共查询到20条相似文献，搜索用时 468 毫秒
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Austen-Smith David 《Journal of Cultural Economics》1994,18(3):239-249
Reprinted from Hendon, W.S., Shanahan, J.L. and MacDonald, A.J., eds. (1980)Economic Policy For the Arts. Abt Books, Cambridge, Mass. with kind permission of the publisher. David Austen-Smith, born 1953, wrote his Ph.D. thesis on cultural economics at the University of Cambridge, U.K.; he worked at the University of York and wrote several articles in the field before moving to the Department of Political Science at the University of Rochester in the U.S. His research is now primarily in positive political theory. 相似文献
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Positioning cultural arts products in the market 总被引：1，自引：0，他引：1
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Beginning in 1979, certain states extended extra copyright protection, known as “moral rights” protection, to visual artists.
Moral rights protection, which was incorporated into U.S. copyright law in 1990, ensures that works cannot be altered in a
manner that would negatively impact the reputation of the artist. Using difference-in-differences regression strategies, we
compare artists and non-artists in states with moral rights laws to those in states without these laws, before and after the
laws are enacted. This enables us to test the impact of the laws on the behavior of artists, consumers, and policy makers.
Our analysis reveals that the average artist’s income falls by around $4000 per year as a result of moral rights legislation,
but we find no impact of the laws on artists’ choices of residence or on state-level public spending on the arts. 相似文献
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Journal of Cultural Economics - 相似文献
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On justifications for public support of the arts 总被引：1，自引：1，他引：0
Don Fullerton 《Journal of Cultural Economics》1991,15(2):67-82
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Our paper analyzes the conduct of German public performing arts institutions in terms of non-market decision making or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument. 相似文献
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The demand for live performing arts in Italy 总被引：1，自引：1，他引：0
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