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1.
The major distinctive feature of cultural goods is that consumers must learn how to consume them, implying that preferences should be modelled as intertemporally dependent. The canonical model in the literature uses a habit formation analogy. In this paper, we discuss in detail, though in the simplest setup, a consistent preference structure for that model. Then, we derive the implications for the dynamics of two aggregate equilibrium models, a fixed price model and a flexible price model. The learning-by-consuming behaviour is characterised by a preference structure displaying bounded adjacent complementarity in the demand for the cultural good. This implies that there will be short run complementarity between the stocks of culture and financial wealth and that the adjustment of the demand for cultural goods, or of their relative price, will have some inertia. In the exogenous price model, we find that increases in income will raise the long run demand for cultural goods while increases in the relative price will decrease it. In the endogenous price model, an increase in the supply of cultural goods will imply an initial undershooting of the price of cultural goods followed by an upward transition process. Our results seem to be consistent with the empirical results on the demand for cultural goods and seem to offer an explanation for the Baumol and Bowen paradox.JEL Classification: Z1, E21Earlier versions of this paper have been presented at the 1st Conference of the Sociedade Portuguesa de Investigação em Economia (SPiE, 1997) and at the Xth Conference of the Association for Cultural Economics International, 1998, Barcelona. 相似文献
2.
Cinema Demand in Spain: A Cointegration Analysis 总被引：4，自引：3，他引：1
In this paper we explain the decline in cinema attendance in Spain since 1968. We use a cointegration analysis to estimate
an individual demand function for cinema, with annual data and in terms of average attendance per inhabitant. We find that
cinema is a luxury good and that its demand is elastic with respect to its price. We also show that television acts as a deterrent
with regard to cinema attendance.
This revised version was published online in August 2006 with corrections to the Cover Date. 相似文献
3.
Sumiko Asai 《Journal of Cultural Economics》2011,35(2):101-117
This study constructed a music demand model with variables representing quality in order to conduct an empirical analysis
of popular music in Japan. The demand function was estimated, using the data by title of CDs that appeared on the Top 100
single and album charts in 2007 and 2008. It was found that demand for both singles and albums was inelastic with respect
to price. In addition, the estimation results showed that the factors affecting hits differed between singles and albums. 相似文献
4.
We develop a model of theatre demand with learning by consuming, and test some of its implications on a large random sample of theatregoers and non-theatregoers. This seems to be the most comprehensive econometric study of demand for the theatre from individual data. We hypothesize that each time the consumer watches a play, he experiences a degree of pleasant or unpleasant surprise on the basis of which he will revise his future expectations of his own taste. The learning phase is likely to be unusually long for highly differentiated cultural goods. Our set of data contains unique information about the full price and the fixed cost of theatre, the objective quality of the outing, past experience of and taste for the theatre, and consumption of substitute leisure activities such as reading, television and cinema. Our methodology and data enable us to infer price elasticity on survey data from knowledge of theatregoing experience and taste. After controlling for many variables, we conclude that demand for the theatre is price-elastic, which contradicts previous estimates on aggregate time-series data. Moreover, we estimate demand conditional on past attendance after controlling for selectivity bias. Satisfaction reported by consumers after the last play is also estimated and interpreted as an ordinal conditional choice. 相似文献
5.
In this analysis we present some results for book demand (schoolbooks are excluded) in Norway, obtained by means of a three-goods model (books, other cultural goods and non-cultural goods) and survey data for more than 18000 households from the period 1986–1999. Various methods of estimation are used, and they provide, surprisingly unambiguous results. Our hypotheses about the price and income sensitivity of book demand are confirmed. Books turn out to be “luxury” goods. Our calculations do also suggest that they are quite price sensitive and that they are close substitutes to other cultural goods. The results for socio-demographic variables indicate that access to outlets for books, sex and age matter for book demand. Moreover, we find that single persons and households with small children, especially those with children less than 7 years, are frequent book-buyers. 相似文献
6.
