From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as a complex adaptive system of intertwined actors and institutions. Yet, especially in the European context, little attention has been given to understanding informal and alternative art spaces and venues that contribute to the vibrancy of the urban cultural scene.
Ambitions for social inclusion have guided the publicly funded opera houses and symphony orchestras since the early twentieth century. However, this explicit policy goal has not influenced ticket prices during the last four decades. The successive ticket price increases have resulted in a situation where only the better off attend the performances.
What has caused the influx of superheroes such as The Avengers and The Justice League in Hollywood in recent years? Leung and Qi (2021) empirically show that globalization plays a huge part, especially with the emergence of the Chinese market in which Action movies face fewer cultural and language barriers.
Economic studies exploring dance have proliferated enormously recently, although they have failed to receive as much attention as other cultural goods and services, such as museums, theatres or symphony orchestras. We therefore present the results from two studies evaluating efficiency in the dance sector, focusing on two contrasting markets: the US market, in which most dance companies act as non-profit entities and in which fundraising proves crucial; and the Spanish market, where we evaluate the impact of a public programme supporting the dance through the participation of the agents involved (theatres, dance companies, and policy makers). Non-parametric frontier techniques, such as data envelopment analysis (DEA) and variations, are used to measure the efficiency of the stakeholders and efficacy of the programme.
The battle between traditional Hollywood studios and streaming services like Netflix is a matter of “institutional logics” – commitment logic versus convenience logic.
Cultural participation can engage in cultural heritage beyond visits to includes donating their money and their time to cultural heritage organisations. The participant’s philanthropic motives of charitable giving and their cultural preference evaluating cultural heritage are characterized in “Donating Money and Time to Cultural Heritage. Evidence from the European Union”, a study of participation rates among countries in the European Union.
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