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1.
Expenses in the performing arts have historically increased at a rate faster than earned revenues due to the labour reliance of the sector. Flanagan (The perilous life of symphony orchestras: artistic triumphs and economic challenges. Yale University Press, New York, 2012) found that US symphony orchestras were able to avoid the negative consequences of this earning gap by fostering strong private support. In the present study, we find that, in contexts where private funding is not as readily accessible, like in Canada, arts organizations have more incentive to keep expenses under control. This can be understood in terms of resource dependence where government funding bodies, due to a homogeneous set of demands, put pressure on organizations to control their expenses and reach greater audiences. Using panel data covering a period of 8 years and forty-eight orchestras, the results show that Canadian orchestras, when compared to US ones, achieve a lower rate of expense increases over time and are more reactive to economic downturns. 相似文献
2.
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
3.
In this paper, we describe the institutional framework in which heavy subsidization of German classical orchestras takes place and provide figures on the structure and the level of public support. Moreover, we derive and test various hypotheses concerning the political-economic determinants of public orchestra support. We analyze the political support-maximizing calculus of local politicians – the relevant decision-makers for orchestra subsidization in Germany. We find that public funding increases with increasing population; public debt and budget figures exert strong influences on the level of support. In addition, conservative and liberal politicians tend to support classical orchestras more than Social Democratic and Green politicians do. 相似文献
4.
Alan Hansen Trudy Milburn 《Journal of International and Intercultural Communication》2015,8(3):224-236
As they conduct the practical work of collaborating during meetings, nonprofit stakeholders construct, negotiate, and manage identities. In this article we use membership categorization analysis to explore how meeting participants avow and ascribe cultural identities during collaborative meetings in two nonprofit organizations. Examination of identification practices, including employing labels for ethnic categories and implicating cultural identities through category-relevant predicates—which are part of the practical work of collaborating in nonprofit organizations—can serve as an aid to understanding how stakeholders negotiate interorganizational collaboration in social interaction. 相似文献
5.
In this article, we examine the objectives of nonprofit arts firms. We approach this problem from both theoretical and empirical
angles, building a structural model of arts nonprofit utility that distinguishes between the maximization of quality, the
organization’s level of service, and its budget. We then construct an empirical method for testing which objective is evident
in firm-level data. As an example application, we test the objectives of the managers of American public radio stations in
the 1990s, finding that about half of stations have discernible objectives. The data show service is not an objective for
about 30% of the stations; quality can be ruled out for 49%; and budget is rejected for 69%. In addition, large stations are
harder to classify by objective than small ones are.
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| Arthur C. BrooksEmail: |
6.
Frederick W. Derrick Nancy A. Williams Charles E. Scott 《Journal of Cultural Economics》2014,38(2):173-189
This paper advances the ongoing discussion of methods for predicting movie box office revenues with two contributions to the methodology and an out-of-sample test of the model. The first innovation is the development of a two-stage model using publicly available pre-release indicators to predict (1) initial week and (2) subsequent run box office revenues. To incorporate the experience-good nature of movies, the second stage is estimated by incorporating a proxy variable for box office success during the first week relative to predicted first week success. The second contribution is an empirical test of De Vany and Walls’ (J Econ Dyn Control 28:1035–1057, 2004) finding that the distribution of movie revenues has “heavy tails” and follows a non-Gaussian stable distribution with infinite variance. We estimate the two-stage model of a movie’s box office success on all general release movies in 1 year with both the Gaussian and stable distribution with heavy tails and infinite variance and find no evidence for the stable distribution in either stage of the estimation. This two-stage model is validated by comparing all general release movies in 3 future years (out-of-sample data) to the model’s predictions. 相似文献
7.
Optimal pricing and grant policies for museums 总被引：1，自引：0，他引：1
The “free access” policy designed by the British Government has encouraged interest in museum financial issues. We define a principal-agent model for museum administration where there are two income sources: public grants and ticket revenues. This model allows us to define the optimal contract determining public grants, ticket prices, budget and managerial effort. We find a theoretical explanation for the inelastic pricing strategy commonly adopted in cultural economics. We further find that museum manager should never have any control over the price of tickets. The model can also be applied to other institutions, such as schools or NGOs, which are able to raise funds directly from private (e.g., ticket revenues or membership fees) or public sources.
JEL Classification number H20, H42, C70, D80, Z10 相似文献
8.
This paper combines perspectives on nonprofit organizations, clubs and club goods, demand for performing arts, and demand for charitable contributions to consider relationships between nonprofit organizations in the performing arts and their patrons. A broad view is taken of factors influencing demand for club goods, charitable donations, and for the live performing arts. These are integrated in a model of demand for the outputs and services of nonprofits in the performing arts. Data from a single institution is used to test hypotheses. Conclusions are drawn for organizational policy and economic theory. 相似文献
9.
Tylor Orme 《Journal of Cultural Economics》2014,38(4):351-368
Film studios have spent the past two decades lobbying extensively to establish new legislation restricting access to copyrighted materials online. While there is growing evidence of the effect film piracy has on studio profits, the evidence on the impact of anti-piracy legislation is limited. If anti-piracy legislation is having the film industry’s desired impact, we would expect film revenues to be consistently higher following the passage of major laws that restrict access to pirated content, or major enforcement actions, such as the shutdown of Web sites that provide illegal content for download. This paper applies an intervention analysis approach to weekly data on movie box-office revenues in the USA to determine whether the passage of new anti-piracy policy has generated significant changes in box-office revenues during the period from 1997 to the present. These effects are evaluated in both the short and long term, which allows an assessment of the duration of effectiveness of government actions. The results show that four of the six included policies are ineffective in the long term and those policies that do impact revenues in the short term often harm film studios, rather than help them. 相似文献
10.
Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box Office? 总被引：1，自引：1，他引：0
Everyone knows that the movie business is risky. But how risky is it? Do strategies exist that reduce risk? We investigate these questions using a sample of over 2000 motion pictures. We discover that box-office revenues are asymptotically Pareto-distributed and have infinite variance. The mean is dominated by rare blockbuster movies that are located in the far right tail. There is no typical movie because box-office revenue outcomes do not converge to an average: revenues diverge over all scales. The studio model of risk management lacks a foundation in theory or evidence, and revenue forecasts have zero precision. Movies are complex products and the cascade of information among film-goers during the course of a film's run can evolve along so many paths that it is impossible to attribute the success of a movie to individual causal factors. The audience makes a movie a hit and no amount of “star power” or marketing can alter that. The real star is the movie. 相似文献
11.
Staffan Albinsson 《Journal of Cultural Economics》2013,37(2):175-184
For this study, data from the annual reports of the STIM (the Swedish Performing Right Society) (By Swedes it is read as a word: ‘stim’ and not as four separate initials S.T.I.M.) were collected and analysed. If the general hypothesis that a digital technology shift has resulted in illegal downloading holds true, there should be a decrease in total revenues for composers from record sales. This is what the STIM data show. There has, however, been a simultaneous growth in income from other sources, which compensates for the loss from record royalties. This study also includes a unique data set from the STIM showing revenues for individual music IPR owners. The general finding is that a very small group of composers receives a very large share of the copyright revenues. Music as a ‘winner-takes-all’ arena is apparent. 相似文献
12.
Brandi Lawless 《Journal of International and Intercultural Communication》2016,9(4):334-350
This essay (re)examines the notion of intercultural alliances in one U.S. nonprofit organization trying to end poverty. The nonprofit, referred to as Transforming Poverty Partnerships, has built their program around building relationships between people in poverty and middle-class “Allies.” This analysis reveals a number of problematic themes that emerge from previous conceptions of cross-class alliances and implications for improving such alliances within various contexts. 相似文献
13.
Marianne Victorius Felton 《Journal of Cultural Economics》1994,18(4):301-312
This paper examines the experience of 25 large U.S. orchestras over a 21-year period for the presence or absence of the cost disease. Appropriate measures of input and output are discussed. Measures of productivity, compensation per worker, and unit labor costs are calculated and compared to similar measures for the manufacturing sector. The history of ticket prices and attendance is reviewed, and price and income elasticities of demand are estimated. The relationship between all these variables is explored, and some policy recommendations are offered.The author is grateful to Professor William Baumol and two anonymous referees for their helpful comments. She also wishes to thank Heather Dinwiddie and Dan Patterson of the American Symphony Orchestra League for making the orchestra data available. Support for this project was provided by a grant-in-aid of research from Indiana University Southeast. 相似文献
14.
Amresh Hanchate 《Journal of Cultural Economics》1996,20(2):133-144
For a nonprofit organization that provides individualized services to different customers a natural rule is at-cost pricing — to cover for labor, administrative and other expenses incurred in providing the service to each customer. This not only accomplishes zero profits (losses) but also zero cross-subsidization across customers. But if costs cannot be predicted before the completion of a service, and estimates are used in obtaining such service contracts, then what should be the pricing strategy? We study such a situation facing the Intermuseum Laboratory (Oberlin, OH), a nonprofit organization that restores works of art. Two alternative pricing strategies are proposed, with dual objectives of zero cost overuns and minimum cross-subsidization across customers, and present results from a simulation of this strategy using data from the Laboratory. 相似文献
15.
《Journal of Cultural Economy》2013,6(4):286-298
ABSTRACTUsing a six-year case study of Glasgow’s Sustainable City business model, this paper examines interactions between financialised governance of cities and clean energy strategies. Research on the role of cities in developing clean energy has paid limited attention to the interaction with financialised governance of infrastructure, which makes the implementation of plans largely dependent on private investment. A conceptual approach combining economic sociology of actor networks and urban political economy is used to analyse the career of the business model designed to transform old infrastructures into new clean energy assets. The analysis focuses on interactions between city council, public bodies and electricity distribution network business. Climate policies are creating uncertainties for energy businesses over revenues from ageing networks, suggesting scope for alliance with local governments. Making new liquid assets for clean energy from old infrastructure is however shown to be a process marked by instability and reversals. In conclusion, it is argued that concepts from actor-network theory and urban political economy used together reveal the hidden contingencies of financialisation in particular socio-technical interactions, and their materiality in the context of climate change. 相似文献
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《Journal of Cultural Economy》2013,6(2):194-208
This paper locates politics in culture industry work at the organisational and firm level through developing the application of the notion of rent to culture industries as revenues from intellectual properties, and as the more general sense of revenues derived from non-equivalential exchanges. The argument is that politics arises from attempts to establish or eliminate rents. The paper discusses ethnographic research on subjectivity and culture industry work and provides a theoretical account of rent in the capitalist imaginary and in explanations of formal problems of power in the entrepreneurial firm as the basis for the analysis of political practices in culture industries. The paper concludes with a discussion of the relation between rent and subjectivity and politics in neoliberalism. 相似文献
19.
How does the market react to news regarding large uncertain projects? We analyze stock market reactions to information about changes in opening dates of movies, and present two main findings. First, we find systematic negative stock price responses to the scheduling changes we consider, suggesting that any changes are interpreted as bad news by the market. Second, we find that the market reaction is greater for movies with higher production costs, but is unrelated to subsequent box office revenues. This may point to a limited ability of the market to predict the box office performance of a movie, and to increased sensitivity of the market to cost effects, which are easier to forecast. 相似文献
20.
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