Cultural Economics & the Creative Economy – serie

This book is an economic analysis of plagiarism in music, focusing on social efficiency and questions of inequity in the revenue of authors/artists.

This book is an economic analysis of plagiarism in music, focusing on social efficiency and questions of inequity in the revenue of authors/artists.

This is one of the first books to compare the film policies and industries of the world’s six largest film industries – featuring Korea as the central character – with the aim of defining the contours of what constitutes an effective film policy.

This is one of the first books to compare the film policies and industries of the world’s six largest film industries – featuring Korea as the central character – with the aim of defining the contours of what constitutes an effective film policy.

The book also discusses the evolution of art in the twenty-first century, considering for example how the platform economy affects the arts, whether or not the established arts are joining the entertainment industry, and the current level of diversity in art.

The book also discusses the evolution of art in the twenty-first century, considering for example how the platform economy affects the arts, whether or not the established arts are joining the entertainment industry, and the current level of diversity in art.

This book provides a novel approach to the understanding and realization of the values of art. It argues that art has often been instrumentalized for state-building, to promote social inclusion of diversity, or for economic purposes such as growth or innovation. To counteract that, the authors study the values that artists and audiences seek to realize in the social practices around the arts. They develop the concept of cultural civil society to analyze how art is practiced and values are realized in creative circles and co-creative communities of spectators. The insights are illustrated with case-studies about hip-hop, Venetian art collectives, dance festivals, science-fiction fandom, and a queer museum. The authors provide a four-stage scheme that illustrates how values are realized in a process of value orientation, imagination, realization, and evaluation.The book relies on an interdisciplinary approach rooted in economics and sociology of the arts, with an appreciation forbroader social theories. It integrates these disciplines in a pragmatic approach based on the work of John Dewey and more recent neo-pragmatist work to recover the critical and constructive role that cultural civil society plays in a plural and democratic society. The authors conclude with a new perspective on cultural policy, centered around state neutrality towards the arts and aimed at creating a legal and social framework in which social practices around the arts can flourish and co-exist peacefully.

This edited open access volume offers a comprehensive analysis of new and traditional funding models for the arts and culture. In the economic and political contexts of reduced art funding, the book takes an objective value-based approach to demonstrate how financial sustainability in the arts can be achieved via a range of top-down or bottom-up mechanisms which are valued either in terms of institutional or crowd-based legitimacy. The book aims to offer both a scholarly interpretation of established and emerging funding and financing practices within the cultural and creative sector, as well as guidance for artists, creators, and cultural programmers through various case studies and multiple examples of current practices. Contributions are divided into three sections. Section one outlines the most important traditional tools and models, while the second part covers the key contemporary practices premised on the use of digital platforms. The final part introduces several case studies, looking at how museums use digital tools, how public and private partnerships fund cultural heritage, how cultural institutions raise money, the monetisation of video games, and a community crowdfunding project. The objective of this volume is to demonstrate that while traditional models show no signs of being supplanted, digitalisation has facilitated the emergence of new forms. Such an evolution has consequences for creators of works as well as those willing to support them. The contributions address these issues by investigating and analysing the individual or combined adoption of traditional and new funding and financing models in a post-digital context.