Andrew E. Burke 《Journal of Cultural Economics》1994,18(1):41-64
The paper estimates the demand for vinyl L.P.s in the U.K. In so doing, it outlines a technique to account for the impact of product differentiation innovation when estimating the demand for a product group. This may be particularly important for cultural goods where consumers are attracted to buy a product because of its unique characteristics and where these characteristics differ across time. Thus, the methodology may be used to estimate the demand for other product groups, such as movies and literature. Over the sample period L.P.s are found to be normal goods which are close to being unit price elastic. The diffusion of the Compact Disc appears to reduce the price elasticity of vinyl L.P.s. Consumers also appear to treat L.P.s as perishable goods and the demand for vinyl albums is positively stimulated both by the range of albums available on the L.P. format and product differentiation innovation. 相似文献
7.
Andrea Baldin Trine Bille Andrea Ellero Daniela Favaretto 《Journal of Cultural Economics》2018,42(4):677-700
Performing arts organizations are characterized by different objectives other than revenue. Even if, on the one hand, theaters aim to increase revenue from box office as a consequence of the systematic reduction in public funds; on the other hand, they pursue the objective to increase its attendance. A common practice by theaters is to provide incentives to customers to discriminate among themselves according to their reservation price, offering a schedule of different prices corresponding to different seats in the venue. In this context, price and allocation of the theater seating area is decision variables that allow theater managers to manage their two conflicting goals to be pursued. In this paper, we introduce a multi-objective optimization model that jointly considers pricing and seat allocation. The framework proposed integrates a choice model estimated by multinomial logit model and the demand forecast, taking into account the impact of heterogeneity among customer categories in both choice and demand. The proposed model is validated with booking data referring to the Royal Danish theater during the period 2010–2015. 相似文献
8.
We study the art market in the Venetian Republic from 1550 to 1750 analyzing the determinants of the prices (adjusted for the cost of living measured by the price of wheat) of figurative paintings. Reputation of the painters, size of the paintings and other quantifiable factors affect prices as expected. Other relevant factors include the placement of the paintings (on altars, ceilings or walls), whose impact reflects differences in demand elasticities. We find evidence of the law of one price confirming price equalization between high and low demand geographical destinations and between different subjects. Finally, in a Schumpeterian perspective, we relate the temporal trend of the price of a representative painting with waves of artistic innovations, whose peacks were in the 1500s and in the 1700s with a dark Baroque age in the intermediate century. 相似文献
9.
Estimating demand for opera using sales system data: the case of Finnish National Opera 总被引：1，自引：0，他引：1
Jani-Petri Laamanen 《Journal of Cultural Economics》2013,37(4):417-432
Using detailed data for 2001–2009 from the sales system of the Finnish National Opera, we estimate the determinants of demand for opera tickets. We find that operas in their premiere season are more popular than reprises. Demand is lower for classical operas and higher for domestic operas and for performances with a famous opera singer. Press reviews and the overall popularity of the opera piece have the expected effects. There is also evidence of seasonal effects. By excluding temporarily discounted tickets, controlling for performance characteristics and quality and using a method that takes into account capacity constraints, we are able to credibly estimate the price elasticity of demand. The overall elasticity is close to unity: on average, a 1 % increase in prices would result in 1.16 % decrease in demand. 相似文献
10.
Marta Zieba 《Journal of Cultural Economics》2016,40(2):191-221
This paper investigates the impact of tourism flows on demand for large regional and city theatres in Austria over the period from 1972 to 2011 (39 years). The results are obtained by applying an aggregated theatre demand function for both residents and tourists. The elasticity of theatre attendance in response to tourism is estimated along with other standard demand variables such as ticket price and income. The quality factors and theatre-specific effects are also included. The tourism flows variables are derived using detailed data set on tourist arrivals and their overnight counts, and they are also split between domestic and foreign tourists. To measure the impact of tourism flows on theatre demand, three alternative theatre markets specifications are considered. The total elasticity of attendance per capita in response to tourism is estimated between 15 and 20 %, indicating that increasing the number of arrivals by two tourists per resident in the relevant market would generate an increase in theatre attendance by 581–680 thousand visitors per year. The role of tourism flows is found to be particularly important for attendance at opera, operetta and musicals as opposed to attendance at drama performances. The analysis also reveals that foreign, non-German tourists have a positive impact on theatre attendance, whereas domestic tourists do not contribute significantly to higher demand for Austrian theatres. 相似文献
11.
