A Textbook of Cultural Economics

An economic valuation of access to cultural institutions: museums, theatres, and cinemas

“…The results reveal very similar determinants of cultural participation regardless of the type of cultural institution examined. They are consistent with current studies in the performing arts economics and museum economics fields (and their associated ambiguities); for a review, see Frey and Meier (2006), Seaman (2006), and Towse (2010). There is little research regarding the socio-demographic determinants of demand in film economics (Cuadrado and Frasquet 1999), where demand is usually explained by the characteristics of the movie, reviews, and 'word of mouth' (McKenzie 2012;De Vany 2006).…”

Creative economy, cultural economics and entrepreneurship – Questions for a masters programme in its adolescence. An Interview with Mariangela Lavanga and Ellen Loots

“…Students learn to think on why many things occur as they do: why consumers prefer one cultural activity over alternatives, why arts producers make the choices they do, why governments prioritise one way of cultural spending over other ways, and why conflicts between all those preferences and decisions frequently occur. The key books by Towse and Klamer are among the theoretical foundations of the program (Towse, 2010;Klamer, 2017). Students learn how to manage resources in different cultural environments, and how to valorise cultural and creative goods and servicesunder demands for efficiency and effectiveness (including digitization, complex and global value chains, and sustainability) in the context of the specificities of particular industries.…”

Why do we need a cultural economics? History and development of the field

“…This kind of claim has also been prevalent in local economic development circles, perhaps peaking in the pursuit of 'City of Culture' status. These matters, and the impact of Florida on cultural economics in general, can be studied further in the text by Towse (2010).…”

“…When we come to mass media and broadcasting the chief reason for an interest is how these can be used to help cultivate tastes for the more elitist and bourgeois forms of culture -that is, 'the Arts' -which this book is clearly about rather than culture in general. Towse (2010) has 20 chapters in five sections: I. General Issues in Cultural Economics (production and consumption, with Chapter 7 being 'Welfare Economics and Public Finance'); II.…”