Samenvatting
Summary UvA Cultural Industries lecture notes
- Instelling
- Cultural Industries
UvA Cultural Industries in-depth lecture and knowledge video notes, part of the Marketing minor
[Meer zien]Voorbeeld 4 van de 35 pagina's
Voorbeeld 4 van de 35 pagina's
In winkelwagengesponsord bericht van onze partner
Verkoper
Volgen
Voorbeeld van de inhoud
Cultural Industries lecture notesWeek 1: Analyzing the creative and cultural industries (CCI)
Lecture
Classification models and economic analyses; Business models (and their evolution) for entrepreneurs and
for organizations
Course literature:
Thorsby, D (2008): Modelling the cultural industries
- Summary: the article discusses the definition of cultural industries, the boundaries of cultural
industries, and examines six tools for economic analysis that can be applied to cultural industries
- Question: it is possible to find a common group of industries on which all of the models agree
- Definition of cultural industries: those industries that combine the creation, production, and
commercialization of contents which are intangible or cultural in nature (UNESCO)
- Shared characterisic: human creativity input, there must a transmission of symbolic
messages that serves a larger communication purpose, intellectual property that can be
attributed to a certain individual or group propducing the group
- Require some input of human creativity in their production
- Original ideas and novel ways of interpreting the world, expressed in text, sound,
and images
- Vehicles for symbolic messages to those who consume them
- Cultural goods and services are more than simply utilitarian and serve a larger
communicative purpose
- Contain, at least potentially, intellectual property
- Attributable to the individual or group producing it
- Definition of creative industries: those industries which have their origin in individual creativity,
skill, and talent and which have a potential for wealth and job creation through the generation and
exploitation of intellectual property (DCMS 2001)
- Shared characteirsic: human creativity input, can take the form of goods or services, and
predominantly used in commercial application
- Cultural goods: cultural values, transcends purely economic valuation
- IN CONSTRAST, Creative goods: extends beyond cultural goods
- Is a distinction between the cultural and creative industries important?
- Estimates of contribution (the boundaries for that)
- Classification models
- Policy implications
- Economic analysis
- What would happen if the Concentric Circles Model was used instead of WIPO?
- Concentric circles model only include the cores of the cultural industries so it would not be
as sufficient
, - Models of cultural idnustries classificaiton system:
- DCMS model
- Symbold texts model
- UIS model
- American for the arts model
- WIPO mode;
- Concentric circles model
- 6 economic approaches to analyzing the cultural industries:
- Industrial organization theory: relevant primarily to those models oriented towards the
commercial production of cultural goods and services. Focuses on standard economic
variables
- Market concentration
- Barriers to entry and exit
- Degree of competition
- Value chain analysis: used by firms to analyze performance in different stages of the
production cycle
- Production chain with the value-adding stages from initial idea, the production of
goods or services, their marketing and distribution, until consumption
- Creation-Production-Dissemination-Exhibition-Consumption
- Inter-industry analysis: used to evaluate the economic impact of cultural policy
- Input-output analysis: Output from one industrial sector as input to another
sector (spillovers)
- Social accounting matrices; Similar tools require less data for analyzing the impact
of industries
- Locational analysis: used by governments to attract firms and develop (cultural) industry
clusters
- Network and agglomeration externalities in cultural production lead to clustering
of firms that benefit from being located close to other firms in the same (or similar)
industries
- Contract theory and property rights: these peculiarities of the industry are used by firms
to develop ‘optimal’ contracts with (value chain) partners
- Identifying property rights as a basis for contractual arrangements that can be
explained by the uniqueness of cultural industries
- ‘Nobody knows’: uncertainty of demand
- ‘Art for art's sake’: irrational labour market
- ‘Infinite variety’: all products are more or less differentiated
- ‘Durability’: ability to yield rents over a long period
, - Trade and development: used to explain the specialization of countries and to eliminate
trade barriers
- Theory of comparative advantage to explain specialization of production in
different countries Assertion: free trade maximises world welfare (UNESCO vs.
