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1.
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
2.
Demand for and productivity analysis of Turkish public theater 总被引：1，自引：0，他引：1
We estimate a demand function for live theater provided by the General Directorate of State Theaters in Turkey. We show that demand is more elastic in less developed cities, that attendance is not significantly affected by various qualitative variables, and that the government's practice of offering free passes to government officials is an ineffective way of increasing paid attendance. Comedies and musicals both show significantly higher attendance. Having a Turkish author does not significantly affect attendance. Having a known author significantly increases attendance for more developed cities but not for less developed cities. Being the opening season significantly reduces attendance in less developed cities but has no effect in more developed cities. We also present evidence of inefficiency in state theaters in Turkey through a performance of plays equation in which we evaluate the determinants of the number of performances per play. 相似文献
3.
M. Bjørn von Rimscha 《Journal of Cultural Economics》2013,37(4):433-455
The paper addresses whether the state of the economy impacts the supply of and demand for cinema entertainment. A literature review on the drivers of cinema supply and demand is provided, and two competing hypotheses are extracted. Economic downturns could either lead to a sober mood and drive the interest in serious genres or drive the need for distraction leading to an increased interest in feel-good or action movies. However, characteristics of the movie industry suggest that economic key factors have only limited effects on supply and demand. A time series analysis of supply and demand in three major European markets indicate that demand is unrelated to the state of the economy. In aggregate, the demand does not instruct supply. Fluctuations in individual movie quality superpose potential effects of the economic context on the aggregated demand. Simultaneously, a focus on film as art superposes potential effects of the economic context on the supply. 相似文献
4.
Explaining Post-War Cinema Attendance in Great Britain 总被引：1，自引：0，他引：1
This paper models the interaction between cinema admissions and cinema supply in response to changes in exogenous variables, chiefly competition from television viewing. The relationship is estimated empirically by applying near Vector Autoregression (VAR) techniques to a long run of British annual data from 1950 to 1997. The results indicate that sustained negative shocks to cinema demand throughout most of the period reduced the supply of screens, inducing further falls in admissions and closures until a new equilibrium was attained. More recently, the introduction of multiplex cinemas has interrupted and partially reversed this downward demand-supply spiral. 相似文献
5.
Live and prerecorded popular music consumption 总被引：1，自引：1，他引：0
Changing consumption habits have rearranged the popular music market in the last decade, and a pattern in which live music
attendance gets an increasing share of the market has emerged. This work analyzes the demand for the popular music sector
considering its double dimension as supplier of live concerts and prerecorded music. We use the 2006/2007 wave of Spain’s
Survey on Habits and Cultural Practices, and estimate a bivariate probit model for attendance to live concerts and the purchase of prerecorded music. Results allow
us to describe the profile of the average and frequent consumer in both markets, which shows some similarities—gender effects
and the role of cultural capital—but also striking differences—time restrictions and relation to economic activity, and the
use of technology. Finally, we find evidence of demand complementarities, with a direct causal link from prerecorded music
to live attendance that helps explain recent institutional changes. 相似文献
6.
The cinema exhibition sector in Spain, as well as in the rest of Europe, is a dynamic sector characterised by the present growth of multiplexes and consumer demand after a long period of decline. These changes make it relevant to analyse the cinema attendees' profile from a marketing perspective. To this end, we have developed an exploratory study on segmentation applied to the young cinema attendees. Doing so, we have found three different groups according to benefits sought in their going to the cinema and other demographic and behavioural variables. On the basis of information as such, specific marketing objectives could be set and more efficient strategies designed and implemented. 相似文献
7.
This paper presents an empirical assessment of movie-theatre attendance in two major metropolitan markets and provides strong support for the importance of spatial characteristics in determining attendance. We consider the hypothesis that attendance at a particular movie theatre reflects a tension between two effects: a negative competition effect and a positive agglomeration effect. We find evidence that the competition effect dominates. Further, we identify a pattern of systematic spatial decay in the impact of this effect on demand. 相似文献
8.
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
9.
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
10.
This paper tests whether demand for theatre in Italy is consistent with the model of rational addiction presented in Becker and Murphy (J Polit Econ 96(4):675–700, 1988). Data from a novel 34-year panel on regional annual theatre attendance are used to estimate market demand. Four models are applied to investigate the demand function, and all of these also include per capita income and other control variables as regressors. The first two models are estimated to check whether theatregoers are myopically addicted to theatre. The results suggest that the theatre is an addictive good because past consumption (and prices) significantly raises the marginal utility of current consumption. The third model tests the rational addiction hypothesis, which assumes that future attendance also influences current attendance, whilst past and future prices influence current attendance only indirectly through their impact on past and future attendances. However, our most highly specified model, introducing past and future prices, demonstrates that Italian theatregoers are not myopic but fully rational as outlined in Becker and Murphy (1988). The results demonstrate that the rational addiction hypothesis is applicable not only to “harmful” addictions such as alcohol, cigarettes and drug consumption, but also to “beneficial” addictions, such as theatre attendance. This result has important policy implications because theatre is one of the most subsidised performing arts in Italy; if theatregoers are fully rational, policy makers can influence theatre attendance using alternative policy instruments (price and income), thereby reducing government expenditure on theatre subsidies. 相似文献
11.
