共查询到20条相似文献，搜索用时 421 毫秒
1.
This study investigates how competition, concentration and public broadcasters influence diversity of programme supply in
European television markets. It focuses on free, national generalist channels; studies programmes as provided throughout the
day; and tests hypotheses with data on Finland, France, Germany, Greece, Italy, the Netherlands, Spain and the U.K. for the
late 1980s and 1990s. It concludes that competition is moderate in most markets. Under these conditions, competition and concentration
contribute to a diverse supply of programmes that mirrors audience demand, while public broadcasters increase diversity of
supply above competitive market levels. 相似文献
2.
Abstract The objective of this article is to critique the current literature on Jews and Jewishness in North American television. It is our contention that this work is problematic in a number of ways. First, it insists on a strict binary between ‘bad’ and ‘good’ television images, and ‘bad’ and ‘good’ audience responses to these images. Second, it assumes that a unified, ‘acceptable’ Jewish identity pre‐exists the production of these images, and that this identity merely needs to be incorporated into the television landscape to make its images ‘better’. Third, it assumes a direct and unproblematic relationship between what the viewers see on television and how they understand the world. In the second half of this essay we introduce scholarship in other areas of television and media studies, as well as in the emerging field of Jewish cultural studies, to point to the need to theorise a much more complex relationship between identity and spectatorship than is realised in much of the current literature on Jewishness and television. We argue that our relationship, as viewers, to television is inherently complex, contradictory, ambivalent, and shifting, and thus cannot be pinned down by rigid and hierarchical binary structures. Further, we argue that Jewishness cannot be reified as a single, visible, knowable identity, and that the ambivalent pleasures of viewers viewing Jewishness on television, including our own, must be accounted for rather than dismissed. 相似文献
3.
This study offers a preliminary exploration of repeat consumption of identical cultural goods, specifically moviegoing. The
term ‘identical’ in this study refers to cases where, for example, individuals view the same film at a movie theater, in a
short time interval, on more than one occasion i.e. experiencing the cultural good in precisely the same format. It is not
meant to embrace the case of individuals who, for example, view a particular film at a movie theater and then see it some
time later in another format, such as via a DVD player. The repeat viewing phenomenon is discussed and then considered empirically.
Films aimed predominantly at children attract the highest number of repeat views, while those aimed at an older audience attract
significantly fewer repeat views. The profile of repeat viewers of the 10 films which attracted the greatest number of repeat
viewers was subject to more detailed scrutiny. In general, repeat viewers tend to be younger but the gender balance differs
markedly according to film content.
An earlier version of this article was presented at the 3rd European Workshop on Applied Cultural Economics, University of
Oviedo in Aviles, Spain 14–16 June 2007 and the 9th International Conference on Arts and Cultural Management (AIMAC), Fundación
Universidad Empresa (ADEIT), Valencia, Spain 8–11 July 2007. We are grateful for comments received and the usual caveat applies. 相似文献
4.
5.
Program decisions by symphony orchestra management are influenced by various factors. To examine these factors, we create
an objective index of the propensity of a symphony orchestra to perform the standard repertoire. We use regression analysis
to examine factors that influence programming decisions of 64 US symphony orchestras in 2006–2007, including public and private
sources of funding. We find that increased funding from ticket sales, endowments, and local government increases the likelihood
that an orchestra will perform nonstandard repertoire. In addition, the results suggest that a symphony orchestra’s music
director does not have a significant impact on the degree of program conventionality. 相似文献
6.
Gillian Doyle 《Journal of Cultural Economics》2000,24(1):1-26
Since the early 1990s, regulators across the globehave faced increasing pressure from media firms toliberalise domestic media and cross-media ownershiprestrictions. Based on empirical research carried outin the U.K., this paper examines the ``economic' case putforward in favour of deregulation. Findings suggestthat, although factors other than size will affectperformance, there is generally a strong and positivecorrelation between the market share and the operatingprofitability of firms involved in either televisionor radio broadcasting or newspaperpublishing. But, with regard to cross-media ownershipof television and newspapers, there is nocompelling evidence that diagonal integration bringsabout inherent synergies, economies of scope or othereconomic benefits. Thus, whereas a variety ofeconomic efficiency gains may be available to justifya relaxation of restrictions over monomedia expansion,few such benefits can be found in support ofderegulating cross-ownership of television andnewspapers. 相似文献
7.
The paper states that the quality of visual arts cannot be measured objectively. An artist must be credible to the public in order to generate economic value. How is credibility and thus economic value generated on the market? To judge the quality of arts, it takes experts. They form a worldwide network relationship and apply cultural knowledge, a highly specific type of knowledge which requires lifelong learning. Cultural knowledge is only in part of a factual nature and includes subjective elements. Since the public cannot in general ascertain the quality of an artist's oeuvre directly, experts must themselves be credible to the public in order to lend credibility to a given oeuvre. It is shown that the process by which experts generate public credibility for a given oeuvre is path dependent, i.e., may by chance end up at inferior solutions. 相似文献
8.
9.
