Behind the Screen. Inside European Production Cultures

Szczepanik, P.,
Vonderau, P.,
New York: Palgrave Macmillan

Production studies has developed into an interdisciplinary field of inquiry of film and television "production cultures," going beyond traditional examinations of authorship and industry structure. Studying production as culture involves gathering empirical data about the lived realities of people involved in media production - about collaboration and conflicts, routines and rituals, lay theories and performative actions. This volume broadens the scope of production studies by analyzing geographic and historical alternatives to contemporary Hollywood. At the same time, it invites disciplines such as ethnography, aesthetics, or sociology of art to reconsider established concepts of film and media studies like creative agency, genesis of a film work, or transnational production.


Beliefs in culture as an instrument for regional development: The case of Stavanger, European Capital of Culture 2008

Rommetvedt, H.
Institute of Public Policy, Bratislava

The Norwegian production of petroleum has peaked and in a not too distant future, the Norwegian ‘oil capital’ Stavanger has to meet the challenge of a declining petroleum industry. The bid for the status as European Capital of Culture in 2008 was one of the initiatives taken by local authorities in order to make the Stavanger region more attractive for new businesses and highly skilled employees. The bid reflected a belief in culture is as an important instrument for regional development. This article throw light on the question of how widespread the belief in culture was among the citizens as well as leading politicians, civil servants and business managers in the Stavanger region prior to the year as European Capital of Culture.


Betingelser for frivillig innsats: Motivasjon og kontekst

Wollebæk, D.,
Sætrang, S.,
Fladmoe, A.
Senter for forskning på sivilsamfunn og frivillig sektor, Oslo

Hva er det som får folk til å delta i frivillig arbeid, hva motiveres frivillige av – og hvorfor slutter de? I denne rapporten presenteres omfattende analyser av betingelser for frivillig innsats, basert på datamateriale samlet inn i perioden 1998-2015.

Resultatene viser for det første at det ikke finnes én universell forklaringsmodell på hvorfor folk driver med frivillig arbeid, men at ulike forklaringer snarere må anses som komplementære. Interesse, indre motivasjon, kostnad-/nyttevurderinger og primærsosialisering er blant faktorene som bidrar til å forklare hvorfor noen blir frivillige og andre ikke.

For det andre understreker resultatene betydningen av å studere frivillig arbeid som en dynamisk prosess. Sosiale nettverk er særlig viktig i rekrutteringsfasen. Motivasjonen for å begynne med frivillig arbeid er ikke nødvendigvis den samme som motivasjonen for å fortsette. Og når man slutter kan det skyldes helt andre grunner enn endret motivasjon – ofte er det livssituasjonen som avgjør.

For det tredje støtter resultatene opp om tidligere forskning som har antydet mer strukturelle endringer i frivilligheten i Norge. Individuelle motivasjonsforklaringer har generelt blitt viktigere over tid, samtidig som båndet mellom frivillige og enkeltorganisasjoner har blitt svakere. Denne tendensen peker i retning av en individualisering av frivilligheten, der betydningen av kollektiv tilhørighet svekkes.


Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment

Elberse, A.
Henry Holt and Company

What’s behind the phenomenal success of entertainment businesses such as Warner Bros., Marvel Enterprises, and the NFL—along with such stars as Jay-Z, Lady Gaga, and LeBron James? Which strategies give leaders in film, television, music, publishing, and sports an edge over their rivals? Anita Elberse, Harvard Business School’s expert on the entertainment industry, has done pioneering research on the worlds of media and sports for more than a decade. Now, in this groundbreaking book, she explains a powerful truth about the fiercely competitive world of entertainment: building a business around blockbuster products—the movies, television shows, songs, and books that are hugely expensive to produce and market—is the surest path to long-term success. Along the way, she reveals why entertainment executives often spend outrageous amounts of money in search of the next blockbuster, why superstars are paid unimaginable sums, and how digital technologies are transforming the entertainment landscape. Full of inside stories emerging from her unprecedented access to some of the world’s most successful entertainment brands, Blockbusters is destined to become required reading for anyone seeking to understand how the entertainment industry really works—and how to navigate today’s high-stakes business world at large.


