A summary of the articles covered in Cultural Industries for Business (6013B0544Y) at the University of Amsterdam (UvA). The summary has also been examined against the lecture materials (given by Monika Kackovic, Isabella Pozzo and Aldo do Carmo) to ensure completeness. Every article and chapter ha...
Does cover most of the topics but by limiting every article to just 1 page some important info is missing. It is good as complementary to your own reading but I would not recommend to use this as a substitute for the articles. Great basis to form your own summary on tho, just not that detailed and in my opinion rather expensive
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Thank you Gwen! I’d love to know how I can improve it :)
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Does not match the current fabric
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Hi Lieke, thanks for your review! The summary was written for the course taken in 2022 so some things may not be exactly the same.
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Thank you!
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Cultural Industries for Business (6013B0544Y)
Summary of all articles covered by Monika Kackovic, Isabella Pozzo and Aldo do Carmo.
Week 1: Analyzing the Creative and Cultural Industries (CCI) 2
Modelling the cultural industries – Throsby (2008) 2
An Individual Business Model in the Making: a Chef’s Quest for Creative Freedom – Svejenova, Planellas & Vives (2010) 4
Surviving in Times of Turmoil: Adaptation of the Théâtre Les Deux Mondes Business Model – Poisson-de Haro & Montpetit
(2012) 5
Week 2: CCI & Organisational Design 6
Balancing act: Learning from organising practices in cultural industries – Lampel, Lant, & Shamsie (2000) 6
Beyond Networks and Hierarchies: Latent Organisations in the U.K. Television Industry – Starkey, Barnatt & 7
Networks and social capital in the UK television industry: The weakness of weak ties – Antcliff, Saundry & Stuart (2007) 8
Capabilities in motion: New organisational forms and the reshaping of the Hollywood movie industry – Lampel & Shamsie
(2003) 10
Week 3: CCI & Marketing 11
Strategic Orientation and Firm Performance in an Artistic Environment – Voss & Voss (2000) 11
Understanding the Bond of Identification: An Investigation of Its Correlates among Art Museum Members – Bhattacharya,
Rao & Glynn (1995) 12
Robust Identities or Nonentities? Typecasting in the Feature-Film Labor Market – Zuckerman, Kim, Ukanwa & Rittmann (2003)
13
Third-party signals and sales to expert-agent buyers: Quality indicators in the contemporary visual arts market – Kackovic,
Bun, Weinberg, Ebbers & Wijnberg (2020) 14
Week 5: CCI & Technological Change 15
Should You Invest in the Long Tail? – Elberse (2008) 15
When market information constitutes fields: Sensemaking of markets in commercial music industry – Anand & Peterson
(2000) 17
Web-based Experiments for the Study of Collective Social Dynamics in Cultural Markets – Salganik & Watts (2009) 18
Week 6: CCI & Competitive Processes 19
Coping with uncertainty, abundance and strife: Decision-making processes of Dutch acquisition editors in the global market
for translations – Franssen & Kuipers (2013) 19
Why some Awards are more Effective Signals of Quality than Others: A study of Movie Awards – Gemser, Leenders & Wijnberg
(2008) 20
Avoiding ‘StarWars’: Celebrity Creation as Media Strategy – Franck & Nuesch (2007) 21
Week 7: CCI & International Business 22
Global parents, local partners: A value-chain analysis of collaborative strategies of media firms in India – Pathania-Jain (2001)
22
Makeover On the Move: Global Television and Programme Formats – Moran (2008) 23
Banal cosmopolitanism and The Lord of the Rings: The limited role of national differences in global media consumption –
Kuipers & De Kloet (2009) 24
Reinterpretation of Cultural Imperialism: Emerging Domestic Market vs Continuing US Dominance – Yong Jin (2007) 25
,Week 1: Analyzing the Creative and Cultural Industries (CCI)
Modelling the cultural industries – Throsby (2008)
• This paper examines the content of six distinct models of the cultural industries, asking the question: is it possible to
find a common core group of industries on which all of the models agree?
• The term ‘cultural industries’ was in use during the 1980s, but reference to the ‘creative industries’ came later.
• Cultural Industries
o Combine the creation, production & commercialisation of contents which are intangible and cultural in nature.
o These contents are typically protected by copyright & they can take the form of goods or services (UNESCO).
o They are “central in promoting & maintaining cultural diversity and in ensuring democratic access to culture”
o Cultural goods and services share the following characteristics:
• E.g. artworks, music performances, literature, film and television programs, videogames
▪ 1) They require some input of human creativity in their production
• Original ideas and novel ways of interpreting the world, expressed in text, sound and image.
▪ 2) They are vehicles for symbolic messages to those who consume them,
• They are more than simply utilitarian (if they also serve some larger communicative purpose)
▪ 3) They contain, at least potentially, some intellectual property that is attributable to the individual
or group producing the good or service
▪ 4) They yield cultural value in addition to
whatever commercial value they may possess
• This cultural value may not be fully
measurable in monetary terms
• Creative Industries
o Creative goods and services share the following characteristics:
▪ 1) There must be human input of creativity in their production and manufacture
▪ 2) They can take the form of being a good or a service
▪ 3) Creative goods or services are predominantly used in a commercial application
▪ 4) They are not necessarily “cultural”
o E.g. includes products such as advertising, graphic design, web design, software
• Is a distinction between the cultural and creative industries important?
o Yes, because depending on the industries included, different 1) estimates of contribution; 2) policy
implications; 3) economic analyses will result
• Six Models of the Cultural Industries:
o UK-DCMS Model
▪ Creative industries are those requiring creativity, skill and talent, with potential for wealth and job
creation through exploitation of their intellectual property
▪ All 13 industries included could be seen as “cultural” however, the UK government prefers “creative”
o Symbolic Texts Model
▪ The processes by which a society’s culture is formed and transmitted are portrayed in this model via
the industrial production, dissemination and consumption of symbolic texts or messages, which are
conveyed by means of various media such as film, broadcasting and the press.
o Concentric Circles Model
▪ The more pronounced the cultural content of a particular good or service, (i.e. cultural value of
cultural goods) the stronger is the claim to inclusion of the industry producing it.