Marta Zieba 《Journal of Cultural Economics》2009,33(2):85-108
This article provides estimates of price and income elasticities of demand for German public theatre, using a large and reliable
data set for 178 theatres over 40 years (1965–2004). It is posited that the consumption of the performing arts is a time-intensive
activity for which both a theatre ticket and leisure time are necessary. Thus, the impacts of ‘full-income’ (‘leisure time
income’ added to disposable income) and the price of leisure time on theatre attendance are examined. The findings indicate
that the demand for the performing arts is own-price inelastic. The disposable income elasticity is significant, positive
and equals approximately one. In contrast, the full-income elasticity is well above one and greater than usual income elasticity
indicating that the performing arts are a luxury good when leisure time income is included in the consumer’s budget. The positive
full-income effect is, however, offset by the negative price of leisure effect indicating that leisure time is a complement
for the performing arts. Additionally, three objective quality characteristics of theatrical productions which can positively
influence theatre demand are examined.
相似文献
| Marta ZiebaEmail: |
12.
Adrian C. Darnell 《Journal of Cultural Economics》1998,22(2-3):189-196
If a museum faces a price inelastic demand and twin targets of a minimum number of visits and a minimum revenue, those targets need not be compatible. This paper explores the implications of such targets and shows that their compatibility depends critically on the admission price-elasticity. If the targets are incompatible it may be possible to engineer compatibility by shifting the demand curve. However, if the demand shift (eg resulting from advertising or improving the quality of the visitor experience) requires resourcing and is to be self-financing, it may or may not be possible to bring about compatibility. 相似文献
13.
在炙手可热的＂粉丝剧＂名单中,包括了郭敬明导演的《小时代3》、韩寒导演的《后会无期》、由网络游戏《古剑奇谭》改编而成的同名话剧,以及即将上演的《小时代》话剧……这些作品,大多由备受网络追捧的作者主导完成,都有着年轻化、充满时尚元素和流行素材的特点。而粉丝带来的经济效益也快速显现,天价的票房让传统领域瞠目结舌。在这当中,非常值得一提的是话剧《盗墓笔记2》。 相似文献
14.
Michael Hutter Christian Knebel Gunnar Pietzner Maren Schäfer 《Journal of Cultural Economics》2007,31(4):247-261
The article tests a couple of hypotheses relating to markets where demand is not taken as a given, but subject to sophisticated
and encompassing price-building strategies. The study uses a data set that provides quoted dealer prices for medium-sized
works of 100 leading visual artists from 1970 to 2004. These data are compared with auction price results for works by the
same artists. The study reports significant discrepancies with respect to the relationship between the age of artists and
prices paid for their works in the two markets, and with respect to general price developments in the two markets as measured
by indices.
相似文献
| Michael HutterEmail: |
15.
Jörg Schimmelpfennig 《Journal of Cultural Economics》1997,21(2):119-127
Attendance figures for individual seat categories during the 1995 Royal Ballet Summer Season are analysed using a non-parametric median technique. For three out of five categories, demand for full-length ballet turns out to be significantly downward-sloping. The (point) estimates suggest that during the period of observation substantial margins for price cuts existed which would have increased both attendance and revenue. 相似文献
16.
