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1.
Steve Globerman 《Journal of Cultural Economics》1980,4(2):15-25
Conclusions The bulk of contemporary policy concern in the cultural area is focussed on the nature of government assistance. In particular,
there is a growing feeling that indirect assistance to cultural industries should be promoted to a greater extent than it
has been in the past. This feeling reflects both the view that real levels of direct government grants may not be sustainable
and the presumption that indirect forms of assistance (such as tax concessions and the like) can channel aid to artists more
efficiently than direct forms of assistance, such as Canada Council grants to arts organizations.
The various arguments offered in favor of one or another approach towards funding cultural activities are certainly not conclusive.
The main point to be made in this regard, however, is that debate over how culture should be funded is taking place in the
absence of explicitly formulated operational objectives as well as crucial information about how the cultural production and
marketing processes operate. In this regard, ineffectual policy-making across the broad spectrum of cultural assistance programs
may be of far greater concern than any efficiency differences which might be anticipated between various forms of assistance
to the arts. 相似文献
2.
The paper focuses on funding issues facing arts and cultural resources worldwide. Inter alia, current public policy consensus
encourages cultural resources to raise money from voluntary contributions at the gates in order to address some of the shortfall
in public funding. The paper considers the British Museum, London, as a case study. The objectives of the paper are twofold.
First, to elicit individual preferences for future managerial initiatives that could have an impact on visitors’ willingness
to financially support cultural resources by making a voluntary contribution during their visit. Second, the study combines
observed and unobserved heterogeneity in order to explain a greater source of variation on individuals’ decision-making process.
Overall, the results provide directions for government policy into widening and deepening participation for the arts and culture.
In addition, the results also provide support towards a reconsideration of curatorial procedures towards a motivational segmentation
of demand for the arts and culture. 相似文献
3.
Michael Getzner 《Journal of Cultural Economics》2002,26(4):287-306
Austria calls itself a ``cultural nation' as the arts, the performing arts (theaters) and museums, in particular, play an important role in public debate. However, the question arises as to whether public cultural expenditures as an indication of the significance of cultural policy are really as important when compared to other policy fields as political parties and the government try to suggest. A time series of public cultural expenditures for the period from 1967 to 1998 is taken as a basis for testing econometrically whether public expenditures (measured primarily as the ratio to GDP) follow a growth path. Based on tests for the stationarity of the time series of cultural expenditures in Austria, there are empirical indications that cultural expenditures, gross domestic product (GDP) and the relative price index (GDP and government expenditures) are cointegrated. Further econometric estimations (error-correction models) show that cultural expenditures increase with growing GDP but are vulnerable to short term fluctuations. Additionally, ``Baumol's cost disease' adds to the long-term growth of cultural expenditures. In the past the growth path of cultural expenditures has been stable and independent of the ideology of ruling parties, the form of government and political business cycles. 相似文献
4.
Michael O’Hare 《Journal of Cultural Economics》2008,32(4):281-291
This article was presented at the symposium dedicated to the twenty-fifth anniversary of the publication of Patrons Despite Themselves: Taxpayers and Arts Policy (Feld et al., 1983), held by the Association for Cultural Economics International, Boston, June 2008. It considers “big questions” in arts policy that promise intellectual and social payoff if approached in the spirit that animated the effort behind Patrons Despite Themselves, with special attention to issues that economists might illuminate, namely: (1) Waste of resources; (2) A workable business model for digital media; (3) Increasing the value created through amateur participation; (4) Withdrawal of elites, especially economic elites, from their historic participation in arts governance and support; and (5) Fragmentation of collective patrimony. The associated questions are the same in each case: Why is this happening? Is there a market failure or equity justification for government action? What policies would help? 相似文献
5.
Douglas S. Noonan 《Journal of Cultural Economics》2007,31(4):293-310
This report focuses on state government appropriations to state arts agencies (SAA), a primary figure in arts and cultural
policy in the United States. A dynamic panel-data estimator can identify the fiscal, institutional, and demographic determinants
on SAA appropriations. Agency budgets are particularly sensitive to past appropriations, past state revenues and NEA grants,
some demographic variables, party control of state government, and state budgeting rules. Federal funds attract, rather than
crowd out, state appropriations. While the influence of some demographic variables may be shifting over time, income growth
continues to explain much of SAA appropriations.
相似文献
| Douglas S. NoonanEmail: |
6.
7.
This paper examines the impact of the National Endowment for the Arts on private donations to the arts. The aim of the analysis is to assess whether public funding generates a crowding effect on private giving. We distinguish between institutional and sectoral crowding phenomena and discuss their possible implications.We used both a qualitative approach and an econometric model to estimate the effect of NEA introduction and appropriations on donations. Our results suggest that at the institutional level NEA grants do not generally induce donations to recipients while at the sectoral level appropriations and private giving are independent. The introduction of the agency appears to have caused a decrease in donations. 相似文献
8.