▪ Creative ideas originate in the core creative arts in the form of sound, text and image, and these ideas
and influences diffuse outwards through a series of layers or ‘concentric circles’, with the proportion
of cultural to commercial content declining as one moves further outwards from the centre.
o WIPO Copyright Model
▪ This model is based on industries involved directly or indirectly in the creation, manufacture,
production, broadcast and distribution of copyrighted works.
• The focus is thus on intellectual property as the embodiment of the creativity that has gone
into the making of the goods and services included in the classification.
o UNESCO Institute for Statistics (UIS) Model
▪ The model identifies five ‘core cultural domains’: cultural and natural heritage; performance and
celebration; visual arts, crafts and design; books and press; and audio-visual and digital media.
• It also extends to the ‘related domains’ of tourism, sport and leisure.
o Americans for the Arts Model
▪ Identifying businesses involved with the production & distribution of the arts: arts-centric businesses.
▪ Developed with advocacy purpose in mind: demonstrate economic importance of the arts in US
• Each model gives rise to a different set of industries that make up the cultural production sector of the economy.
o Comparing the symbolic texts, the concentric circles, and the WIPO models
▪ The industries included in the broad classification of these models indicate a reasonable degree of
commonality in their coverage.
, ▪ However, when it comes to defining the ‘core’ cultural industries, the models differ widely; only film,
video and music appear in the core of all three models
• Problems that may be encountered on a finer disaggregation
o 1) The cultural as distinct from the commercial value of the goods and services produced by the industries
listed will vary not just between but also within the groupings.
▪ E.g. music industry (composition, live performance etc.) has strong cultural value versus global music
publishing and recording industries are driven primarily by commercial motives.
o 2) These problems affect statistical classification systems for the cultural industries in different countries,
making it difficult to assemble internationally comparable data (issue that UIS model attempts to address)
o 3) Because of different combinations of industries included in each model, estimates of the size and economic
contribution of the cultural industry sector to the national economy will differ significantly between models.
▪ E.g. The most wide-ranging of the three models, the WIPO model, implies estimates of the economic
size of the cultural industries that are more than twice as great as those implied by the most
narrowly-defined model, the concentric circles model.
o 4) Assessments of the economic importance of the cultural sector and of its role in economic policy more
widely will vary substantially according to the model in use.
▪ E.g. cultural industries interpreted primarily in economic terms (versus achieving government’s
artistic or cultural objectives) → policy spotlight falls on those sectors producing the greatest growth
rates in employment, value of output, exports, etc.
• Economic Analysis of the Cultural Industries
o Industrial Organisation Theory → market concentration
▪ Measure the standard economic variables for which data are routinely collected for all industries by
statistical agencies: gross value of production, value added, fixed capital formation, levels of
employment of different categories of labour, business concentration and so on.
▪ This enables the usual structure/conduct/performance analyses to be carried out
▪ Likely to be relevant primarily to those cultural industry models oriented towards the commercial
production of cultural goods and services (e.g. WIPO model) but also the not-for-profit arts
o Value Chain Analysis → production chain
▪ One of the most straightforward and widely recognised methods for analysing the structure and
function of the creative industries.
▪ The underlying framework for the model defines a seven-phase supply chain or production cycle
involving: creation; production; dissemination; exhibition/ reception; consumption/participation;
archiving/preserving; and education/training.
▪ Value chain analysis is dynamic or multi-stage (e.g. UIS model); the other models involve essentially a
static snapshot of the cultural production sector at a given point in time.
o Inter-Industry Analysis → economic impact of cultural policy
▪ One of the techniques for studying inter-industry relations is input-output analysis.
• Output from one industrial sector as input to another sector (spillovers)
• It focuses on how output is produced and distributed in the economy
▪ An alternative to input-output is the use of social accounting matrices (SAMs).
• Similar tool requiring less data for analysing the impact of industries
• It offers a better understanding of the direct and indirect effects on an industry, consumers
or even governments
o Locational Analysis → (cultural) industries clusters, “creative cities”, e.g. UK-DCMS, concentric circles model
▪ There is a spatial dimension to the delineation of the cultural industries, noticeable particularly in the
way in which firms in these industries tend to form clusters in urban and regional settings.
▪ This is often used by governments to attract firms and develop cultural clusters
▪ Demand side: tourists concentration attracts firms selling cultural wares to locate close together
▪ Supply side: network & agglomeration externalities mean reciprocal benefits occur from being close
o Contract Theory and Property Rights → “optimal” contracts because of uniqueness of cultural industries
▪ Complex creative industries such as film and television production depend on the existence of
contractual arrangements at all stages in the value chain (e.g. WIPO model)
▪ Specific properties make it all but impossible to write a complete contract at any stage of the game.
• “nobody knows” (uncertainty of demand), “art-for-art’s sake” (irrational labour market),
infinite variety of creative products, durability (yield rents over a long period)
▪ The creative industries have evolved a variety of means for organising themselves and for doing deals
which serve the interests of all participants as effectively as possible.
o Trade and Development → threats to local cultural expression
▪ Bilateral and multilateral trade negotiations have frequently (albeit reluctantly) allowed exceptions
for cultural products (because they are vehicles for the transmission of cultural value), thereby
leaving open the possibility that countries may adopt measures to protect their cultural industries
against foreign competition (e.g. concentric circles, WIPO, UIS models)
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