WTO)
Svejenova, S., Planellas, M., Vives, L. (2010): An individual business model in the making: A chef’s quest for
creative freedom
- Business model-level of the individual
- Identify triggers/mechanisms of change
- Identified tlements of value: creation, appropriation, sharing & slippage
- Do an individual level of analysis to identify the triggers and mechanisms of change within
a business model
- Summary: the article demonstrates that business models are not only organizational devices that
reveal a company’s logic for creating and capturing value but also are useful in identifying triggers
and mechanisms associated with changes
- Business model definition: the content, structure, and governance of transactions designed
so as to create value through the exploitation of business opportunities. In the core, it is an
organizational device to:
- Reveal the logic for creating and capturing value
- Reveal the organization’s approach to renewal
- Enhance the understanding, labeling, and classification of an organization’s
operations
- Ferran Adria’s Business model: shows the correlation between creativity and time
and Change Mechanism
, Poisson-de Haro, S & Monpetit, D. (2012): Surviving in times of turmoil: Adaptation of the Theatre Lex
Deux Mondes business model
- Adjust components of a business model
- Address challenges resulting from internal/external turmoil
- Summary: the article explores how a performing arts organization can adjust the components of its
business model to meet its current challenges resulting from an environment of turmoil
- Question: how can a performing arts organization adjust the different components of its business
model to meet the challenges resulting from an environment of turmoil?
- Can they solve that turmoil simply by adjusting their business model?
- CONCEPT: Business model: when is a new one needed?
- Understanding the logic of the firm for renewal as well as creating and capturing value
- Important to gain advantages against competitors
- Turmoil: internal and external
- External: difficulty to find funding ec
- Internal: difficulty in human assets or dual leadership, therefore, lead to conflict in
organizational objectives, etc.
- Components of a business model:
- Customer value proposition: pricing, type of offering, access options
- Key resources: brand, people, technology, partnership
- Key processes: creative process, production, human resources, marketing,
information technology (for cultural organizaions both key resources and key
processes are people related)
- Profit formula: cost structure, revenue model (perceived value of artsitics offerings)
- When is a new business model needed?
- Address the needs of potential customers (disruptive innovation)
- Capitalize on (new) technology (radical innovation)
- Bring ‘focus’ where one did not yet exist (from how we consume to how much we
consume)
- Respond to a shifting basis of competition (analog to digital recording)
- Quizzes:
- Trosby 2008) discusses the definition and boundaries of the cultural industries. In regards
to cultural products, which of the following statements is/are (un)true?
- Cultural goods require some input of human creativity and should be attributable
to an individual or group producing the good (this is TRUE)
- Cultural goods are simply utilitarian goods but nevertheless serve a larger
communicative purpose (this is UNTRUE)
- Svejeova, S., Planellas, M., & Vives, L. (2010) study the gastronomic innovator and
entrepreneur Ferran Adrià, chef and co-owner of the three-star Michelin restaurant elBulli,
Voordelen van het kopen van samenvattingen bij Stuvia op een rij:
Verzekerd van kwaliteit door reviews
Stuvia-klanten hebben meer dan 700.000 samenvattingen beoordeeld. Zo weet je zeker dat je de beste documenten koopt!
Snel en makkelijk kopen
Je betaalt supersnel en eenmalig met iDeal, creditcard of Stuvia-tegoed voor de samenvatting. Zonder lidmaatschap.
Focus op de essentie
Samenvattingen worden geschreven voor en door anderen. Daarom zijn de samenvattingen altijd betrouwbaar en actueel. Zo kom je snel tot de kern!
Veelgestelde vragen
Wat krijg ik als ik dit document koop?
Je krijgt een PDF, die direct beschikbaar is na je aankoop. Het gekochte document is altijd, overal en oneindig toegankelijk via je profiel.
Tevredenheidsgarantie: hoe werkt dat?
Onze tevredenheidsgarantie zorgt ervoor dat je altijd een studiedocument vindt dat goed bij je past. Je vult een formulier in en onze klantenservice regelt de rest.
Van wie koop ik deze samenvatting?
Stuvia is een marktplaats, je koop dit document dus niet van ons, maar van verkoper tholinh. Stuvia faciliteert de betaling aan de verkoper.
Zit ik meteen vast aan een abonnement?
Nee, je koopt alleen deze samenvatting voor €10,49. Je zit daarna nergens aan vast.
Is Stuvia te vertrouwen?
4,6 sterren op Google & Trustpilot (+1000 reviews)
Afgelopen 30 dagen zijn er 50155 samenvattingen verkocht
Opgericht in 2010, al 14 jaar dé plek om samenvattingen te kopen