Blues in Hell 2011. Resultater fra publikumsundersøkelse og samtale med sponsorer/samarbeidspartnere

Bye, R.,
Carlsson, E.,
Sletterød, N. A.
Trøndelag forskning og utvikling (TFoU)

Bransjestatistikk 2014

Forleggerforeningens servicekontor
Forleggerforeningens servicekontor

Forleggerforeningens servicekontor utarbeider årlig bransjestatistikk over bokomsetningen i Norge. Tallene bygger på opplysninger innhentet fra medlemsforlag, bokklubber og andre aktører i bokmarkedet. Omsetningen til aktører som ikke er medlemmer av foreningen, bygger dels på innrapporterte tall og dels på skjønn. Det er benyttet tilnærmet samme metode hvert år for å anslå totalmarkedet vurdert til utsalgspriser, men det er grunn til å understreke at denne delen av tallgrunnlaget er grove anslag.

Statistikken presenteres i to deler. Første del omhandler estimater for totalmarkedets utvikling, mens den andre delen bare omfatter forlag som er medlemmer av Den norske Forleggerforening. 


Business Innovation and Disruption in the Music Industry

Wikström, P.,
DeFillippi, R.
Cheltenham, UK & Northamton, MA, USA: Edward Elgar Publishing

Over the past fifteen years the music industry has experienced a disruptive process of digital transformation that has reshaped most aspects of the industry; in 2015 the contours of a “new music economy” have begun to emerge. The structure and mechanics of these evolutionary processes vary considerably between continents, and this book examines these processes within Europe, America and Asia. The contributors offer a range of theoretical perspectives, as well as empirical findings from the social sciences and business, as well as the media industries. They offer a holistic understanding of the forces shaping the new music economy, and shed some light on the impact of these forces on the ways in which music is created, aggregated and distributed, and on the economic and social consequences for industry producers and consumers.


Bygdedager og historiske spel: En feiring av stedet?

Larsen, A. K.
Oslo: Cappelen Damm Akademisk

Antall avholdte festivaler - det være seg innenfor musikk, film, litteratur, mat eller annet - har økt betraktelig i Norge i løpet av de siste årene. Dette er begivenheter sm trekker arrangører, opptredende og publikum til et bestemt sted. Her er det satt opp et program som kan vare fra én dag og opp til felere uker. Under arrangementet hersker det vanligvis en egen stemnsing som også preger (deler av) lokalsamfunnet der det avholdes. Selv om det tematiske fokuset er mindre eksplisitt når det gjelder såkalte bygdedager og kanskje også spel, kan det likevel være fruktbart å se disse som typer av festivaler.


Can Large-Scale Cultural Events Lead to Cultural Scepticism?

Knudsen, K.
Nordic Journal of Cultural Policy/Nordisk Kulturpolitisk Tidskrift

Large scale cultural events often have idealistic aims of affecting participants and spectators in a positive manner, by widening public’s cultural understandings and horizons. The ‘Open Port’ motto chosen for the Stavanger region as European Capital of Culture in 2008 explicitly signalled such ambitions. This article takes the idea of a positive link between exposure to broad-ranging cultural events and tolerance for cultural diversity as a starting point. Nevertheless, there is seemingly little empirical support in the research literature for such a postulate. On this background we suggest a different line of arguments, based on the idea of relative deprivation. Rather than expecting positive change in the beliefs of those more exposed, this alternative hypothesis presumes that inhabitants away from the main centres of artistic and cultural activities, could react. They will often see themselves as left behind and kept out from the grand events, it is contended. In this way we hypothesise that local inhabitants living outside of the central areas will react negatively, by becoming less sympathetic. Special survey data from the region for the period 2007-2009 indicate empirical support for this alternative hypothesis, based on the idea of relative deprivation. At the same time there is little evidence of a possible link between higher exposure and increased tolerance. Multiple regression analysis with an index of cultural scepticism as the dependent variable shows basically no change in attitudes for those living close to main centres of Stavanger 2008 activities. At the same time there is a significant increase in cultural scepticism among local inhabitants living farther away from the central axis. Moreover, results from surveys at the national level confirm a picture of stability in cultural scepticism for Norwegians in general during the same period. This makes an explanation of the observed change for inhabitants living within the larger Stavanger region but outside the central axis, especially challenging. Although the empirical patterns are consistent with the idea of relative deprivation, these findings could not be regarded as a strong test of the hypothesis at this stage. Further research, in alternative settings and with supplementary measures is needed.


Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.