《Journal of Cultural Economy》2013,6(3):239-268
What is a global price? Studying the making of prices in spot, options and futures markets, the article ethnographically addresses this question by using world cotton trade as its empirical context. It argues that global market prices are not set by the mere coming together of demand and supply, but are produced as mercantile tools. These tools or prosthetic prices are realized by a multiplicity of actors. The article shows that instead of focusing narrowly on price setting, policy makers and researchers should attend to the conditions of price realization. In world and regional markets, prices are realized in multiple forms. Drawing on contemporary economic anthropology and sociology, the article maps the rich world of prices in their multiple manifestations and processes of realization. Price realization in the world cotton market is performed and maintained by constant interventions in the making of the markets and their prices through different forms of perceptions, scientific assumptions, standardizations of the object of exchange, various calculative tools, rumours and indexes. In conclusion, the article hints at the political implications and social scientific consequences of seeing the world price as a mercantile prosthesis. 相似文献
17.
This paper analyses the market transformation in heritage tourism destinations when excessive tourism demand determines the emergence of a class of excursionists among visitors. Building on the approach of Keane (1997) and Shapiro (1983), some important dimensions of sustainable tourism development are highlighted. The lesser capacity of excursionists to learn the true quality of the tourist goods provides an opportunity for producers to cut back on quality. To serve high quality goods and keep up the reputation of the destination, producers need to gain a mark-up on price that might not be sustained in a competitive market. Hence the decline in ``high-paying' demand segments, increasingly substituted by visitors with lesser quality expectations, has significant consequences on the use and preservation of the heritage. The proposed formulation allows the identification of appropriate policy instruments to reverse this process. 相似文献
18.
Theatre experts generally agree that the Flemish theatre has flourished artistically over the period 1980–2000. Attendance,
on the other hand, has declined significantly. Following Lancaster’s characteristics approach, we identify several output
characteristics of individual theatre productions. Using a panel of 59 Flemish theatres, we examine the impact on demand of
both these output characteristics and of traditional determinants such as own price, income and the price of substitutes.
Differences in the relevant geographical market for touring and non-touring theatres are considered. We find that the nature
of the artistic output affects demand. Theatregoers prefer large productions (in terms of cast size), plays by Dutch-speaking
playwrights and revivals of old productions. Own price and consumer income have the expected negative and positive effects
on attendance. Observed trends toward a decreasing proportion of new plays, an increasing presence of plays by Dutch-speaking
playwrights, and increasing consumer income had a stimulating effect on attendance. These trends have been offset, however,
by trends toward smaller cast sizes and higher ticket prices as well as by unobserved factors captured by time dummies. The
net result has been a considerable drop in attendance.
相似文献
| Kristien WerckEmail: |
19.
This paper analyzes the effects that the 2012 VAT rise in Spain had on household’ demand for cultural goods and services. Household’ demands are modeled as a two-stage QUAIDS. After estimating price and expenditure elasticities, and the pass-through parameter associated with the reform, our results show that the individual welfare loss and the increment in the tax bill increase, but less than proportionately, with income. Consequently, the reform can be considered as regressive. Relating the effects of the VAT reform to households’ incomes also implies a low quantitative effect, because of the low proportion of total household expenditure that cultural expenditure represents. From a social perspective, the size of the induced welfare loss would positively depend on society’s inequality aversion. Regardless of the latter, it cannot be concluded whether the reform would have increased or reduced inequality in the distribution of cultural spending. Our results prove qualitatively robust to alternative values of the pass-through parameter. 相似文献
20.
Marianne Victorius Felton 《Journal of Cultural Economics》1994,18(4):301-312
This paper examines the experience of 25 large U.S. orchestras over a 21-year period for the presence or absence of the cost disease. Appropriate measures of input and output are discussed. Measures of productivity, compensation per worker, and unit labor costs are calculated and compared to similar measures for the manufacturing sector. The history of ticket prices and attendance is reviewed, and price and income elasticities of demand are estimated. The relationship between all these variables is explored, and some policy recommendations are offered.The author is grateful to Professor William Baumol and two anonymous referees for their helpful comments. She also wishes to thank Heather Dinwiddie and Dan Patterson of the American Symphony Orchestra League for making the orchestra data available. Support for this project was provided by a grant-in-aid of research from Indiana University Southeast. 相似文献