As a new cultural industry, digital game development is located between the sectors of culture and trade. While Norwegian game development is defined today as a matter for the Ministry of Culture, the industry is asking for a more holistic policy that includes trade policies. This article discusses Norwegian game policies with point of departure in research interviews with four Norwegian game developers and argues that trade policies are already included in the existing cultural policy.
Experiences have become the hottest commodities the market has to offer. No matter where we turn, we are constantly inundated by advertisements promoting products that promise to provide us with some ephemeral experience that is newer, better, more thrilling, more genuine, more flexible, or more fun than anything we have previously encountered. In turn, consumers themselves are increasingly willing to go to great lengths, invest large sums of money, and take great risks to avoid "the beaten track" and "experience something new." Working with an interdisciplinary approach, this book critically analyzes the significance this market for experiences (and interest in them) is having as a generative motor of cultural and socioeconomic change in modernsociety. The book's contributors are active scholars working in the Department of Service Management at Lund University, the Copenhagen Business School, and the Center for Regional and Tourism Research. They come from the disciplines of anthropology/ethnology, business administration, and cultural geography.
En kritisk eksplorering av opplevelsesøkonomiens forståelse av fenomenet opplevelse kontrastert med en begivenhetsfilosofisk forståelseshorisont
Cultural and heritage tourism began to expand as a mass phenomenon in the 1970s and ’80s with a considerable economic and social impact. It was a consequence of the self-development of the tourism industry and its need for diversification (Bull, 1991). During the previous decades and stimulated by a long period of unbroken economic growth in most developed countries, tourism enjoyed a great expansion (Timothy, 2011). This was largely based on standardized products, mainly offered by tour operators through the travel agencies system. The result was an increase in the number of destinations and resorts. Over the years, many of them have followed a life-cycle profile, from involvement and consolidation, to stagnation and, in some cases, even decline (Butler, 1980). So, the need to adapt the current offer to a more exigent demand, fuelled by a rising competition with new destinations, developed the specializations of many tourism areas and the search for added-value products. The resulting scene is characterized by being much more dynamic and competitive, in which a multitude of specialized offers proliferate at lower costs. Tourism products can be segmented by travel motivation (business, holiday, health, academic or religion, among many other driving forces), by user groups (families, senior citizens, professional people or students), by destination (cities, coast areas, countryside regions or countries), by time (holiday seasons, weekends, special events or business periods), and by the level of maturity of the destination (more or less emergent, with larger or weaker touristic supply, level of social reputation).
What advantages, challenges and opportunities are contained within the scope of film tourism? How can the destinations, the tourist players and the local business sector cooperate with the film industry? How have others proven successful in their work with film tourism?
Easier Said Than Done - Kartlegging og evaluering av virkemidler for film- og musikknæringen i Trøndelag
Dette er en analyse av virkemiddelapparatet, og hvordan det fungerer opp mot musikk og filmbransjen i Nord- og Sør-Trøndelag. I rapporten har
vi brukt økonomiske nøkkeltall for å kunne vurdere utvikling i disse to bransjene.
Bildet denne rapporten tegner er ganske tydelig. Musikkbransjen i Trøndelag er relativ stor, men sliter med økonomien og ser ut til å være inne i en stagnasjonsperiode. Film på den annen side er mindre, men er inne i en positiv utvikling. Tilbakemeldingene vi har fått gjennom de kvalitative intervjuene er omtrent like klare. Virkemiddelapparatet for film er ryddig, oversiktlig og velfungerende. Fra musikkbransjen har vi hørt om et virkemiddelapparat som i større grad er fragmentert, vanskeligere å forholde seg til og i mindre grad er proaktivt opp mot bransjen.
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.