Using performance level box-office receipts from the PacificConservatory of the Performing Arts over eight years, we analyzeperformance-level demand for live theater. The disaggregated data allowsus to estimate demand at a particular venue and to characterize theseasonality of demand for live theater. We examine whether the supply ofshows matches the differentiated tastes of theater-goers at each of thethree locations and the sensitivity of demand to critical reviews andprior attendance. 相似文献
12.
Cinema Demand In Germany 总被引：1，自引：0，他引：1
This paper examines the German cinema market using time series data covering the period 1950–2002. Applying estimation techniques such as OLS, 2SLS and SUR, we identify interrelations between the number of seats, the average real prices and the demand for movies per capita. Furthermore, we test for the long-run relationship between demand, prices and real income and estimate the elasticity of demand with respect to these variables.JEL–Classification: C22, C23, L82 相似文献
13.
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
14.
In the last decade, attendance at movie theaters has been relatively stagnant, while sales of digital versatile discs (DVDs)
have grown dramatically. In this paper, we look at the factors determining sales of individual DVDs in the United States.
Using data on new motion pictures released on DVD between 2006 and 2008, we find the demand for new DVDs is price-inelastic
and that DVD sales are counter-cyclical. We find that previous box office success has strong positive effects on DVD sales.
Production budget also has a positive effect on DVD sales, albeit indirectly through its effect on box office revenues. Critical
acclaim has significant positive effects on both box office revenue and DVD sales, but the effect is smaller in regard to
DVDs. There is some evidence to suggest that DVD sales are higher for movies with more sexual content and more violent content
and lower for movies with more profanity, but these effects are indirect through the changes in the box office of these movies.
We find that sales of R-rated DVDs are not as dependent upon critical acclaim as movies of other ratings, and are thus less
risky for movie studios to produce. Our findings provide another explanation for the R-rating puzzle. 相似文献
15.
《Journal of International and Intercultural Communication》2013,6(2):114-135
Abstract The establishment of the European Union, reunification of Germany, and Germany's extension of dual citizenship to immigrant minorities provided challenges to the country's understanding of itself as a nation. In negotiating these changes, debates on citizenship frequently centered on definitions of German culture. Using the concept of Leitkultur (guiding culture), conservatives argued that Germany should reject multiculturalism and stem immigration. This essay analyzes discourses on cultural policy in Germany through a contextual and textual analysis of the film Mostly Martha. In its alignment with aesthetic conventions of the art house food film, Mostly Martha participates in the debate on cultural citizenship and embodies changes in the German film industry that have moved German cinema toward increased commercialism. The film's main character, Martha, is transformed through an intercultural relationship and a trip to Italy. We argue that the film's citation of this well-known tradition of traveling south to redeem oneself and its treatment of ethnic “Otherness” engages in the Leitkultur debate and participates in the transition from national German to transnational cinema. Through the utopian treatment of Italian food, the film fetishizes cultural difference and reaffirms fixed constructs of nation and gender, thereby avoiding an explicitly politicized engagement with intercultural citizenship and identity. 相似文献
16.
Juan Gabriel Brida Chiara Dalle Nogare Raffaele Scuderi 《Journal of Cultural Economics》2016,40(3):261-283
Some recent empirical contributions have highlighted that tourists often go to museums yet appear to extract little utility from the experience. We argue that this is often the case with agents who visit museums only while on holiday and results from a temporary lack of substitute experience goods or compliance with a must-do list. If such agents behaved according to Stigler and Becker’s rational addiction theory, they would also visit museums while at home. However, most do not, which makes them constantly occasional consumers. We indirectly test for the presence of constantly occasional museum attendance by tourists, using data from a survey conducted in 2012 at Vittoriale, the most popular museum at Lake Garda, a renowned Italian tourist destination. By applying multiple correspondence analysis to a question on motivations to visit the museum, we obtain two dimensions of motivation: one based on a search for knowledge and the other based on a more recreational attitude. Identification of the latter is a new finding in itself. We include these dimensions as regressors in a model used to explain museum attendance. We find, as expected, that light consumption negatively affects attendance. We therefore argue that empirical analyses of museum attendance should not disregard light motivation as a possible driver. 相似文献
17.
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
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18.
Harold E. Cuffe 《Journal of Cultural Economics》2018,42(2):213-241
I investigate the intraday effects of rain on the demand for indoor leisure. To do so, I use sub-daily museum attendance and weather data to reveal a dynamic response to precipitation that would be obscured using day-level data. I find that the magnitudes and signs of the effects of rainfall vary significantly throughout the day. In some hours, the predicted increase in visitors is nearly three times larger than would be expected from estimates using daily measures. Many individuals appear to actively adjust their plans throughout the day in response to rain, while others’ attendance depends upon prior weather forecasts of rain. Further analysis reveals that visit duration also increases during rainy periods, and visitors are more likely to attend pay-to-enter special exhibits. International visitors make up a greater share of total visitors during periods of observed precipitation. More broadly, this paper establishes the viability and value of working with widely available sub-daily rainfall data to uncover these dynamics. 相似文献
19.
Björn Frank 《Journal of Cultural Economics》1994,18(2):125-133
The optimal time for the release of a film in the video market is derived theoretically and shown to depend on characteristics of its cinema performance and on several other parameters. It is empirically confirmed that the model can explain the changing film release patterns in the years of video market growth. The model can also be applied to other ancillary markets for motion pictures as well as to paperback releases of books. 相似文献
20.
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