共查询到20条相似文献，搜索用时 15 毫秒
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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
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The supply and demand for cinema tickets: Some U.K. Evidence 总被引：3，自引：2，他引：1
S. Cameron 《Journal of Cultural Economics》1986,10(1):38-62
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ABSTRACTBanned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.). 相似文献
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In this paper we investigate the dynamics of chartsuccess in the U.K. pre-recorded popular music industryover the period 1980 to 1993 using the British albumchart listings. We find that the incidence of chartsuccess is substantially skewed to the right, whethermeasured by total weeks spent per artist, averageweeks spent per album, or the total number of albumslisted per artist. We subsequently investigatepossible determinants of the length of chart survivalof albums in order to determine what may be drivingthe observed skewness. Our results indicate that thetype of album, seasonal demand, and initial popularityplay an important role in ensuring continued chartlisting of an album. 相似文献
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Maria Rentetzi 《Minerva》2008,46(4):437-462
A fierce debate ensued after the announcement in 1913 in the U.S.A. that all rights and ownership of radium-bearing ores found
on public land would be reserved by the government. At stake was the State monopolization of radium that pitted powerful industrialists
with radium claims, mainly in the Colorado area, against the Bureau of Mines and prestigious physicians who wished to reserve
radium for medical uses. This article describes the strategies of one of the biggest U.S. radium industries that dominated
the radium market, created huge customer bases, and legitimized their role within the scientific community. In contrast to
the European “radium situation,” radium extraction, production, and marketing in the United States was controlled by the industry;
and industrial in-house research was clearly separate from that done in academic circles. The production of knowledge was
ready-made in the factory and was entangled with commercial orders and advertising patterns.
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| Maria RentetziEmail: |
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The paper proposes a framework for the study of cultural heritage management issues: the “heritage chain”. The notion translates the concept of supply chain derived from industrial organization, investigating the set of activities taking place in the heritage sector (from preservation, to archaeological excavation, conservation, research, and museum presentation) in their relationships and abilities to impact performances. The concept can be used both to address problems and inconsistencies within an individual case and, in a comparative perspective, to understand how heritage became structured differently in different countries. In this paper it is applied to a specific case of heritage preservation and management in China: the “Horse and Chariot” Museum. While investigating several aspects of management of the Chinese heritage (a rather unusual field research made possible by an attitude toward international collaboration), the case highlights the ability of the “heritage chain” to grasp a single case of heritage management with a holistic view, opening up possibilities of development for the new framework. 相似文献