Rapporten omfatter en kartlegging og vurdering av det norske uavhengige tvproduksjonsmarkedet. Den vurderer hvordan dette markedet fungerer både ifht langsiktig økonomisk verdiskaping i filmnæringen og ifht innholdsproduksjon av høy kvalitet. Den er basert på statistikk, tidligere analyser, data fra tv-selskapene (NRK, TV2 mv.) og personlige intervjuer med 35 uavhengige produksjonsselskaper.
This article examines the contemporary configuration of power relations in the U.K. television sector, probing, in the process, the enduring accuracy of longstanding economic arguments concerning distributor dominance in the “cultural industries” more broadly. Such arguments are important because we cannot understand the power of the media unless we understand the circulation of power within the media. The article shows that while recent developments in respect to both producer—distributor and producer—advertiser relationships have begun to enhance the leverage enjoyed by the production community, the steady inflation of the mass-market premium enjoyed by the leading distributors (the terrestrial broadcasters) in the advertising market has largely sustained their power, in relation to smaller (multichannel) distributors, to producer suppliers, and—of course— to the consuming public.
Da Stortinget 15. juni 1999 vedtok at det skulle oppføres et operahus i Bjørvika, var dette en virkeliggjøring av en 100 år gammel drøm. Sjelden har en kulturpolitisk sak vekket så stor interesse i norsk offentlig samfunnsdebatt. Å bygge et nytt operahus forutsatte en stor statlig investering, og operadebatten dreide seg om prioritering og fordeling innad på kulturfeltet, mellom samfunnssektorer og ikke minst mellom Oslo og resten av landet. Stortinget besluttet denne dagen også å styrke operavirksomheten i landet for øvrig. I dag får 10 operainstitusjoner utenfor Oslo statlig støtte gjennom satsingen på region- og distriktsopera, og det produseres opera i alle landsdeler. Denne rapporten presenterer resultatene fra evalueringen av den helhetlige kulturpolitiske satsingen på region- og distriktsopera og musikkteater.
Formålet med rapporten er tredelt: - Den danner en del av grunnlaget for en kulturøkonomisk analyse av norske teatre (jf. Arbeidsrapport 5/02- "Produksjons- og kostnadsstruktur i norsk teatre") - Den gir en oversikt over internasjonal kulturøkonomisk forskning. - Den kan danne en del av grunnlaget for å ta stilling til om en bør satse på kulturøkonomisk forskning her i landet, eventuelt hvilken inretning den bør få.
The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
Destination Culture takes the reader on an eye-opening journey from ethnological artifacts to kitsch. Posing the question, "What does it mean to show?" Barbara Kirshenblatt-Gimblett explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions. She talks about how objects—and people—are made to "perform" their meaning for us by the very fact of being collected and exhibited, and about how specific techniques of display, not just the things shown, convey powerful messages. Her engaging analysis shows how museums compete with tourism in the production of "heritage." To make themselves profitable, museums are marketing themselves as tourist attractions. To make locations into destinations, tourism is staging the world as a museum of itself. Both promise to deliver heritage. Although heritage is marketed as something old, she argues that heritage is actually a new mode of cultural production that gives a second life to dying ways of life, economies, and places. The book concludes with a lively commentary on the "good taste/bad taste" debate in the ephemeral "museum of the life world," where everyone is a curator of sorts and the process of converting life into heritage begins.
I rapporten redegjøres for resultater av en publikumsundersøkelse ved Peer Gynt stemnet 1990. Arrangementet foregår årlig på Vinstra i Gudbrandsdalen. Stemnet er en kombinasjon av kulturelle og kommersielle arrangementer. Det gikk over ti dager og talte rundt tretti arrangementer, i tillegg kommer messe, utstillinger og tivoli. Blant arrangementene var det forestillingen “Peer Gynt i egen fjellheim” som vakte størst oppmerksomhet og trakk tilsammen rundt 5 000 tilskuere. Det totale publikum ved samtlige arrangementer ble anslått til 9 700. I rapporten gis det en redegjørelse for publikums sammensetning, deres økonomiske forbruk i tilknytning til arrangementet og arrangementets kulturelle verdi.
Event and cultural tourism as a social practice is a widespread phenomenon of global socio-economic importance. The purpose of the book is to bring together current thinking on contemporary issues relating to the management and marketing of cultural events and attractions. The contributions to the book provide interesting perspectives on a number of topics including innovation in festivals, destination and event image, cultural events and national identity, religious festival experiences, effective management and marketing of events. The book is divided into two broad themes: event tourism and cultural tourism. The Cultural Tourism theme covers issues such as: socio-cultural and environmental impacts of tourism development; tourist experiences, motivations and behavior; development of cultural tourism; hosts and guests; Community participation; living heritage; and destination image and branding. The Event Tourism theme covers issues such as economic, socio-cultural and environmental impacts; tourist experiences, motivations and behavior; development of event tourism; event management and sponsorship; destination image and branding; and planning and marketing hallmark events. The book is in response to the increasing demand for empirically-based case studies on event and cultural tourism and will appeal to both academics and practitioners. Case studies are also ideal as teaching material for both undergraduate and postgraduate programmes internationally. This book is a special double issue of the Journal of Hospitality Marketing and Management.
Event Tourism: Concepts, International Case Studies, and Research has been an immediate addition to the recommended texts for the undergraduate and postgraduate event studies topics taught here at Flinders University. The field of event tourism has not been so thoroughly and forensically examined before. In addressing that gap, Donald Getz has provided a consistently strong text that identifies a way forward for the academic research community, for event industry practitioners and for tourism and event organisations alike. Getz argues for a paradigm shift in thinking about how a portfolio of events can be used to deliver a range of positive impacts: socio-cultural; environmental; and economic. It is a compelling read and will become another classic event text alongside many of his previous works." Steve Brown Head of Tourism Flinders University June 3, 2013 ----- "Donald Getz has produced a text that has been desperately needed in travel and tourism as well as in event management programs for some time. This is not only the first book connecting the fields of tourism and events, but it is a textbook that can be a valuable asset to event academics, practitioners, and students globally. Getz has succeeded in integrating the concepts and ideas from his previous book, Event Management & Event Tourism, along with the current research on tourism’s increasing awareness of the importance events play in successful tourism development. This book is intended for use as a text and as such will be a great tool for both students and academics. This well-written text reviews the current literature and research in both fields and is an excellent teaching resource. One of the strengths of this textbook is with its organization. The early chapters in the text provide students with the knowledge and background to understand Event Tourism. The text, which is organized around the notion of supply and demand, gives students a logical way of understanding the event industry from an event producer’s perspective. Getz addresses the very important topic of documenting event impact from both social and economic approaches. In addition, he provides insights related to guiding students through the event evaluation process. This book will enable students to learn and be tested on chapter concepts. To focus the students with respect to the content in a chapter he provides learning objectives at the beginning of each chapter and concludes with a summary and study questions. Each chapter also includes useful case studies that help to explain and emphasize the concepts presented in each chapter. These case studies will assist instructors with developing assignments to further apply the material. Finally, the author provides supplementary readings and online resources on the topics covered in the chapters. Overall, I would say any academic program in tourism and events should utilize this text in a course in Event Tourism in their curriculum if they want to ensure their students are prepared in one of the fastest growing segments of the tourism industry globally. I would recommend this book as a text to be used in Event Tourism." Kenneth F. Backman, Ph.D. Editor-in Chief, Event Management Professor, Clemson University June 2013
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