As universities are increasingly called by their national governments for a more entrepreneurial management of public research results, they started to develop internal structures and policies to take a proactive role in the commercialisation of university research. For the first time, this paper presents a detailed chronicle of how country-level reforms on Intellectual Property Rights (IPRs) were translated into organisation-level mechanisms to regulate university-patenting activity. The analysis is based on the complete list of patent policies issued between 1993 and 2009 by the population of Italian universities. Our evidence suggests that universities first dealt with legislative changes on IPRs by enacting isomorphic behaviours, then by creating a community of practices, and finally by leveraging on such community to influence government reforms on IP-related matters. We discuss our results in the light of institutional theory and public policy. 相似文献
9.
Determinants of historic and cultural landmark designation: why we preserve what we preserve 总被引：1，自引：0，他引：1
There is much interest among cultural economists in assessing the effects of heritage preservation policies. There has been
less interest in modeling the policy choices made in historic and cultural landmark preservation. This article builds an economic
model of a landmark designation that highlights the tensions between the interests of owners of cultural amenities and the
interests of the neighboring community. We perform empirical tests by estimating a discrete choice model for landmark preservation
using data from Chicago, combining the Chicago Historical Resources Survey of over 17,000 historic structures with property
sales, Census, and other geographic data. The data allow us to explain why some properties were designated landmarks (or landmark
districts) and others were not. The results identify the influence of property characteristics, local socio-economic factors,
and measures of historic and cultural quality. The results emphasize the political economy of implementing preservation policies. 相似文献
10.
文化遗产是一个地区历史和文化的见证,是对历史的记录,对现代人而言是具有重要价值的历史文化资源。历史文化名城商丘,在国家相关政策引导下,积极进行有机更新。通过调研的方法,依托文化资源与旅游业相融合发展的政策背景,结合商丘的文化遗产状况分析商丘古城文化旅游建设过程的自身优势以及在发展文化旅游时存在的问题,提出发展文化旅游建设需要管理者积极转变思路,以游客需求为中心提供相关服务;进行部门合作,规范管理;政府给与产业政策倾斜,多产业融合的措施和建议,以期为商丘古城旅游建设添砖加瓦。 相似文献
11.
The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts. In artists’ labor markets, indefinable features such as talent and artistic creativity apparently contribute more to success or higher rates of payment than education and training. In this article, we will readdress this question by looking at the artists’ survival in the arts occupations. We find it reasonable to expect than an artistic education can have a significant impact on artists’ careers because of the importance of technical skills, networks and signaling effects. We analyze the question by using a unique longitudinal dataset for five different groups of artists in Denmark, using the Cox model to apply survival functions and semi-parametric analysis. The results show, among other things, that an artistic education has a significant impact on artists’ careers in the arts, and we find important industry differences. 相似文献
12.
Summary Our recommendation is that Europe and the EC should proceed with caution before implementing extensive mandatory television content policies. In the foregoing, we have attempted to outline the reasons why we feel content policies have not worked in the past in Canada, and why they will face increasing difficulties wherever implemented. The reasons are administrative, technological and financial. In addition we are not convinced by the economic rationales for content policy. However we do recognize the right of governments to pursue cultural policies similar to those represented by content policies, and elsewhere we have proposed alternative courses of action for governments to consider.Aside from tracing the evolution of Canadian content policies, our research has examined government funding of films and programs, the use of coproduction treaties and coventures and evolving technological considerations.(22) At present we are examining managerial aspects of film making and television production and distribution in the current international environment.Carleton University 相似文献
13.
Historical heritage is proving an ideal field to apply contingent valuation for estimating individual as well as collective preferences as goods tend to be non-market and publicly owned. Yet despite this, findings are seldom used to draw up cultural policies or assess cultural heritage related projects. The current paper thus posits an approach which merges contingent valuation and cost-benefit analysis to design a cultural policy aimed at restoring the urban cultural heritage of the city of Valdivia (Chile). Contingent valuation is used to estimate the expected benefits from heritage for both local residents and tourists visiting Valdivia. We then apply cost-benefit analysis to the findings to evaluate a project to restore the historical ensemble through a non-profit foundation. The originality of the proposal lies in its merging the two approaches and may prove appealing to developing countries in which much of the heritage has been neglected and left to deteriorate, and where few or no resources have been devoted and a lack of effective institutional schemes to address the situation is evident. 相似文献
14.
