Regionrformen vil innebære at fylker erstattes med regioner. Sammenlignet med fylkene vil regionene få en mer strategisk funksjon, men de vil også få økt forvaltningsansvar. Kultur er ett område hvor regionene kan få økt ansvar. Proba har i samarbeid med NIBR vurdert hvilke oppgaver på kulturområdet som kan overføres til regionene og hvordan dette kan gjøres. Den svenske ”Kultursamverkandsmodellen” har klare styrker og kan brukes som utgangspunkt. Det er KS som har finansiert utredningen.
Norsk kulturråd utlyste i november 2014 et oppdrag om å evaluere Kunstløftets andre periode, 2012–2015. Telemarksforsking ble tildelt oppdraget, og denne rapporten er resultatet av evalueringen. Evalueringen er en vurdering av Kunstløftets relevans for barn og unge sett i lys av samfunnsendringer og -utfordringer. Evalueringen vurderer også prosjektets bidrag til økt kunnskap og, interesse og prestisje for kunst for barn og unge.
Rapporten presenterer statistikk for musikkfestivaler og en mindre gruppe «ikke-musikk»-festivaler for året 2015. I noen tabeller og figurer er tall og data fra 2014-undersøkelsen tatt med i illustrasjonsøyemed og for å vise forskjeller i datagrunnlag for 2014 og 2015. Denne presentasjonsmetoden er ikke brukt for å si noe om utvikling eller endring mellom to år. Datagrunnlaget, ulik sammensetning av populasjon og det korte tidsintervallet gir ikke grunnlag for å si noe om eventuelle endringer.
The new digital economy seemingly is leading to the disappearance of intermediaries. Externalities and the ongoing comparison of competitors favor dominant players; creators and producers also can distribute their content directly to consumers, bypassing any intermediaries. This movement exhibits some contradictory tendencies though. Online transactions give space to various unforeseen intermediation patterns involving contractual relations, information processing, and customer relations. In doing so, they alter cultural sectors and fundamentally challenge traditional organizations and revenues. This overhaul particularly affects economic actors, selection and creative processes, distribution channels, and cultural practices, as well as production structures. Accordingly, the Internet has had notable effects on the complexity of artistic and cultural markets. Various cultural fields thus reveal the emergence and simultaneous development of different ways to create, produce, make available, and charge for contents—that is, different business models. These unfamiliar intermediations drive reorganizations of cultural industries, because they invent innovative economic terms, restructure common forms of creation and recommendation, prompt new forms of entrepreneurship, and stimulate competition by newcomers. This study scrutinizes all these reconfigurations according to three current developments in cultural industries: the vast increase of available contents, the solid entrepreneurial dynamics in online markets, and renewed business models.
This study analyzes how hard and soft conditions influence the development of entrepreneurship in cultural and creative industries (CCIs). The study further examines what influence the context has on the effect of these conditions. A multiple multivariate regression analysis examines the importance of both the hard and soft conditions to explain the differences between the United Kingdom and the Mediterranean countries of Portugal, Spain, and Greece. The sample comprises 123 entrepreneurs from the four countries. The use of this method represents an important contribution to the understanding of entrepreneurship dynamics and for the further fine-tuning of entrepreneurship policies in CCIs in different contexts.
Skattefunn-ordningen, innovasjonsprogrammene til Innovasjon Norge og næringslivsprogrammene til Norges forskningsråd er blant de viktigste virkemidlene for forskning og utvikling (FoU) og innovasjon i Norge. Hvem bruker disse støtteordningene? Er det noen mobilitet blant brukere av hver ordning over tid? Hvor menings- fylt er det å sammenlikne effekter av ulike typer virkemidler? Dette er problemstillinger i denne analysen som undersøker graden av gjentatt bruk av offentlig støtte samt interaksjon mellom ulike virkemidler.
Movie industry experts continuously debate whether the industry's enormous investments in stars pay off. Although a rich body of research has addressed the question of whether stars are critical to the success of movies, previous research does not provide a consistent picture of the impact of stars on the economic success of the respective product. To derive empirical generalizations, the authors (1) provide a meta-analysis of the relationship between star power and movie success based on 61 primary studies reporting 172 effects of star power on movie success and (2) analyze a comprehensive dataset from that industry with n = 1545 movies using two different types of star power measures (commercial and artistic success), while controlling for selection effects of stars. Based on these two studies, four empirical generalizations emerge. First, when ignoring selection effects of stars, the impact of star power on box office revenues is strongly upwards biased. Second, artistic star power is associated with significantly lower box office revenues than commercial star power. Third, on average, movies with a commercially successful star generate 12.46 million US$ additional box office revenues. In contrast, artistic star power does not result in a statistically significant revenue premium. Fourth, commercially (artistically) successful stars have a statistically significant “multiplier effect” of 1.127 (1.083) on other characteristics that influence a movie's box office revenues.
Firms and governments increasingly see creative industries as hubs of managerial innovation and experimentation. The opening essay to this special issue examines the role of creative industries as pioneers and highly visible adopters of new organizational and business practices. The paper next focuses on four themes that are especially salient to this process. The first theme looks at creative industries as celebrity industries that popularize and legitimize organizational and business practices. The second theme examines the lessons that relatively low levels of value chain integration have for other industries that are in the process of value chain transformation. The third theme looks at the creative industries and the rise of the experience economy. The fourth theme argues that historical patterns of employment and self-employment in the creative industries foreshadow many of the issues that are experienced by the wider economy. A discussion of the seven papers appearing this special section concludes this introduction.
The purpose of this paper is to draw a clear picture of creative and cultural industries and of the creative economy, as driving factors of economic growth and local development. To this aim, the paper analyzes some recent data on the significance of the creative economies, reflecting on the concepts of creative and cultural industries. In the text, attention is paid to the links between creative economy and local development on one hand, and the concepts of territorial capital and social capital on the other side.
In the end, the work focuses on presenting the results of an in-progress study, about the recent literature on the mentioned issues, presenting a brief overview of some significant works.
Cultural Economy – which analyses the production, distribution and reception of symbolic contents - is dominated by the economics of welfare. This way of thinking marginalized the role of creativity and closed the corresponding analysis in a very static framework. Face to the need of an economic thought adapted to the creative economy, we should took this opportunity to distillate a more dynamic approach in cultural economics. Three examples are given (artistic markets, artistic skills, and macro-cultural policy) that demonstrate how cultural economics and creative economics should merge for their mutual benefit.
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