Why culture attracts and resists economic analysis

Doyle, Gillian

doi:10.1007/s10824-010-9128-9

Cited by 20 publications

(13 citation statements)

References 21 publications

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“…Discussing about the inclusion of culture consumerism into economic activities has just come to pass in the last few decades. The main characteristic of the cultural industry is diversity [16]. It also known that the external and internal variables that create the micro and macroeconomic environment are both objective and subjective; many times big companies in the industry may "help" by investing or withholding information about various cultural products or activities [16], all dependent on the interest of stakeholders.…”

Section: Issn: 2668-0416mentioning

confidence: 99%

“…The main characteristic of the cultural industry is diversity [16]. It also known that the external and internal variables that create the micro and macroeconomic environment are both objective and subjective; many times big companies in the industry may "help" by investing or withholding information about various cultural products or activities [16], all dependent on the interest of stakeholders. The cultural activities analyzed are music (jazz, classical and opera), theater (musical theater and theater) and dance (ballet and other dances).…”

Section: Issn: 2668-0416mentioning

confidence: 99%

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The Attitude of the Romanian Artists Regarding the Promotion of the Artistic Act

Cetină¹,

Cristache²,

Bădin³

2020

JRISS

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All differences in consumer behavior, business and entrepreneurial practices are considered to be a result of cultural differences. However, there are also environmental differences that are not due to cultural specificity. Therefore, culture is a collective phenomenon that is modeled by the social standards the individuals adhere and not by the individuals themselves. In this context, the paper aims to know the attitude of the Romanian artists regarding the promotion of the artistic act and the characterization of the Romanian artist's profile based on the demographic characteristics. Thus, within the study was used a questionnaire consisting of 25 questions addressed to Romanian artists regardless of income, age, gender and form of artistic act practiced. The target population was considered by 150 respondents. We should add that some information could not be obtained due to the confidential nature of the information. In conclusion our arguments are that from an economical perspective, cultural industries and cultural marketing are on the rise being an untapped resource now. Furthermore, the positive spillover from the creative industries add to economic growth, education and tourism, other secondary elements being also infrastructure development

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Section: Issn: 2668-0416mentioning

confidence: 99%

Section: Issn: 2668-0416mentioning

confidence: 99%

The Attitude of the Romanian Artists Regarding the Promotion of the Artistic Act

Cetină¹,

Cristache²,

Bădin³

2020

JRISS

View full text Add to dashboard Cite

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“…This means that ‘in general, public goods suffer from under-provision since each consumer can free-ride off others, resulting in the market value of such a good being less than the combined value to all consumers’ (Allan et al, 2013: 5–6). However, some public good effects are ameliorated by a second complication, which is that much culture is produced within ‘dual markets’ (Doyle, 2010: 247), with media industries creating media content not merely (sometimes not even) to be sold to consumers but also to generate audience attention (and, latterly, audience data) which can be packaged and sold to advertisers. Relatedly, in the recorded music industry, exploitation of the Intellectual Property Rights of a recording are often more lucrative than sales to consumers.…”

Section: Theories Of Economic and Cultural Valuementioning

confidence: 99%

Do People Value Recorded Music?

Marshall

2019

Cultural Sociology

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How much do the majority of people value music, and can or should that level of value be reflected in music's economic value? The dramatic decline in the economic value of recorded popular music in the twenty-first century has prompted much debate about music being 'devalued' and the perceived 'value gap' between music's socio-cultural and economic values. Using the economic decline of recorded music as a springboard, this paper takes a different approach, however. It offers a theoretical analysis of popular music consumption practices organised thematically in terms of 'music as object' (focusing on the social values generated and perceived by recorded music artefacts) and 'music as sound' (focusing on the way that most contemporary musical experiences are characterised by music being background sound or accompaniment). Overall, the argument is that 'music' may not be as culturally valued by people as is commonly assumed. The way that music operates as a lowvalue entity to many people is perhaps reflected in the cultural and economic contours of the digital music industry, though they are not caused by digitisation per se.

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“…For example, Schmid and Ulrich (2013) Various other television research suggests that culture seems to both attract and resist economic analysis (Doyle, 2010). Drawing on an analysis of recent research findings related to multi-platform strategies in the television industry, the author examines what is distinctive about the economics of culture, and it assesses the appeal but also the challenges associated with conducting scholarly research work in this particular area.…”

Section: Journal Of Cultural Economicsmentioning

confidence: 99%