luki i przybliżenie czytelnikom specyfiki polskiej branży dystrybucji kinowej. Ponieważ wyniki przeprowadzonego przez autorki badania nad funkcjonowaniem rynku dystrybucji kinowej w Polsce w latach 2002-2018 dostarczają dowodów empirycznych na to, że polska branża filmowa pozostaje pod silnym wpływem dużych amerykańskich firm dystrybucyjnych, w artykule został opisany także wpływ współczesnej branży hollywoodzkiej na rodzimy przemysł filmowy.

Aim/purpose-The purpose of the paper is to describe and analyse the functioning of the cinema distribution market in Poland in 2002-2018. Design/methodology/approach-The results of the quantitative research of the fifteen major film distributors operating in Poland in the analysed period are presented in the paper, together with market capacity, market share ratios and measures of market concentration. Findings-Thanks to the analysis, large distributors operating in the Polish film market are characterised. The analysis of the structure and the concentration of the sector in question shows that nowadays over half of the cinema distribution in Poland is concentrated in the hands of four companies (UIP, Kino Świat, Monolith and Disney), two of which (UIP, Disney) are foreign branches of the major American studios. Thus, the results of the research provide empirical evidence on the impact of international distribution consortia on the Polish cinematographic industry. They are similar to the existing literature findings which concern other countries (e.g. Canada, New Zealand, Western Europe). This means that Poland is part of the trend of dominance of American distributors on global domestic markets. Research implications/limitations-The paper opens a wider discussion about the Polish film distribution. Yet, the research results concern Poland and cannot be generalised to other countries. In addition, studies refer only to the cinema distribution, not taking into account other channels of distribution as DVD, VOD and online distribution. Originality/value/contribution-The cinema distribution market in Poland is still poorly recognised by researchers. The paper is a valuable addition to this research gap.