The debate about whether the arts should be supported or not is far from new, and most governments support the arts in one
way or the other. The literature considers several arguments in favor of such interventions. Public education may seem to
be an action which could, in the long run, lead to possible reductions of subsidies. Surveys show that those who have been
exposed to the arts when young participate more when adult. However, the “non-market” transmission from parents to children
generates an external effect, which has to be taken into account to reach first-best situations. We construct an overlapping
generations model in which young consumers are exposed to both public education toward the arts and to non-altruistic transmission
of such a taste from their parents. We show that the first-best can be reached only if there is both public cultural education
and subsidization of arts consumption. Therefore, education cannot be considered as a substitute for subsidies to arts consumption.
However, as is often the case in European countries, government intervention is usually below the first-best level. Using
a model calibrated on French data, we show that it is then preferable to subsidize education, while consumption, especially
of the older generations, should be taxed rather than subsidized.
相似文献
| Luc ChamparnaudEmail: |
15.
《Journal of Cultural Economy》2013,6(1):31-47
Normative cultural economy discourse on New York City embraces the creative industries as engines of job creation but neglects the quality of employment within them. This article sets out to both illuminate the precarious conditions of nonstandard workers in New York's vaunted creative sectors and identify emerging collective responses to precarity in this city. Three areas of labour activity are focused upon: fashion industry frictions, art world agitations, and independent worker initiatives. Under each of these headings, the article profiles two organizations that are variously exposing, resisting, and mitigating precarity among flexible labour forces in the arts, the media, cultural industries, and beyond. The discussion of these organizations is informed by interviews with some of their protagonists, by documents produced by the organizations, and/or by media coverage of them. Challenging the assumption that getting by in informal cultural labour markets obliges individual coping strategies, this article reveals scenes from a metropolitan laboratory of precarious labour politics. These initiatives are inklings of a recomposition of labour politics in which flexible workforces in creative industries are important participants. 相似文献
16.
《Journal of Cultural Economy》2013,6(3):345-361
This article discusses value creation within the fields of cultural production. It departs from Bourdieu's field model, and seeks to develop it to fit unrestricted cultural production, for example television production. Bourdieu for the most part discussed the production of value (or forms of capital) in relation to fields of restricted cultural production, that is, within the fine arts (e.g. art, literature). Although one of his best known works dealt with television, one cannot say that he used the possibilities inherent in his own theory thoroughly enough to analyse this field of mass production. This article builds on recent discussions on the role of field theory in media studies, and seeks to contribute to the development of a theory of value production in fields of large-scale or unrestricted cultural production. It is argued that the conflation of commercial value with other kinds of value is more intense in the subfield of unrestricted cultural production, as production in this part of the field needs to obey outer demand in a way that production at the pole of restricted production does not. 相似文献
17.
The Spring Fiestas in Seville (Spain) (SFS) are the most important cultural events in the city each year. The present paper pursues two aims. The first is to characterize the SFS as a new prototype of a complex cultural good that expresses the link between the people and the place in which they live based on material and immaterial cultural heritage represented through popular celebrations. The second goal is to conduct an empirical analysis of the determinants that shape attendance intensity by estimating a zero-truncated count data model using a unique dataset of attendees at the SFS in 2009. Findings indicate that attendance is strongly associated with variables reflecting knowledge, institutional links, past experiences, and the perceived external benefits generated by the existence of the SFS. The article contributes to the literature by exploring participation in popular celebrations, a field of inquiry that to date is extremely limited in cultural economics. 相似文献
18.
Governments often see it as their responsibility to support cultural life and at times spend a significant amount of resources
in the pursuit of this goal. The present article analyses whether and how municipalities influence each other in this decision
to spend resources on the arts (using data on local government cultural spending in 304 Flemish municipalities in 2002). Following
‘central place theory’, the focal point of the analysis is the idea that––especially for cultural expenditures––large municipalities
(and, specifically, ‘central places’) may affect their neighbours’ behaviour differently than small municipalities. The empirical
analysis supports this idea. Indeed, we show that Flemish municipalities’ cultural spending is generally positively affected
by that in neighbouring municipalities. This pattern is, however, significantly more complex for municipalities neighbouring
the 13 largest Flemish cities.
相似文献
| Benny Geys (Corresponding author)Email: |
19.
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
20.
There is growing interest in the relationships between the arts, entrepreneurship and innovation. Nevertheless, the concepts of arts, entrepreneurship, and innovation, and the overlaps between, lack specificity, especially in terms of how each supports the other. This article proposes a definition of art entrepreneurship both as a concept and a field of study. The definition proposed helped target articles to be included in the special issue that this article also describes, which focus on relationships between arts, entrepreneurship and innovation for workers, firms, and industry.
相似文献