Juan L. Nicolau 《Journal of Cultural Economics》2010,34(3):181-195
The purpose of this article is to analyze the effect of the cultural interest manifested by tourists when planning a vacation
on their sensitivity to price. The proposed hypothesis states that tourist price sensitivity is moderated, at the moment of
choosing a destination, by cultural interest. For this purpose, we measure and identify tourists’ price sensitivities—individual
by individual—from real choices, i.e., tourist price sensitivity is estimated for each individual by observing the destination
she actually selects. The empirical application is carried out on a sample of 2,127 individuals, and the operative formalization
used to estimate individual price sensitivities follows a Random-Coefficient Logit Model; and to detect the way these sensitivities
relate to the search for culture, an ANOVA procedure is employed. The results show an incremental effect of cultural interest
on tourist price insensitivity; i.e., people looking for culture find their price sensitivity moderated by this interest in
such a way that the negative effect of price diminishes. Also, we further explore these culture-interested tourists by a segmentation
analysis, identifying five segments with different price sensitivities—one of them even showing certain high-price proneness. 相似文献
10.
Elisabetta Lazzaro 《Journal of Cultural Economics》2006,30(1):15-40
The definition of quality, and its consistent assessment, is a fundamental issue when dealing with collectibles. We analyze
how originality is priced by the market. The market for prints by Rembrandt is considered. An original database has been built
including almost 5,000 transactions in the international auction market during the period 1985–1998. The data allow us to
control for many different characteristics (market, aesthetic, originality, authenticity, rarity, art history, techniques,
conservation, etc.). The concept of “state” is used to measure originality. In printmaking a state is defined as the artist's
creative phase, which occurs on the plate before inking and printing. We test whether (non-original) posthumous states are
sold at prices lower than Rembrandt's own (original) states. The implicit price associated with the state has been found to
significantly decrease if the state was later printed by someone else when it was no longer the master's intervention on the
plate. Furthermore, a decreasing value among subsequent original states has proved to positively account for Rembrandt's direct
invention.
JEL classification: Z11, D46, C52 相似文献
11.
Luc Champarnaud 《Journal of Cultural Economics》2014,38(4):369-384
We reconsider Rosen’s economics of superstars model establishing, in the case of single-type consumers, a constant price-to-quality ratio. Rosen also conjectured that, in the case of multiple-type consumers, the normal course of consumer behavior forces the price-to-quality relationship to be convex and prevents it from being concave. We show that this conjecture is false and explain why there is no a priori reason to rule out concavity in the price-to-quality relationship. In this model, the market matches consumers to artists on the basis of quality: consumers of each type select only one level of quality, supplied by artists endowed with a specific level of talent. The concavity or convexity of the price-to-quality relationship is non-trivially related to the way both populations are matched. Consumers with poor knowledge have greater fixed costs above and beyond the price they have to pay on the market. They are therefore less reluctant when prices rise sharply and they specialize in levels of quality that entail a high marginal appreciation of quality: this can mean either a high or a low level of quality, depending on price curvature. With convexity, as Rosen pointed out, they turn toward superstars. Symmetrically, convexity encourages connoisseurs to turn toward low quality. But concavity too is fully possible: consumer–artist matching, for the same reasons, simply has the reverse effect. Connoisseurs go for great talents, whose price of quality flattens out. The global shape of the price-to-quality relationship (concave or convex) is determined by market clearing conditions and, more crucially, by the distribution of agents on both sides. 相似文献
12.
Georgios Alaveras Estrella Gomez-Herrera Bertin Martens 《Journal of Cultural Economics》2018,42(4):645-676
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. 相似文献
13.
This article presents an empirical study of paintings that have failed to meet their reserve price at auction. In the art
trade, it is often claimed that when an advertised item goes unsold at auction, it will sell for less in the future. We have
constructed a new dataset specifically for the purpose of testing this proposition. To preview our results, we find that paintings
which come to auction and failed return significantly less when they are eventually sold than those paintings that have not
been advertised at auction between sales. These lower returns may occur because of common value effects, idiosyncratic downward
trends in tastes, or changes in the seller’s reserve price.
相似文献
| Kathryn GraddyEmail: |
14.
Jordi McKenzie 《Journal of Cultural Economics》2010,34(3):159-179
This study considers the Australian DVD industry using a data set of retail sales for over 44,800 titles 1997–2007. A sub-sample
of 760 titles which also received an initial theatrical release reveals that the DVD revenue distribution has thicker tails
than the theatrical revenue distribution implying the top-ranked DVDs earning a greater share of revenues than their theatrical
contemporaries. A comparison of revenues finds not only a high degree of correlation between the two markets, but a relationship
that is nonlinear and increasing at higher theatrical revenue levels. This finding is consistent with a word-of-mouth momentum
effect and more institutional flexibility in the DVD market. The high levels of correlation are present across all genres/ratings
and are observed to be stronger for large release titles. Finally, a seemingly unrelated regression structure is proposed
to jointly consider the two markets, which is shown to be empirically valid. 相似文献
15.
Willingness to Pay for Domestic Television Programming 总被引：1，自引：1，他引：0
Franco Papandrea 《Journal of Cultural Economics》1999,23(3):147-164
The article describes the application of contingent valuation to estimate the value of the benefits that the Australian community derives from the mandatory transmission of Australian programs by television stations. This application of contingent valuation to estimate cultural benefits offers an insight on the potential for a wider application of the methodology to evaluate cultural policy instruments. The study found that a majority of Australians support regulation of the domestic content of television programs and considers the value of the related benefits to be commensurate with the cost of supplying domestic programming. 相似文献
16.
Anan Wan Leigh Moscowitz Linwan Wu 《Journal of International and Intercultural Communication》2020,13(3):197-215
ABSTRACT Bullet-screen technology, an innovative way of interacting with online videos, allows viewers to contribute comments that simultaneously appear over videos. Popular in East Asia, the technology is making its way to American audiences. This study employed a comparative qualitative focus group approach to explore how American and Chinese viewers responded to and interacted with this new format of online videos. Three themes emerge from this investigation: (1) the unique affordances of this technology; (2) barriers to adoption and usage; and (3) cultural differences that impact the user experience. The theoretical and practical implications for bullet-screen technologies are discussed. 相似文献
17.
Over the past few decades, many food niches have emerged with a specific focus on quality. In specialty coffee, micro roasters have brought about Direct Trade coffee as a way of organising an alternative around new tastes and qualities through ongoing and ‘direct’ relations to farmers and cooperatives. But Direct Trade also involves exporters. We ask, how do exporters and roasters work together in these new coffee relations, and what do they work on? We observe and participate in a situation where Colombian coffee exporters visit Danish roasters. They tour the roasting facilities and taste a number of coffees. Often, the term power is used to analyse such value chain interactions, but we argue that the term coordination better opens up these interactions for exploration and analysis. What emerges is a coordination of quality. Through touring and tasting, issues emerge and differences are laid out. We learn that quality is a continuous achievement. There is friction between the ways in which the roasters and exporters do quality, but these are not done away with through power. They are made known and discussable through the work of coordination. The activity of tasting quality is a coordination device that allows for bringing out differences in how quality is done in practice. Coffee, in this event, is not a fixed object, but shifts as issues of quality are brought up in tasting. This suggests a decentering of the object on the issue of quality. 相似文献
18.
David J. Hess 《Minerva》2011,49(3):333-348
Two of Bourdieu’s fundamental contributions to science studies—the reflexive analysis of the social and human sciences and
the concept of an intellectual field—are used to frame a reflexive study of the history and social studies of science and
technology as an intellectual field in the United States. The universe of large, Ph.D.-granting graduate programs is studied
in two parts. In the first analysis, relations between institutional position and disciplinary type are explored by department.
A positive correlation exists between historians of science and institutional position (as higher prestige or capital). In
the second analysis, attention to intellectual tastes for research topics is explored at an individual level with respect
to departmental position and the individual’s discipline and gender. Scholars in nonelite history of science departments have
low field interest in democracy, social movements, or public participation; environment or sustainability; and gender, race,
or sexuality; whereas those in history of technology programs and nonelite STS programs have a higher field interest in those
areas, and historians of technology have a higher interest in class or labor issues. Among social scientists, there is a higher
interest among scholars in nonelite programs in environment or sustainability and in democracy, social movements, or public
participation. 相似文献
19.
Audrey Yue 《Culture, Theory & Critique》2018,59(2):158-177
ABSTRACTThis is the first academic paper to critically introduce and document the 30-year screen career of Pauline Chan, Australia’s highest profile Chinese film director, television actress and media producer. Sydney-based, Vietnam-born, Hong Kong-educated and US-trained, Chan has directed six films, starred in 14 and produced four television series and films. Despite her prolific career, there has been no sustained research on her profile and repertoire. This paper evaluates the evolution of Chan’s career using the diaspora ‘advantage’ as a new approach. Characterised by mobility rather than culturalism, the term refers to the benefits brought by and skills of diaspora groups that have allowed them to flourish as transnational actors able to leverage resources in both their countries of origin and settlement. It begins by elaborating how Chan’s diaspora advantage has allowed her to challenge welfare multiculturalism and extend aesthetic multiculturalism. It further documents her transition from a multicultural filmmaker to a cultural intermediary by leveraging her diasporic advantage across the film sectors in China and Australia, and opening up new industrial routes outside of the confines of policy. Using interdisciplinary methods to screen biography that include interviews with the filmmaker, film archival research, critical cultural policy studies, and studies in Asian Australian cinema and political economy, this paper argues that the new approach of the diaspora advantage turns the deficit associated with the diaspora into a dividend that has the potential to rethink the imaginary between Asia and Australia. 相似文献
20.
8月15日,浙江省文化产业发展大会在省人民大会堂隆重举行。浙江省委副书记、省长李强在会上提出:要把文化产业发展成为支柱性产业,为文化强省和"两富"现代化浙江建设作出新贡献。浙江文化产业园繁花似锦。会上介绍的杭州、龙泉、横店实验区、宋城集团的四个样本,就是百花园中四朵盛开的鲜花。而这次会议确定的目标,则预示着浙江文化产业千帆竞发,万象更新。 相似文献